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Archive for the ‘Outlander’ Category


Brianna (Sophie Skelton), just after she’s been raped (Season 4, Episode 10)

Friends,

Since writing about the first half of Season 4: from Drums of Autumn: the American colonialist past, a book of fathers & ghosts, I’ve watched the whole of Season 3 (from Voyager) night after night, and found it was much better than I thought, and that paying attention to larger repeating patterns revealed the preoccupations of the serial drama (as opposed to the book), and brought out when the film-makers seemed to be treating challenging themes as a serious debate, and when they were providing action-adventure entertainment with a princess-bride and another violated hero at the center.


Roger Wakefield MacKenzie (Richard Rankin), like Jamie in the first and third season, singled out for harsh punishment

There were a number of online essays treating the season with real respect: one writer argued that our central mature couple, Jamie and Claire Fraser, were rare lovers on TV to talk and to listen to one another, and evolve as they interact; another thought Claire’s relationship with and treatment of Brianna, especially after Brianna has been raped, beautiful, a morally exemplary mother-and-daughter; while questioning some aspects of the treatment of rape over the second half of the season, much was done right. On the other hand, one “serious reflection” earnestly argued that this fourth season was a real disappointment because much that viewers had loved about the previous three was gone, especially the centrality of Jamie and Claire’s relationship; and a last said what had been radically exhilarating about Outlander (as a love story) was the full and frank treatment of love-making without presumably becoming porn, the presentation of female sexuality fulfilled, and now that the decision had been made to stop that, the serial drama had just about lost what made it a joy to watch. Maybe I missed them, but it seemed to me the recaps were much less snarky, with complaints mostly centering on the characterization of Brianna (I felt grated upon by the way all the characters but Mr Bonnet seemed to treat her child-like self-centeredness with a reverent worship, even her biological father Jamie when he questioned her behavior as prompting the rape), the picture-postcard landscape and use of sets.

The over-all patterns were fitted into a framework which made Jamie’s behavior and attitude the framework for all that was happening: the season began with him failing to rescue an old comrade from hanging, and it ended with him being required to find and arrest Murtagh, his beloved godfather, brother-in-arms. Claire was marginalized into a devoted wife, career-doctor when home-making (quite literal) gave her time. She never actively defied or openly challenged Jamie, even when he behaved with senseless violence to someone (Roger) he was not sure was the rapist. To be fair, he and she have come to understand one another and they share a set of humane and family-centered attitudes, and have come to support one another trustfully. That’s why they can talk and hear one another. I love this as well as what love-making we did have.


Jamie (Sam Heughan) giving Claire (Caitriona Balfe) a bath

But patriarchy won out again and again. The Indian woman at the end who is ejected from the tribal group for trying to negotiate over the hostage Roger; Ian’s exultation at becoming a “man” through taking violence near the end of the last episode are two examples that come to mind

The basic conservatism of the books emerged strongly – and sometimes appealingly — in the parallel relationship of Fergus (Cesar Domboy) and Marsali (Lauren Lyle); they cooperate and work together when she helped Fergus rescue Murtagh from prison (right there with her cart at the ready, pat). My very favorite sub-plot was the story of the older couple, Murtagh (Ducan Lacroix) and Jocasta Cameron’s (Maria Doyle Kennedy) coming together as lovers. It is so rare for older people to presented as having erotic needs and joys, as courting and going to be with another, and it was done with great delicacy. Unfortunately there were no promotional shots of Kennedy in her long flowing nightgown and loose hair but she was photographed as gorgeous and thoughtfully intelligent repeatedly, as well as passionate and witty and teasing with Murtagh

I thought also that the scene where Brianna is shown giving birth, and learning in the process how dependent she is on others emotionally effective:

More downside to this conservative romance masquerading as subtextual liberal ideas and behavior: the Native Americans did emerge as half-crazy savages, especially in the way they treated Roger and a preacher who had come to live with them and broke their taboos; the enslaved people were treated by the other characters as if they were equals to the principals and looked in wonderful health, beautifully costumed, and were all devoted service. The idea of sublime noble self-sacrifice came out in one pair of people opting to burn at the stake; Brianna as precious white girl was encouraged in her arrogance; Roger’s nearly complete abjection once he goes through the stones, coming back to the Indians to (in effect) die after he has escaped them was matched by Lord John’s improbable obedient behavior (a grown older man) to Brianna. Mr Bonnet’s mockery (Ed Speleers with his usual pizzazz) comes as a relief. The very worst or pits was the recourse to scenes where violence between men, beating one another up, or harrowing someone’s body or pride is seen as affording a solution to a conflict. And some of wha’s depicted is so unreal or improbable. I wished some fugitive from a Mel Brooks parody might mistake his or her way onto one of these sets.

The books are really far more complicated. For me the original frame for Outlander books (seen in the italicized soliloquies, which do carry on and are by Claire even into the fourth book but are hardly there in the films) is that of a woman seeking a personally fulfilling identity and escaping the one her 20th century society had on offer (Claire) and a really truly compelling tragic historical series of events (colonialism in Scotland, Culloden and the clearances). I hoped the Roger and Brianna in the 20th century would be interesting, but after a couple of sequences in the book, which are interesting, even touching, in the film the characters are turned into types which shows no interest or even understanding for real of what might actuate a later 20th century young woman or man: Roger is made into a throw back to mid-century in his attitudes and this becomes a victim-hero of male nightmare. But it still must be an adventure story it seems to me that what happens is Roger becomes part of the heroic individualism in US culture, twisted into a kind of culture of sublime death, with Brianna flailing out senselessly.


Jamie with Ian (John Bell) in the shadows nearby told about the rape of his daughter

It is true that a younger couple often displaces the original pair in popular saga romances, and sudden great jumps in time are common. The killing off of an original set of major characters the reader may have really engaged with. This is seen in the Poldark books: 11 instead of 20 years. One does not have to do this; cycles of books with recurring characters who don’t do this jump in time keep to the same central characters: Trollope’s Pallliser novels is an example here. by staying with the same characters and keeping them central you are driven to delve deep into the human condition over time and subject to chance. Gabaldon does prefer the idyllic: in Drums of Autumn the book a beautiful paradisal moment occurs when Jamie and Claire look for the land they mean to settle in and come across a feast of wild strawberries. I am drawn to this myself.

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Claire comes upon a young George Washington

Some total “jumping the shark” began in the eleventh episode (“If not for hope”) when Roger becomes pure victim, Brianna goes to scold Bonnet (and whacks poor Ian who has offered to marry her), and the “perils of Pauline” action-adventure crowded action took over (though I admit the shots of our friends canoeing down river with the Indians were breath-taking). So for this second and final blog on the fourth season, I’ll detail just episodes 8 (“Wilmington”) 9 (“Birds and Bees”) and 10 (“The Deep Heart’s Core”). In the first Claire meets a young George Washington; and in the second and third Brianna is raped and we experience with her the aftermath of rape is maybe worse.

Season 4, Episode 9: Wilmington

We are now well into parallel stories. For our older couple, they have arrived in Wilmington where a theater is playing a miserable 18th century play (people in oriental outfits and the lines do sound accurate) and all the glittering powerful Brits have come. Jamie and Claire seen with baby (whose name I cannot catch) born to Fergus and Marsali who have also arrived.


Roger and Brianna’s reunion

Cut to Roger on-shore steadily faithfully seeking Briana and lo and behold he hears her voice asking after Cross Creek where she thinks her parents are. Joyous reunion, and into a room where they show they can make love on screen almost as well as Sam Heughan and Caitriona Balfe. Richard Rankin is shyer than Heughan (not as stiffly acting it as Aidan Turner ….). Now she says she loves him and they go through a Handfast ceremony first.
The secondary story — and I think it is actually secondary although it begins first in the episode — is also now filled with suspense. All has at last been set up. We see a play is about to be performed. Cut to Marsali making food. Fergus to her. How is the bairn?

I was moved by Marsali and Claire’s conversation about motherhood. That is very like a woman’s novel; it took contains part of the theme of this episode and the whole season: Claire says you may want to but you cannot protect your child from life beyond a certain point …

Jamie and Claire go to the theater — naturally they are invited by the governor and cannot say no. Who do they meet but young George and Martha Washington. Claire is just so excited and cannot resisting asking him if he has been ‘chopping down cherry trees?” he looks at her puzzled enough she has to make an excuse.

More important another high ranking man, Ferrante has some terrible wound – an untreated hernia — that Claire notices because he’s in pain. She offers to help but who is she? a woman? a healer? what’s that? Jamie learns that these upper class people have placed a mole with our Murtagh who is planning to rob a coach to take back the taxes he and his man consider stolen from them. Jamie dare not go and help but he somehow — we discover — has sent a message via Fergus. Good ‘ole Fergus at the ready, for on the road just as they are about to rob these people Fergus intervenes, Murtagh calls it off. Fergus tells Murtagh there is a mole among his rebels …..

Meanwhile at the theater Jamie prods the wounded man and suddenly Ferrante can’t take the pain any longer; he would have died but that Claire spoke up and suddenly it’s all hospital theater and she performs a minor procedure with thread, hot water and other stuff she somehow gets and gains the govenor’s admiration. He now knows why Jamie so respect her.

Message arrives: the robbery did not happen, Murtagh and his men not taken. Someone had warned them. Who could it be?

The episode uses juxtaposition so much I just can’t repeat it; suffice to say, Jamie and Claire’s story is back-and-forth with Briana and Roger’s.

Almost immediately after the handfast ceremony and love-making Brianna and Roger get into another quarrel. She becomes all riled up. Basically their rooted disagreements come to the surface — and startlingly they part. I admit I didn’t believe this could happen: it seemed improbable, slightly contrived: a deliberate separation to make for more suspense and anxiety. After going to such trouble to find her, he would not leave her. After she knew him and had said they were man and wife and the love-making that happened, would she just go off? By herself and in this dangerous place? It didn’t make emotional or practical sense. Remember they don’t have cell phones to keep in contact.

Still the dialogue is important: he accuses her of being childlike and I begin to think this is the theme and what makes us nervous about her. So what if he hesitated at telling her about the obituary; nothing he has said shows him to be authoritarian; she is twisting his words when he talks of consulting. Apparently she behaved similarly with her biological father, Frank, refusing to listen to reason. She wants what she wants regardless of anything around her and reality. It is true that common sensically in 1967 her parents are both long dead.

Then think about her behavior for this whole venture: She did not take any clothes with her, barely a map and one peanut butter-and-jelly sandwich. Baby comfort food. When she is walking through the highlands and nearly freezing, without food or water soon and is found by Laoghaire we are supposed to have realized why didn’t she prepare? When Claire crossed the first time, she didn’t prepare either but luckily she encountered Jamie …. ‘Nuff said.The second time she came she had a box of clothes, her surgical tools, other stuff.

What emerged quickly in Season episode 1 is Claire is at risk of rape immediately. From not only Black Jack Randall but the troupe around Jamie. Throughout her experience in the 18th century everywhere she is at risk of violence — but she knows this after the first hour, and after she is shown how to use a knife she is wary.

Brianna seems singularly unaware she is in danger – she has been sheltered all her life. She is startled to be taken for a whore and has nothing to counter this — she does not realize she should have her maid with her. A respectable young girl in the 18th century did not go about alone in the streets or into a tavern like this one. The maid did see her go off with Roger and I thought the maid would come to find her and interrupt. But I suppose why should she? she has no idea what her mistress wants and she is supposed to be subject to the mistress.And then when Brianna goes off like that it could be seen as suspiciously wanton by an 18th century person

Mr Bonnet begins to emerge as the season’s villain. He glimpses her when she comes into the tavern; he is gambling and sees him toying with her mother’s ring and pulls out money – which she thinks is a guarantee of respectability. Not so in the 18th century. Respectability is family, and knowledge of your past, all of which give status. Bonnet draws her into another room to make the bargain. Again she seems singularly unaware it is not a good thing to go where no eyes are upon her. But in this case that others know what is happening doesn’t help. It’s like someone in trouble in the streets or on a bus today and no one makes a move. I like to think they would act to prevent rape because it’s high violence, violation and the next step to murder.

Someone even closes the door on them. She is not raped in front of us but in another room. We are in the room just outside and we see no one soul lift a finger to help her. She screams in cries that call for help and we see she realizes no one is coming. That can have the effect of making people take it less seriously.

Then the camera switches to them and in his inimitable witty sardonic charismatic way Ed Speleers gives her ring. To him that she was not a virgin confirms the idea she could be a prostitute. He tells her he is a honest man who keeps his bargains. No he doesn’t– we have seen that before. The hour ends with Briana unsteadily walking away, stunned, hurt, now looking for her maid and room ….

During the whole of last episode and this for the first time I felt Sophie Skelton was up to the part. Hitherto it seemed to me Richard Rankin was so much better than she – he was far more nuanced, more depth. If you look at the stills of her, there is often something stiff or artificial, something self-conscious or self-regarding and it’s still there at moments, but on the whole she came up to the role last time with Menzies as her father and now this.

For 9 and 10, the episode commentary and evaluation continues in the comments.

Ellen

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Caitriona Balfe as Claire Fraser

I’ve never been afraid of ghosts. I live with them daily, after all … Any library is filled with them. I can take a book from dusty shelves, and be haunted by the thoughts of one long dead, still lively as ever in their winding sheet of words … Look back, hold a torch to light the recesses of the dark. Listen to the footsteps that echo behind, when you walk alone. All the time the ghosts flit past and through us, hiding in the future. We look in the mirror and see the shades of other faces looking back through the years; we see the shape of memory, standing solid in an empty doorway. By blood and by choice, we make our ghosts; we haunt ourselves — from The Prologue to Drums of Autumn

Friends,

The serial drama, Outlander, has become something of an addiction with me. I watch it one episode at a time, night after night. This winter I went through Seasons 1 and 2, and am now well into 3. At the same time I kept my weekly appointment with Season 4 each Sunday night at 8 pm, and sometimes we had second date, on another late night, a re-run. I’ve posted on a use of Christmas in Gabaldon’s novel, Drums of Autumn, to which I can now add:

Christmas in Scotland in 1967, Drums of Autumn, Part 6, Chapters 17-18: “Home for the Holidays.” Roger and Brianna go to a Christmas service in a Catholic church — Briana is said to be Catholic — I think Claire might be — as I recall her friendship with Mother Hildegarde in Dragonfly in Amber and her response to the stillborn birth of Faith. Roger is presbyterian by upbringing from his step-father, the Reverend Wakefield. Roger moves out of his adopted father’s house, gives away, puts in libaries and sells many books, and rehearses his memories very touchingingly. There is an erotic sequence between the young lovers at home ….

Nothing spectacular: it’s like Austen, Christmas seems to happen to be there and adds touches as when in the opening of the third season of the series, Roger arrives in Boston Christmas-time and the events of revelation, research, and Claire’s return to the 18th century through the stones occur amid the rituals of a 20th century American Christmas.

My last blog-review of the series was of Voyager as the watery, water-drenched end of Season 3; and I find I hadn’t sufficiently emphasized how central Claire and Brianna’s relationship was to the first half of this third book, nor its overall structuralizing conflicts, with strong women in rivalry. Geillis becomes a weird witch, with Claire her nemesis.


About to build a life together

By contrast, Drums of Autumn and Season 4 are rooted in the land, building on it, hunting, fishing, each person doing their part to contribute to this (to them) new place, and for Claire it’s her medicine book, her surgery and care that’s needed for the invention of a new society. Along with this, what’s enacted this time, by Jamie repeatedly, by Frank across one crucial episode (“Down the Rabbit Hole”), are scenes of good fathers: Jamie and Willie, Jamie and Brianna, Jamie and Ian, Frank and Brianna. A central image-symbol for the book is Jamie and Claire’s log cabin; for the series, this cabin shares the imaginary with River Run, a plantation based on slave labor; a river down which Jamie and Claire and Ian float, and twice meet Stephen Bonnet; the wood and home of the Indians, and Wilmington, the town from which the colonialist order is run.


River Run

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Some notes, recaps and commentary for the first seven of the thirteen episodes:


After Jamie and Claire agree to take Bonnet with them (he’s escaped hanging), she tends to some of his wounds ….

Episode 1, the ironically titled “America the Beautiful:” At first I thought I might be driven to give up when they began on how wonderful the American experiment, outlined the American dream (you can do anything if you’ve the will &c) but pretty quickly this was savagely ironized as explicitly Jamie protests to Claire (despite English accent presented as American in the stories) about slavery and we see the slaves, and we experience violence as a way of life (for once repudiated) so that the idea is what’s a dream for some is a nightmare for others. And corruption rife. Ed Speleers continues his successful career: as the treacherous Mr Bonnet he was memorable, charismatic in his face.


Floating downstream

Amid the hanging of Jamie’s old comrade-in-prison, the refusal of his corpse by a church-controlled graveyard, so melancholy and mockery, as the raft moves downstream, the characters have bad dreams, long flashbacks which are juxtaposed to the present back and forth. These slow down the narrative sometimes until we reach the closing sequence of mayhem where all voice stops and we watch a pantomime of violence and grief distanced from us by stylization in the acting. The effect is to make the episode more inward, and very effective.

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Episode 2: “Do No Harm:” The film-makers have had the astonishing courage to make central, the heinous practice of lynching black men by white men. Lynching central to US life until the 1950s. They did not distract us with several stories at once but kept their eyes on this one happening. So not just slavery and its accompanying justification, racism, but the hideous unjust violence that sustained it – including whipping as a matter of course — is put before us. Claire is again center, with some voice-over, and Maria Doyle Kennedy as the blind Jocasta Mackenzie, somehow monumental as a successful plantation owner of long standing. The young black women who are enslaved are also individualized and as memorable. I was even more moved the second time because I watched it during the day (a rerun) and got more out of what was said. This season is beautifully photographed but this had the effect of keeping us at a distance from the captured African people working in the fields …


Jamie and Claire greeted by Jocasta, Ulysses and Phoebe

The unexpectedness of the story line kept me on tenterhooks. After the conclusion of the pantomime third exit, where Jamie and Claire have been robbed by an ungrateful ruthless but debonair Mr Bonnet (Ed Speleers), they turn to Jamie’s relatives. Lucky man has all these rich relatives scattered around the world. But when they come to Aunt Jocasta, they discover her dependence on slavery in house and fields, no matter how much she wants to turn the management of River Run over to Jamie and Claire, both balk but Claire more. Faery gold as Aunt Jocasta wantsto turn her property over to Jamie; wants to make him heir but before this goes further, a young black man, now named Rufus, whipped by some overseer has responded by cutting the guy’s ear off, and the mob (I don’t want to use the word community which is such an honorific), has strung him up on a hook thrust deep into his belly. This was taking the law into their own hands and Jamie manages to wrest the body back and we watch Claire and young Ian operate on him and him come back to life. He could have lived.


Jamie, Claire and Jocasta face the angry mob of white men determined to torture an enslaved black man to death: Claire has enabled him to die a peaceful death

But there are laws 1) again freeing slaves without pay 100 pounds bond for each 2) signing documents to the effect they will hurt no one and if they do, you get killed 3) that such an act of rebellion must be responded to by execution. A mob comes and Claire finds she must feed Rufus arsenic to save him from torture — the sleeping death is the kindest thing that might be done. Then the body is handed over. One can see that Claire and Jamie will not be able to stop at this plantation but go have to go west — where of course they will encounter Native American and the hideous casual violence, described by Jill Lepore in her King Philip’s war.

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Episode 3: “False Bride: Basically Jamie and Claire refuse to take on Jocasta’s plantation if it means owning and driving people as slaves. But there is an odd subtext here: the way the house servants are presented show them as well dressed, well fed, and happy enough: it’s almost a justification of slavery where Claire comes out as unreasonably austere in not agreeing to go with the system. After all, are not unfortunate injustices rife everywhere: that’s Jocasta’s stance and there is little to counter act it – the only cruelty we see is the one which murders Rufus..


Jocasta left alone

They go west and immediately as a couple Jamie and Claire do have a believable momentary trauma: Ian goes off with Mr Myers (why I’m not sure but they go on ahead) and the donkey bolts and Claire rides after it.. No surprise when she gets lost and then another tempest. Much juxtaposition of scenes so tension created until we get back. Then Claire has a dream of a nightmare ghost, an Indian or Native American whose head is broke open, and then she finds a skull with fillings not possible until two centuries later. Is there another person who crossed those stones now in distress trying to get into contact with her.

But Jamie finds her, all is well again and after some serious conversation, he agrees to stay there in this relatively place and try to make a home. We wonder if it’s too far from where other whites are and the Indians will attack — they have been mentioned as “more civil” in this part of the world but the reassurance itself sows doubts.


Roger and Brianna dancing at the Scots festival in 1967

Parallel is Roger and Brianna’s story. Here the film differs from the book. In the book after initial awkwardness: Roger at first and continues to stand for all Briana dreads about her parents and biological father) they become lovers – he is a wonderful folk singer and plays ancient instruments in the Scots festival. In the book it’s Boston, here North Carolina – I suppose to make more contrast and parallel. I am told that there are three separate encounters in the book where the young couple gets to know one another. Here is it just pressed into one time and maybe that accounts for the inconsistencies.

In the film Roger turns out to be way “behind the times:” he wanted Brianna to marry him, and he won’t countenance just fucking — to him, it’s all or nothing. But as she says she’s not ready, she has her schooling, her career, she’s not sure. An impasse. Is his song about a false functioning as a warning of what’s come. Often songs sung in a film have some resonance. False bride. In the song the man is betrayed by the girl who married someone else. Now we can say this refers to the initial Jamie and Claire story where she is (forced we remember) to marry Jamie and thus betray Frank – and when she returns to Frank she cannot love him any more for real.

There are strawberries in the song; but where in the book (the conclusion of the sequence) Claire and Jamie eat strawberries idyllically in a paradisal set-piece is omitted.

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Episode 4: “Common Ground:” This was a very well-meaning story and the tone throughout was appealing especially in moments where Jamie and Claire and Ian were working on their new home together: the theme is pro-settler colonialism with Jamie and Claire & Ian identified as very well-meaning refugees (in effect) from Scotland where life has become hard if not impossible for them – dangerous and poverty stricken.

One spectacular incident involving Jamie is of over-the-top St George and the Dragon archetype. (I don’t mind these, and they can have a sort of pizzazz if you have the nerve to do it — as in the first season when in Both Sides now Evil Black Jack Randall is about to carve holes in Claire’s body and rape her high in a castle dungeon and suddenly from the window, there is our hero gun in hand, I’ll thank you to keep your hands off my wife — or words to this effect). So a fearful creature, at first they think an Indian and then a bear attacks them and Jamie to the rescue. Turns the bear is not a bear but a murderous man who had put claws on his hands to claw people to death. Where he got these or why he thinks he is a bear this way we are not told. He does real damage to the trader with whom Claire and Jamie and Ian have made friends and Claire now to the rescue with her medical box and tools and knowhow.


Claire and Adawehi

This incident enables our friends to make friends with the local Indians. A story is told that this man was someone who beat and raped a woman and so was ejected from the Indian community (I was glad to see such upright humane attitudes, albeit perhaps anachronistic?). So all are grateful to our hero for killing the insane man with his wild claws and bear outfit and this gives Jamie a chance to make his gestures of friendship, which are reciprocated. A film has a problem here of translating what in a verbal text is easy to conjure up by a reader’s imagination; made concrete by concrete means it is susceptible of rejection as impossible or absurd. A sub-arch is about this ghost of an Indian who Claire thinks is another person who crossed those stones. The title is well-put: they are all living on common ground. Europeans and Native Americans.


Roger on the phone

The parallel thread is of Claire and her friend, African American, in college in Boston receiving a phone call from Roger who has come across a document showing that Jamie and Claire became settlers in North Carolina and called her to tell her. We learn that Roger’s Scottish housekeeper, Fiona (granddaughter of Mrs Graham now deceased, — in season 1 & 2 important) knows all about the stones and what happened to Claire. We learn she knows because the story line requires that she show Roger a document which suggests that 12 years after Claire and Jamie came to North Carolina they died. She says she heard all the conversation in the house (go back to the 2nd and 3rd seasons) This naturally distresses Roger because even if in realism Jamie and Claire have been dead now 200 years, it will upset Briana to think of her mother as not able to come back through the stones. Roger thinks he must phone again but now discovers that Brianna left for Scotland two weeks ago (!) to be with or join or find her mother.

These scenes are touching — they are now our young lovers.

We are (I suggest) supposed to remember there is a contradiction in the documents or concrete relics. At the grave yard in Scotland in the 20th century, Claire came across a tombstone showing that Jamie died in Scotland with a sub-header of “beloved husband of Claire” (or word to this effect). 17—the two last digits were wiped out. So did he die in Scotland? When? Is the young housekeeper’s document wrong or the document they died in North Carolina wrong. Stay tuned.

There were some very good moments between Claire and Jamie too.

The title is well-put: they are all living on common ground. Europeans and Native Americans; nevertheless, there is a kind of strangeness to this series this time in all these attempts to realize the book’s vision of America and the past now versus the present and keep them distinct. I wish they didn’t call her a healer so often (it just jars) — the word physician was common in this era among white Europeans. The Europeans would have called her a doctor. Much progress had been made by the later-18th century as her box shows – in the book there are interesting insertions in italics by the doctor who owned the box and his experiences as a physician. Claire reads them in Drums of Autumn itself, an instance of epistolarity, & very well done.

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Murtagh

Episode 5: “Savages” has clarity in the way the storyline is designed. The developments: Jamie re-meets Murtagh, now a blacksmith, suitably enough “aged” by make-up. A few sentences explain a long period of indentured servitude, ending luckily (faery gold again) for him in inheriting a smithy. At first Murtagh seems unwilling to leave his place to come live closely with Jamie and Claire once again because he is politically involved with a group of people protesting (among other things) taxes, but by the end of the hour he has turned up at Fraser’s Ridge. In the book I believe there is a Dunton who performs the role that Murtagh is about to take.

The other is that Brianna appears to have had a message that Claire and Jamie are in “terrible danger,” and she must travel back in time to help/warn them. Two sets of brief scenes with Roger Wakefield and a shot of her at the stones and then vanished. Is this another false one? These are neatly brought in not far from the opening of the hour and conclude at the conclusion.

In 18th century America, Claire helps a German girl to give birth to a baby, which baby catches the measles as well as the mother and dies. The grandfather blames the Indians (this is the term used in the series) who had passed by his land and drank some water. They left a blessing, which he thinks was a curse. He seeks a violent revenge on them and murders the good old woman who functions as their “healer;” in retaliation the Indian kill him and his wife and burn down their house. We are to mourn for her death.

The idea is Handy Dandy, who are the savages …. this includes the British gov’t wrenching taxes from the colonists, the original arrests and transportation of people in servitude, the German family, the Native Americans — everyone but our friends.


Remembering the Boogie Woogie song (from “The Search” Season 1, Episode 14)

The elements of fantasy seem to me to be coming out strongly or somehow more jarringly in this fourth season — Murtagh is still so hearty and strong – what works in a book is harder to put across in the visual concrete realism of a movie – which for the audience at large it even depends upon. Brianna almost at will crosses the stones. This put me in mind of The Wizard of Oz, which if I’m not mistaken Gabaldon alludes to in her first book, and the lines did turn up in the first season’s episodes. Claire as Dorothy longing to go home – sans Toto. Soon people will be traveling back and forth (joke alert).

I see no sign of the story of the young girl who was impregnated by a vicious man who was one of the prison guards at Ardsmuir. She either kills herself or tries to have an abortion and dies in the attempt. She is helped by an enslaved friend who is then hunted down according to the savage laws of this land’s people. Jamie, Claire and Ian find this girl and take her to live with the Indians. I hope it’s not cut as it certainly fits the theme of savages. .Handy dandy, who is the savage here – not “our friends” or the victims they come across now and again of this monstrous European colonialist order.

And I do enjoy the letters in the book: Ian’s conveying Jenny’s was especially very pleasant, filled with good feeling. It’s too bad they can’t or don’t try to convey that.

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Jamie and Lord John meet again, in front of the cabin

Episode 6: “Blood of my blood:” I enjoyed most of last night’s episode, but did cringe at some. The story for the hour is Lord John brings Willy to North Carolina, with a variety of reasons why, omitting at first only that he longs himself to see Jamie: Willy should see his father, he, Lord John just happened to be in the area (Virginia is not in the area of North Carolina Jamie points out), is there to reconnoitre the area &c&c

Early on there is an interesting series of inexorable political clashes between Murtagh now called Mr Fitzgibbons: Murtagh is a “regulator” (I’m not sure what that is) and he has been in political meetings with people in the area outraged at the taxes; Lord John commends the Governor’s mansion, “a true monument to elegance.” That elegance is off the back of the colonists and anyone else the British can demand payment from. Jamie tries to stifle this because he is determined not to get on the wrong side of the law again. Murtagh leaves.

There is a scene of chess-playing between Jamie and Lord John: some could come away again feeling a strong homoerotic relationship (without the sex longing on Jamie’s part). Lord John is a rival because Jamie had been willing to confide in him. It’s here that Claire’s jealousy is understandable, though the two relationships are so very different: I feel Jamie and Claire are classically heterosexual in their social and sexual behavior (especially in the areas of dependence and independence).

The most moving moments are between Jamie and young Willie who wants to be called Master William and speaks in a plumy English accent. Lord John introduces them as if they have never met and the boy says nothing, but when he left alone outside with Jamie he immediately asks him if he also has the name Mackenzie and it emerges the boy remembers a lot. What throws them together in the wilderness alone is Lord John comes down with measles — remember the last episode of a family died of measles. It was a virulent deadly disease — still is very dangerous. But no vaccination possible for 18th century people. Conveniently Jamie had it and survived, so Claire is left to nurse Lord John back to health.

Since Caitriona Balfe has rightly been nominated for a Golden Globe, let me say how admirably Sam Heughan acts his part of unacknowledged father and how touching the scenes.Indeed he is excellent throughout the series: The boy is difficult and used to his way and goes outside the boundaries to Indian land and the two are confronted by the Indians. They say they must have blood and in the desperation of the moment, Jamie says the boy is his son and he will bleed for him; Willie then speaks up that it was he who crossed the borders and the Indian leader just nicks him. The “cat is not out of the bag” as when the Indians have gone it’s clear the boy thinks Jamie lied. The boy is very attached to his father and longs to return to him more than once.

Lord John’s wife, Isabel has died — I suppose this erasure of an inconvenient character comes from the book. Back in the cabin Lord John reveals this and while some of the interaction is understandable, I cringe over the submissive lines given Lord John, his abjection before Claire. In some of her jealousy and envy of hi, I felt her unfair; she excuses herself that she and Jamie have been deprived of 10 years. That’s not his fault. When Lord John brings forward the boy as an excuse for his visit, she suddenly tells him she and Jamie have a daughter. That is what she is envious of: the child. Hers lives in Boston. Lord John cannot know Boston in 1967.

At the close I was as usual touched by the love-making and concluding scene. I know it’s improbable that they could have such a comfortable place alone in a wood, and that the log cabin could be so pretty. But this is a fantasy romance material.

The episode seemed like a quiet interlude. Except for the clash between Lord John and Mr Fitzgibbon aka Murtagh, these events will not lead to anything — indeed much of this season has been quiet or highly dramatic moments not linked forward to an on-going story, The story that is ongoing is the development of Briana’s determination to cross the stones back to her mother.

With Fiona and Roger, and Murtagh, when Brianna crosses back there will be 6 characters who know the story of Claire’s crossing, 3 and eventually 4 (for Roger crosses back) in the 18th century. I wonder if Lord John is ever told?

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Outlander Season 4 Episode 7: Down the Rabbit Hole

I watched 2 times this week and then half of it again. I am at the same time slowly re-watching Season 1 and am up to the 15th episode (which I find hard to go through, it is far too cruel and the voyeurism to me is suspect). Anyway I was riveted by this one, just loved it, and crucial for me to its affects and effect was the re-appearance of Tobias Menzies as as a loving, tired, suffering father and yes betrayed husband. The scenes between him as Frank Randall and Briana Randall (the name she gives made me for the first time think maybe the actress, Sophie Skelton has the depths necessary for the character to keep the series viscerally felt. The second actor whose talent is slightly uncanny is Edward Speleers; there he is again (last seen a couple of episodes ago): as the fiercely violent, altogether oblivious to humanity or any reasoning loyalty, Mr Bonnet, Proteus himself in how he flashes from type to type, he’s electrifyingly charismatic. Terrifying because he is all gaiety and courtesy as he does horrific deeds. He reminds me of some of the characters of the first season lost in the second. Several other characters re-appeared – or recurred – for the first time this season. Nell Hudson as Laoghaire Mackenzie now Fraser on the surface and when not touched to her depths this apparently intensely kind conventional woman; but how swiftly she switches to fierce witch herself when she realizes this waif is Claire Fraser’s daughter by Jamie Fraser – Steven Cree as Ian Murray, the gentle presence refelt. (What happened to Jenny aka Laura Donnelly – was she not contracted for this year?)

But none of them with the same meaning as Frank – paradoxically or ironically he is now the ghost people who loved him (it seems mainly Briana) long to resurrect or reach. In episode 1, it was that Scotsman by the monument in the central square at dusk looking up at a window he might see Claire from as Frank approaches. What else is this but beating death, going into the past to make it come alive again. And each flashback of a now dead man in the 20th century worked that way until the near end when the emotion becomes chocking as Brianna once again on her own (Ian cannot accompany her any further, like some Virgil guide cannot go further) turns round once more to look at Scotland before going aboard and sees the now clearly the ghost of her father waving her on.

The title is down the rabbit hole so we are prompted to irony, distance, mockery – here we are with Alice in Wonderland. But that’s not how it’s experienced. I found Brianna’s initial trek through the Scottish highlands as worrying as her mother Claire’s through the jungles of Jamaica in the third season. Both she and Roger (who also has no trouble going down that hole – after due adieus with Fiona) are given experiences which make shocking the differences between 18th century world and today. There is no city, no town, no lights, no coach, no phones and she is in danger of dying were she not found. We must not question too closely how the stones land the person near the place they want to be – though not quite there, like some magic bus that got the address slightly wrong. Roger finds that the structures of society he is so used to and depends on are out; he has to go low in status to get the place he wants (crossing to North Carolina) and once aboard ship, no one has any science or medicine to deal with common body needs. What’s more they are ruthless in this era and small pox so feared that people are thrown overboard.

I know people countered my idea that the last episode was like an interlude by saying grounds were laid for further action. If so, they are still in the planting stage. Here the story unfolds, or unravels swiftly in the way of the first & second seasons. Laoghaire locks Brianna in (fairy tale elements here – Rapunzel comes to mind) but there is a sympathetic child who has a wagon and horse (!) to take her to a relative nearby. And Roger crosses the ocean with memorable encounter with Mr Bonnet once again. That tossing of the coin is a brilliant embodiment of the idea of chance ruling all – though clearly it’s all providential if savagely so in this series.

Women did not travel alone in this period and anyway why not a friend as lady’s companion (Briana getting into the swing of things) so she picks up one Elizabeth to spare her rape. Since there’s been talk about the actress playing the role: her held-back stance and plainer looks make her just right: perhaps she is a bit well-fed, for servants in this era were smaller, thinner (they didn’t get a helluva a lot to eat).
This is a rare episode where neither Sam Heughan or Caitriona Balfe appear. I’d say they had that week off except maybe the film-makers don’t make these episode by episode. I doubt they do.

We see in this episode how centrally this is woman’s romance. The figure who acts first or is acted upon first is the female: Brianna. Before it was Claire before the stones. The male follows her: Roger. He is (I am so glad for this) the opposite of a macho male: anything but a violent cruel man. Jamie despite coming from a culture of violence is as moral and exemplary a figure as Ross Poldark (to bring in another romance hero, though a series of books centered on a male, i.e., him). Brianna brings with her her needs, and she is set in a patriarchy: her mentor and normative figure is her father. Claire’s profession is one woman traditionally have been allowed; she collects flowers & herbs (botany); turns to a husband who she bonds fiercely with. Briana’s role is that of daughter in a central mother-daughter paradigm: many women’s books have this as a central focus.

The use of flashbacks, juxtaposition, voice overlaps (if not over-voice) and parallels was so done so It felt intuitive and gave subjective depths as we went. I noticed for the first time too how they use deep-focus so you can see three deepening sections of a single scene (something the human eye can’t do). Wonderful episode.


Deep in conversation from an earlier season

I was moved to write a poem about how the dead are never gone from us, how historical fiction is aligned with the ghost story and our longings to cross some border into the deep past and bring it alive. For me this is to reach Jim and be alive with him once more, to beat death the way Claire does in the third season and now Brianna in this fourth. The question is, how? I see the metaphor of the Wizard of Oz as central as Alice (and used as metaphor in the first season if not the first book) This is the driving actuation of great historical romance writers like Hilary Mantel and Daphne DuMaurier.

Ellen

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