Peter's Room, chapter by chapter read-through: Introduction

[lilliburlero.livejournal.com]

NOTE: I'm posting on behalf of legionseagle, who's taking over the readthrough for the duration of Peter's Room, for which, many thanks. Below is her introduction to the book. More detailed discussion points to follow later today, but do feel free to get stuck in.

--L.B.

So we start the Peter's Room Chapter by Chapter read-through. Peter's Room is probably my favourite Forest; I flip between that and The Cricket Term probably with the seasons.

Peter's Room is so very much a winter book, with its sparse, evocative depiction of a place the Marlows have only previously seen not just during the summer holidays, but as a holiday destination. Now they're starting to see themselves as part of the local community; tentatively and unsure of their welcome, but definitely as residents and not visitors.

Weather matters. Snow might mean the death of animals, not just the children being cooped up indoors or able to go tobogganing.

Before getting into the detailed analysis of the first three chapters, it's worth setting out some overarching questions about themes and tropes in the books as a whole. If Autumn Term and End of Term examine (and subvert) many of the tropes of the classic school story, and Falconer's Lure began life as a summer holiday pony book, where does Peter's Room fit within children's literature?

This leads into the second question; what, exactly, is Peter's Room about? And why? The blurb on the inside flap of the dust-sheet of the Faber edition is absolutely clear; whoever wrote it sees Peter's Room in the grand tradition of didactic fiction, whose apogee is The History of the Fairchild Family.

As usual, there is more in Miss Forest's story than appears on the surface, and this time – interwoven with the Merricks' Twelfth-Night party, Ginty's growing friendship with Patrick and a splendid account of a local Meet – she gives a clear warning of the dangers inherent in make-believe prolonged beyond the proper age.

The whole of fiction could be condemned (and in many times and places has been condemned) as "make-believe prolonged beyond the proper age."

Hopefully, the read-through will bring out more subtleties with the theme than the blurb suggests. So, have at it!

Peter's Room read-through: Chapters one, two and three

[lilliburlero.livejournal.com]

Again, posting on behalf oflegionseagle, a little later than planned owing to some email glitches at my end, for which, apologies.

--L.B.

( Chapter One: Peter the Woodcutter )

( Chapter Two: Treasure Trove )

( Chapter Three: A Parsonage Called Haworth )

General discussion points – a few that spring to mind:

Superstition – from the "X" drawn across the water to avert a quarrel to the whole business with the shippen. The Devil on the roof-tree – yes, no or on the fence?
The Marlows in transition, from holiday visitors to members of the local community.
Rowan, working side by side with Ted Coulthard and Mr Tranter: can we say the relationship modelled here is, "Wet behind the ears but promising junior officer, very senior NCOs"?
Peter's character – bearing in mind earlier questions about Peter's judgement (of himself and others, and of situations). How does his obsession with Malise tie in? What about the Foley parallel?
Ginty and Patrick. Patrick and Nicola. Wedges, exclusion, serially monogamous friendships and awkwardness.
The Brontes as filtered through Marlow consciousnesses – a match made in Hell?
Gondal – again, so far as we've got, what issues are already developing? Do the hidden agendas (of Ginty, identifying with Emily Bronte, of Peter, identifying with Malise, of Lawrie, just wanting to act at any price) complement or conflict?

Anything else? Have at it!