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Cool Winds: Daversham flashback i)

by Tony Irwin 

Posted: 11 December 2005
Word Count: 1825
Summary: Here the narrator Panu pauses in her tale to recount her first meeting with Sebastian, an important character.


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It seems best that I should interrupt my story at this point to relate to you a piece of the history between Sebastian and myself. It was at a royal celebration on the outskirts of London, in England, that I first met Sebastian, a full three years before I mounted my coup upon the island. It was a fabulous masked ball, my disguise and gloves were decorated with eagle’s plumage. As per my orders I danced with as many of the likely guests as possible. I flirted with each of them as we danced braisles and corants and some of the new French dances that were popular in King Charles’ court.

The steps of the English dances were rituals of complicated, but ordered, progression. I glided along rows of partners, tiptoed in and out of the squares they made, took hands and passed them, suffered my cheek to be kissed on the fourth beat, hopped on the eighth. My mission progressed in perfect time with the dance; I teased out information, watched for reactions, and tested my many partners for weakness and strength.

In the great chamber where the ball was held, Sebastian was the only guest there who did not wear a mask. I only had to dance with him once to know that he was the spy I hunted. He told me you see, whispered it in my ear as we danced together. “I am the spy you hunt for,” just like that.

When the music ended I thanked him for the dance and walked away as coolly as I could manage. I saw no reason to pretend that I had misheard him or not understood him. He knew what I was.

I nodded to my superior and with that nod I slew Sebastian. Assassins would ensure that he would not return home alive from the ball. Something irked at me though, my career until then had been remarkable, but Sebastian had seen through me with ease.

My superior, she sipped on wine across the chamber, nodded back to me twice in indication that I was the one chosen to be Sebastian’s assassin that night. Such tasks were unpleasant and I had taken my career in such a direction so as to usually be able to avoid them. I turned and looked to where Sebastian stood in amongst the crowd of revelers. I wondered what it was about me that had given myself away. Perhaps, I thought, he whispers “I am the spy you hunt for” into every woman’s ear.

Someone asked me to dance and I accepted. To preoccupy my mind I planned Sebastian’s death, all to the rhythm of the happy music. After that dance a servant found me, passing me a note that he had been asked to deliver. I unfolded it, my eyes flicking away to find and watch Sebastian. When my fingers’ task was done, I returned my eyes to the open message. It read, “I’ll kill you first.”

It was unprofessional and bizarre. I was bewildered by the foolish note. I thought that Sebastian would have been better to have spent his time with plans for his escape, rather than provoke me in such a way. I walked out from the ballroom, through corridors, and out into the gardens in search of a private corner. I followed the path of marble paving: past rose briar hedges, statues and sun dials. A little arbour, fragrant and shadowed, offered me a pleasant hiding place. There I sat on a seat planted with camomile and daisies, and I reread his note. I doubled over with guilty laughter at the man’s strange humour.

When I regained my balance and composure, I tore up his silly little note and sprinkled its pieces across a bed of snapdragons. I walked back to where the party was but stopped when I saw him near me in the quiet gardens. He had his back to me, bent over a shrub, he examined its leaves, smelt its blossoms.

He was vulnerable, exposed, there was no one else around, so I prepared for what I had been instructed to do. Then he turned and saw me and I felt strangely embarrassed: not because I had been caught as I prepared to murder him, but because I had spied on him as he enjoyed the scent of flowers.

He seemed equally as embarrassed to have been caught. As he had turned I had hurriedly hid my weapon behind my back, when he saw me he tried to hide the posy he had just picked behind his own back. They were roses, striped red and white. He smiled gently, and extended both his hands in welcome. His hands were empty, the posy was gone. Just as fluidly I secured my weapon inside my dress and then clasped my empty hands in front of me.

“Perhaps,” he asked me, “you would care for another dance?”

There was a new tinge in his voice, a different coloration in his face, and I knew from it that he was nervous. He wanted his question to probe me, challenge me, but he was not yet sure whether I would accept his offer to dance or attack him instead.

We stood there in the dim light and stared at each other, listened to the garden sounds, listened for the sounds of footsteps that could swing a fight either way. The party’s noise and joy spread out into the garden, its revelers came and took root in a plot too close to us. I turned and walked away from the man and gave no answer to his question. I wasn’t being paid to talk with him.

I found an empty bed chamber where I could check my dress, hair and mask. The chamber had a full length gilded mirror to stand in front of and I removed my mask carefully so as to let me wipe the beads of sweat from my brow and cheeks. It was a warm evening and the heavy confines of my mask made it seem warmer still to me.

I stood at the glass a while, and examined my face’s reflection. It seemed clean and strong, unmarked by worry or unhappiness. “It hardly seems fair,” I thought silently to myself, “that I have seen his face but I have not shown him mine.”

Then the woman in the glass coloured and frowned, unhappy to be found thinking such foolish thoughts. “How strange,” I whispered to that hypocrite, “that such thoughts would cause you guilt.” I had, after all, done far worse things in my life than yield my heart to innocent glimmers of attraction.

I replaced my mask upon my face, and so hid myself from the world again. As I tied the slim cords of that artifice I permitted myself to wonder what Sebastian would think of me without it. I laughed at the accusations of the reflected woman, and happily embraced the guilt that she thrust at me.

I left the bed chamber in search of Sebastian. I walked back to the chamber where the ball was held, and moved through the banquet’s crowds. As the only person without a mask, besides the platter bearing servants, he was easy to find. He danced with another woman. I watched, and smiled to myself and tested my thoughts, wondering if I might taste jealousy there.

The woman in the mirror had followed me from the bed chamber, she hid herself in the back of my mind. “You must commit murder tonight,” she whispered to me. “Don’t make it more difficult for yourself than it needs to be. Don’t store up a feast of pain for yourself for after he is dead.”

“Let it be difficult,” I breathed aloud in answer to those thoughts. “Let it be painful if I can but once taste love.”

I danced with Sebastian only one more time, it was to be the last dance of the evening. As we moved across the dance floor I smiled behind my mask, enjoying the rhythm and the music, the touch of my partner’s hand upon my own.

I almost let myself laugh out loud but in the instant before I did so I remembered that I was enjoying something that I was very soon going to lose. I treated as mine, something that would soon leave. Behind my mask my smile turned to an unhappy frown.

So I steeled myself against the loss with thoughts of how whole and happy my life had been up till then. Although my vocation was unusual, I was successful and satisfied with it. It would continue regardless of Sebastian, regardless of how quickly the dance should end.

Sebastian broke into my thoughts, asking me something or another, but my throat choked and I found I could not reply. He repeated his question to me but I remained mute, genuinely unable to respond. I looked away from him, ignoring his patience as he waited for my answer.

He constructed a new conversation in which I was not required to participate, and chattered away merrily and made silly jokes. I ignored him, I focused on the sound of the music to block out his voice. I immersed myself in the cold complexity of the dance steps, and found balance there.

At last the music finished, he bowed to me and I curtsied sorrowfully to him. The end of the evening’s last dance was also the moment when, in obedience to tradition, all masks are lifted and all faces revealed. I stood uncomfortably as he reached out tentative hands to untie the silken cords that bound my mask to my face.

All around us, the guests gasped with surprise and laughed with pleasure as the mysteries of the evening were solved. I felt no anticipation of such delight, only apprehension and distrust. Then great doors were opened for the sake of ventilation and the evening’s cool wind breathed into the ballroom, anxious to be a part of the final merriment. That breeze braced and emboldened me, dared and encouraged me. I stepped closer into Sebastian’s reach as he untied my mask. “Let him see me before he dies,” I thought, “let him know me before I slay him.”

Then, even as the mask fell from my face, guilt returned and overtook me. I knew that I could not let him see me, for my face would reveal all to him and let me to keep no secrets for myself. Glimmers of attraction so revealed would not die easily but, once acknowledged, might flame up and burn indefinitely.

So I pulled away from him, and made a new mask with a gloved hand to replace the one that he had undone. I snatched back my stolen mask from him and turned and left him. I hurried from that chamber to escape his eyes. “Let him die in ignorance,” I prayed, “and let me live in peace.”






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Comments by other Members



Tony Irwin at 03:28 on 12 December 2005  Report this post
Hi Folks, this is an excerpt from my novel I'm keen to get some feedback on. I'm still revising this portion, it's an important turning point in the story and I have to get it right.

I'm particularly concerned that it just feels too "cheesy". Particularly the part about the note.

An interesting criticism I've received is that there's not enough information about what Panu and Sebastian are doing. No mention of their purpose, their organisations, blah blah blah blah. To me that gives a sense of mystery but a reader found it very dislocating. I'm grateful for any feedback on that.

Also there's no description of Sebastian: what he looks like, what he's wearing, key mannerisms etc. Again that was a purposeful choice on my part but it really irked a reader. I'm keen for feedback on that too.

Thanks folks!

Tony

Sascha at 03:47 on 12 December 2005  Report this post
Will have a look in the next day or two.

gkay at 09:35 on 12 December 2005  Report this post
Personally, I had no problem with the witholding of information. I assumed that I was reading a segment of a larger piece and that any questions raised would have been answered either before or after this particular part of the story. I quite enjoyed the sense of mystery this imparted.

One thing I noticed, and this has to do with structure rather than content, is that the paragraphs are very short. This had the effect of moving me along rather quicker than I may have wished, imparting a slightly breathless feel, and it was only on a second reading that I was able to slow it done and enjoy the language more.

Let's have more of this story soon.

Jubbly at 16:07 on 13 December 2005  Report this post
Hi Tony, I was really swept away by this and transported to another time. I loved the setting, a masked ball is wonderfully evocative. I'm intrigued as to what has happenedand what is going to happen and I think it might be helpful for the reader to include a brief synopsis at the top. There were quite a few short sentences very close together that all began with 'I', this jarred with me and brought me out of the story, might just be me, but perhaps you could think of another way of phrasing them. I look forward to reading more of this work and anything else you have. btw thanks so much for your kind comments on my short story.

Regards

Jubbly

<Added>

Whoops just realised you have more uploaded I'll have a read and get back to you. What does come across well between the two characters is an animal attraction that seems barely contained.

Becca at 17:26 on 15 December 2005  Report this post
Hi Tony,
I thought this quite harrowing and elegantly written, - it is quite plain and matter-of-factish because of the short sentences, but I thought them fine, and took it to be a reflection of the woman's character. But there were a couple of phrases that made me hesitate, two of them, 'as per' and 'just like that' seemed too modern to me, but maybe you've steeped yourself in the language style, and they're fine as they are, - I'll leave that to you. The other one was 'so as to let me', - that I thought awkward when 'so I could' would have been more straightforward, (even though the woman becomes two people a while later).

I got confused in the para 'I nodded to my superior' because in one sentence it says 'I slew Sebastian', yet assassins slew him in the next sentence. Is the first 'slew' metaphorical while the second real? I saw later that this wasn't true, so the sentence about more than one assassin did really confuse me.

Would hte ball be held in a chamber or a hall? wasn't 'chamber' just used for small rooms and bedrooms?

I loved the contrivance of two women in one, but is the stance taken by the one reflected and the stance of the actual woman consistant throughout? It seemed that sometimes one and sometimes the other were denying the attraction: 'woman in the glass coloured and frowned' and 'You must commit murder tonight' she (the woman in the glass) whispered to me.

'curtsying sorrowfully' was an idea I couldn't visualise! How do you do that?

On the question of what Panu and Sebastian were doing, - I didn't find the lack of information disrupting, because, like gkay, I assumed I'd know later, but I guess I wouldn't want it to be too many chapters later.
I also don't mind in the least about having no description of Sebastian, because I can create him and visualise him myself. But, if the reader you talked about isn't a writer, maybe a small amount of description is something to consider, just the briefest of descriptions in one carefully worded sentence, maybe as they are out there in the garden. In the dark, what he looks like would change anyway in the shadows.
Anyhow, after all the picky things I've said, I enjoyed reading it.
Becca.


Tony Irwin at 20:31 on 18 December 2005  Report this post
Hi Guy, thanks for taking the time to read it, I appreciate all your comments.

One thing I noticed, and this has to do with structure rather than content, is that the paragraphs are very short. This had the effect of moving me along rather quicker than I may have wished, imparting a slightly breathless feel,


Yeah that's a really good point. Because it's a flash back from the main narrative I didn't want to spin it out for too long, originally I was worried about the reader losing track of where and when we are at the moment. So there's a lot of emotional transitions squeezed into not too many words and I think you're right: it's quite breathless. It's an important part to the story (fleshing out the main antagonist and giving him backstory with the heroine) so now I'm thinking it deserves a bit more space to itself. There's not much description in it, very little sense of time and place, I think I could flesh it out and emphasise the distinct scenes without obscuring the sense of the heroine's life swinging in and out of balance.

Thanks!

Tony

Tony

Tony Irwin at 20:35 on 18 December 2005  Report this post
Hi Julie,

There were quite a few short sentences very close together that all began with 'I', this jarred with me and brought me out of the story, might just be me, but perhaps you could think of another way of phrasing them.


Thanks for this, I see what you mean. Yep, that's something I can can adjust.

Thanks,

Tony

Tony Irwin at 21:00 on 18 December 2005  Report this post
Hi Becca, thanks for all your comments

there were a couple of phrases that made me hesitate, two of them, 'as per' and 'just like that' seemed too modern to me, but maybe you've steeped yourself in the language style, and they're fine as they are, - I'll leave that to you. The other one was 'so as to let me', - that I thought awkward when 'so I could' would have been more straightforward, (even though the woman becomes two people a while later).


It's just bad writing and editing on my part I'm afraid, thanks for picking these up.

I got confused in the para 'I nodded to my superior' because in one sentence it says 'I slew Sebastian', yet assassins slew him in the next sentence. Is the first 'slew' metaphorical while the second real? I saw later that this wasn't true, so the sentence about more than one assassin did really confuse me.


Yeah the idea was that by nodding to her superior (so affirming that Sebastian is the spy) she condemns him to death. She expects assasins will do the deed, but still she acknowledges to the reader that she is just as much a murdered because she named him as the spy. Hence she slew him with a nod.

Unexpectedly her superior nods back twice: now Panu is the one chosen to actually murder Sebastian. It forces a new situation and choice upon her. She could live with others killing him, but will she be happy doing it herself?

I agree this passage isn't clear, I think part of the problem is that I don't dwell enough on each beat of this scene. Instead of a step by step escalation of a dilemma it seems a bit of muddle. Thanks for pointing this one out.

'curtsying sorrowfully' was an idea I couldn't visualise! How do you do that?


Oh dear, I've got a book full of slop like that. First I take out all the "ing" words. Then I rewrite all my passive sentences. Then I take out every adverb I can find.

He bowed to me. I curtsied, but could not smile for him.

Thanks for all your other points as well, I think you've pinpointed a lot of weaknesses I need to deal with in this passage (and elsewhere).

Tony



<Added>

Edit: She expects assasins will do the deed, but still she acknowledges to the reader that she is just as much a murderer because she named him as the spy. Hence she slew him with a nod.

Sorry, she's a murderer not a "murdered"


Mojo at 15:16 on 08 January 2006  Report this post
Hi Tony

I've been meaning to get round to commenting on this for weeks, but life's a bitch etc etc...

The fast pace works for me because it illustrates how your style flows effortlessly. I agree with some other commentators, however, that it is a tad relentless, so you have pace but the rhythm is stacatto because the paragraphs are too short, and the white spaces in between cause the reader to 'jump' from beat to beat. There's a lot of music in this section, and in the first dance the words actually reflect all that stepping and swapping and bowing and scraping that's going on; in the second, at the end, when Panu and Sebastian are dancing together, the rhythm is exactly the same, which rather belies the strange intimacy that's building up between these opposing characters. Just deleting the paragraph breaks would slow it down, give the impression that they were slow waltzing rather than doing the tango!

Behind my mask my smile turned to an unhappy frown.
Don't know if it's just me, but that smile 'turning to an unhappy frown' has the unfortunate resonance of those smiley/frowney icons that folks on this site use. Couldn't it just be 'Behind my mask my smile faded.'?

I really like the way you've created an atmosphere here without ever slipping from your protagonist's POV. Not that I know much about the period in question, but to me Panu and Sebastian seem to be inhabiting a different world to the rest of the dancers at the ball. I assume that's deliberate?

I've said more than I intended here, because, frankly, there's not much to criticise! Keep it up.

Julie

Tony Irwin at 15:06 on 09 January 2006  Report this post
...when Panu and Sebastian are dancing together, the rhythm is exactly the same, which rather belies the strange intimacy that's building up between these opposing characters. Just deleting the paragraph breaks would slow it down, give the impression that they were slow waltzing rather than doing the tango!


That is very clever advice! I really appreciate this Julie, it's ingenious, and it's something I can apply in similar passages.

Thanks!

Tony


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