Gin and Bitterness

 [Originally posted to Tumblr on 3 September 2013, and cross-posted to Wordpress on the same day.]

The wolf, like any number of animals frequently used as symbols, is one that can be imbued with a number of meanings, many of them contradictory. It is perhaps this versatility that makes wolves and wolf imagery so popular in literature, film, and music, indicating both aloneness and pack mentality, sexuality and transformation, responsibility and wilderness, and any number of other things. As a result, it is no surprise that Victor Hugo not only makes use of at least one possible interpretation of wolf imagery throughout Les Misérables, but uses that interpretation in a number of different ways and in association with a broad range of characters.

The most consistent use of wolf imagery in Les Misérables is in relation to criminal activity, with references to “furtive goings and comings, silent entrances and exits of nocturnal men, and the wolf-like tread of crime” (5.3.8). Most often Hugo’s use of wolf imagery extends to the notion of criminality in regards to several of the characters found in the novel, from Bamatabois’ wolf-like gait as he creeps up on Fantine (1.5.12) to Montparnasse’s demeanour upon being caught by Valjean, which is described as being “the humiliated and furious attitude of the wolf who has been caught by a sheep” (4.4.2). This imagery extends from these minor characters to a sizeable number of major players in the novel, who all exist in various shades of grey morally but who are all, in some way, linked together through imagery and contact with one another.


Read the Rest Here!

[Tiny meta originally posted on Tumblr 8 May 2013, but that I wanted to preserve] 

So the other day, there was a quote going around, but because it was Feuilly appreciation day, it didn’t feel right to use the quote to talk about Combeferre, so I’ve waited until now to do it. It’s not much, just some thoughts I was having at the time.

 [Originally posted to Tumblr on 2 November 2012, then cross-posted to Wordpress on 11 November 2012]

Warning!: This article contains major plot spoilers for Tinker, Tailor, Soldier, Spy and mild spoilers for The Honourable Schoolboy and Smiley’s People. If you wish to remain unspoiled, then I advise that you skip this article.

————-

John Le Carré’s work is known, perhaps more than anything, for the way in which details are used to tell the story contained within the novel - no detail is wasted, and nearly everything, no matter how obscure, goes towards the end of giving the reader insight into the story, or the characters who reside within it. One such detail is the use of what is known within the Circus as the workname. Within Le Carré’s work, and specifically in this instance, within the Karla Trilogy (Tinker, Tailor, Soldier, Spy, The Honourable Schoolboy, and Smiley’s People), the Circus tradition of the workname provides a double function, both in the sense that the workname conveys information about the agent who bears it and in the sense that there is a very deliberate order and reasoning to which worknames the reader learns and when they learn them.

In order to understand Le Carré’s use of worknames as a device within his novels, it is essential that the reader understand the operational function of the workname. While it is easy to conflate an agent’s workname with an alias, what evidence can be pulled from the novels suggests that they are similar but not at all synonymous. Unlike an alias, which may be used in any number of ways (and any given agent may have a large number of them), the workname has a small number of prescribed uses. The first of these, as seen in all three novels, is for the sake of record-keeping. The Circus keeps an extensive database of worknames associated agents both in-action and retired (Smiley’s People 62), and when an agent is mentioned in files, reports, and other such documents, they are commonly referred to by their workname (Tinker, Tailor 78, 90). In addition, an agent will generally - in the field at least, use their workname with other agents, particularly if there is a fear of wire-tapping or other forms of surveillance (The Honourable Schoolboy 518). However, with more casual informants, the agent will generally use an alias rather than their workname, which is more closely guarded.

Read the Rest Here!

Back in January of 2012, shortly after the airing of Series 2, I wrote a series of short character studies on an assortment of characters from Sherlock.

In the case of many of these, my opinion has shifted, refined, and changed in a variety ways. In the case of some, I still bear the same opinion, but well...the show became what it became.

In either case, rather than crosspost these posts yet again, I'm going to collect them here with their original post dates, the Tumblr link, and the Wordpress link, in case anyone wants to read them, though again, they're not great, and one in particular is like....I would reword like 99% of what I was trying to say.

Anyway, here they are:

• Irene Adler [originally posted 3 January 2012]; Tumblr link; Wordpress link
• John Watson [originally posted 4 January 2012]; Tumblr link; Wordpress link
• Molly Hooper [originally posted 6 January 2012]; Tumblr link; Wordpress link
• Mycroft Holmes [originally posted 13 January 2012]; Tumblr link; Wordpress link

There had been ones in the works for Sherlock Holmes, Jim Moriarty, Greg Lestrade, and Mrs. Hudson, but they ended up not happening in part due to some rather...alarming things going on in my life. Also an honours thesis I needed to revise and cast. C'est la vie.