A final post discussing Joan Aiken’s Cold Shoulder Road in the Wolves Chronicles, and the second part of a Who’s Who which was headed by Arun and Is Twite.
In this prosopography I list personages located principally in Dover, Calais, Womenswold and the fictional hamlet of Seagate.
As in the first part of the Who’s Who of Aiken’s saga — set in an alternative 19th century — I shall be looking at the principal facts about individuals before discussing possible origins or significances connected with their names. All is of course prefaced by the customary * SPOILER ALERT! *
As is my practice after reviewing one of the instalments in Joan Aiken’s Wolves Chronicles I explore four main areas: people, places, timelines and themes. Within these four categories answers are sought for the classic six questions — who? what? when? where?why? and how? — and applied to Cold Shoulder Road, one of the penultimate episodes in this alternative history saga set in the first half of the 19th century.
* Spoiler Alert *
Following posts on chronology, topography and themes, this post now begins exploring the personages in Cold Shoulder Road, many of whom (as the title suggests) aren’t particularly friendly to our principal protagonists, Is and Arun Twite. Unlike many previous instalments this novel includes fewer peculiar or even humorous names than before, but many nevertheless have likely or possible significances. And we get to discover yet more Twites, members perhaps of the extended family with a name recalling a rather undistinguished-looking finch.
As the blurb of the Red Fox edition has it, young Arun Twite
returns to his mother’s house on Cold Shoulder Road, only to find it deserted and flood-ravaged. […] With the help of his indomitable cousin, Is Twite, Arun sets off in search of Admiral Fishskin — their only key to discovering the real truth, whatever it may be.
Fellow author Nina Bawden wrote that Joan Aiken is such a spellbinder, and she wasn’t far wrong.
By internal chronology one of the penultimate instalments in Joan Aiken’s Wolves Chronicles, Cold Shoulder Road (1995) nevertheless shares several of the thematic motifs of the preceding volumes, one of the features that helps to characterise the whole sequence. As is my practice I shall be listing and discussing these, with a certain big proviso …
In a previous post, ‘Dark doings in Kent’, I discussed some of the sites in Kent, real and imaginary, which featured in Joan Aiken’s alternative history novel Cold Shoulder Road, one of her Wolves Chronicles. In this post, therefore, I want to mention the remaining locations, primarily down on the Kent coast but also near Calais, visited by our young protagonists Is and Arun Twite.
What exactly is the purpose of this kind of discussion and others like it? I suppose there are actually three purposes.
Because I can. I worry away at details in each chronicle because it’s fun, and it helps me, if no one else, to inhabit the series as much as is possible.
Because nobody else much will. Apart from a few correspondents (and thank goodness for them and their engagement!) most readers and reviewers are happy to ride the crest of the narrative, and occasionally puzzle about something obscure, before moving on.
Because Joan Aiken’s worldbuilding deserves acknowledging. Though she’s often inconsistent there’s a glorious mix of imaginative terraforming and flexible timelining into which she places her colourful characters.
Without further ado I shall now plunge into the remaining, rather peculiar, geography of the novel.
In this post, part of a series discussing Cold Shoulder Roadin Joan Aiken’s Wolves Chronicles, I want to focus on the county where most of the action takes place, namely Kent.
As we shall see, some of the places mentioned exist in our world while others do not, and some distances remain the same while others appear to be telescoped. But all these places, while principally the background to the action, are often imbued with a significance that almost makes them characters in their own right.
The discussion that follows is of course preceeded the usual warning notice. 🙂
Following a review of Joan Aiken’s Cold Shoulder Road — the first of a series of discussion posts about this entry in the Wolves Chronicles — but before concluding with an examination of the very last chronicle of all, The Witch of Clatteringshaws, I want to do an overview of the series.
Long term followers of my posts will be well aware of my obsession with the Wolves Chronicles, for far too long an underrated sequence which, I think, deserves as much love and attention as, say, C S Lewis’s Chronicles of Narnia, J K Rowling’s Harry Potter stories or Philip Pullman’s His Dark Materials.
Unless you’ve sampled these often complex yet diverting novels for yourself it may be hard to work up enthusiasm for them, and I can understand why my in-depth explorations of people, places, timelines and themes in the dozen or so titles attracts little comment or interest when I’ve posted about them. (It’s me, not you!)
But if you were to at least try the first three or five titles you might start to understand why they are special and, perhaps, hopefully, may even be persuaded to try some more. In which case this post is an attempt to provide the bare bones of where to start and where to go on next.
Cold Shoulder Road
by Joan Aiken.
Red Fox Books 1996 (1995)
Mums and kids better stick together
Hang in there whatever the weather
Hold in a chain that none can break
Hold together for the future’s sake …
The sequel to Is (US: Is Underground) is another of Joan Aiken’s unputdownable novels in her Wolves Chronicles. The villains are as villainish as ever, with few redeeming features, the young (and not-so-young) protagonists are regularly scrobbled, and much of the fairytale action which would normally be regarded as implausible acquires a degree of reality through Aiken’s powerful storytelling.
Rich in details, the novel dovetails chronologically into the rest of the series but can be enjoyed—just about—as a standalone. Most of the action takes place in Kent, along the coast from Aiken’s beloved Sussex, but in Aiken’s usual timeframe where the 1830s and early 1840s are not quite as the history we are more familiar with.
Young Is Twite, fresh from saving child miners from drowning when a tsunami caused by the eruption of the Icelandic volcano Hekla floods their undersea coal mine, comes south with her newfound cousin Arun to his hometown of Folkestone in Kent in a bid to reunite with his widowed mother Ruth. But, true to the ways of this alternative world, nothing is straightforward; and heartache, danger, villainy and death will be experienced before natural justice reassert itself.
Towards the end of Joan Aiken’s alternative history fantasy Midwinter Nightingale we are reminded that events are approaching St Lucy’s Day.
This feast, dedicated to an early virgin martyr whose name derives from Latin lux, ‘light’, is celebrated each year on 13th December, and marks the culmination of the novel’s action after a few jam-packed days.
Traditionally the feast day marked the winter solstice, when there are the fewest hours of daylight and the hours of darkness are the longest of the year. But nowadays the solstice tends to fluctuate between 21st and 22nd December, so somehow we appear to be nine days adrift. How to explain?
In this discussion of the chronology of Midwinter Nightingale I shall start with considering A Nocturnal upon St Lucy’s Day, Being the Shortest Day by John Donne — specifically referenced in the novel — and then go on to my TWITE theory concerning the Wolves Chronicles, also known as the Time Wobbles In This Era hypothesis.
In this post I shall be discussing a couple of themes remaining to be highlighted from my examination of Joan Aiken’s novel Midwinter Nightingale.
No, don’t switch off, on the basis that you haven’t read this and what possible interest can it have for you: I shall in fact mostly be looking at the institution of monarchy in this alternative history and this will actually start with aspects of real history — you know, the kind of history you and I may have absorbed by osmosis at school, from fiction or the odd TV doc we’ve watched. Antiques Roadshow, for example.
So let’s start with a particular category of antique work, an art object — the aestel. What’s that? you may well ask. Read on … and beware, spoilers lurk.
Yet another in my detailed and lengthy examinations of Midwinter Nightingale — please don’t yawn; and pay attention at the back! — in which I complete the prosopography or Who’s Who of the people we met in the novel. Among other matters we shall touch on alternative history, on Shakespeare, and on legends.
Following a review we’ve also so far looked at the alternative geography in this novel and some major themes; still to come are further themes and motifs that the author Joan Aiken plays with and an attempt to make sense of the complicated timeline that has led the reader from around 1832 in this alternative world to some unspecified (and maybe unspecifiable) year in the early-to-mid-1840s.
Then it’ll be on to the remaining two novels in the Wolves Chronicles, a sequence which began with The Wolves of Willoughby Chase and will end with The Witch of Clatteringshaws. If you want to find out what further fun and wit the author had with names and personages in this instalment, read on. If not, move along please, nothing to see here.
This is a continuation of the Who’s Who in one of Joan Aiken’s Wolves Chronicles, Midwinter Nightingale, in which we looked at personages met on the Wetlands Express and the Tower of London, and those associated with HMS Philomela in the Thames Estuary.
This time we shall examine those people we encounter, in person or by repute, at Fogrum Hall and Edge Place. (However, Darkwater Farm, the Three Chapels and Otherland Priory will have to wait till a final post). As usual we shall see what flights of fancy and ingenuity Joan Aiken incorporates in her characters’ names, behaviours and natures.
Of course this is part of the usual series of posts following a review that I treat each instalment in the Chronicles — the link will take you to these so that you may peruse them at your leisure. Or not.
Joan Aiken, born 4th September 1924 in Rye, East Sussex; died 4th January 2004 in Petworth, West Sussex
‘The most immediate manifestation of Aiken’s inventiveness is to be seen in her plots.
These are wild, intricate farragos in celebration of improbability, involving the skilled manipulation of a large cast of colourful characters and held together by a style which is a blend of the humorous, the satirical, the parodic and the melodramatic.
Chance, luck and coincidence are accorded significant roles in these narratives in a manner frequently reminiscent of Dickens or Hardy, though neither of these has quite the Aiken degree of recklessness.
There is a further Victorian influence in her fondness for exploiting the surreal possibilities when the totally logical confronts the totally nonsensical.’
— from ‘The Twite Stuff’, a 1999 piece in praise of Joan Aiken’s writing by the late Robert Dunbar in The Irish Times
This post will be looking at some of the themes in Joan Aiken’s Midwinter Nightingale — a title in the series known collectively as the Wolves Chronicles — which we have been exploring in a review and in related discussions. We start with the avian motif that has characterised so many of the instalments.
In this post, part of a series looking at details of Joan Aiken’s Midwinter Nightingale (one of the Wolves Chronicles featuring Dido Twite) we shall be looking at some of the personages met in the novel’s pages.
Many are only given the briefest of mentions, so don’t be too alarmed at what seems a rather lengthy cast list (though for reasons of brevity it’s split between a couple of posts). Along with details of individual characters and functions, a few entries will call for some discussion of the meaning or joke implied in names.
Many readers will of course by now be familiar with the customary advice: beware of spoilers.
Another post looking at the landscape of Joan Aiken’s Midwinter Nightingale (2003) — a previous piece looked at places in the fictional Wetlands, the equivalent of the real life Somerset Levels, famed in legend — and now I want not only to wrap up places I omitted before but also to allude to the climactic and moving scenes in the fantasy.
As usual Joan takes aspects of history, legend and literature and shuffles them together before laying out her cards, so I hope to identify, somewhat tentatively, what she’s displayed for our edification and amusement.
Of course, the usual strictures about spoilers apply hereon in — but you knew that.
[H]e has no bent towards exploration, or the enlargement of our geognosis […]. But so far is he from having any desire for a more accurate knowledge of the earth’s surface, that he said […] there should be some unknown regions preserved as hunting grounds for the poetic imagination.
A few chapters into George Eliot’s Middlemarch I came across this hapax legomenon,* the word geognosis (géognosie in French) uttered by Edward Casaubon when describing his second cousin Will Ladislaw.
Will’s preference for unknown regions remaining accessible only by the poetic imagination is analogous not only to George Eliot’s own setting of her novel — in an imaginary Loamshire — but to the paracosms that fantasy writers conjure up, such as the virtual world described in the Wolves Chronicles.
Joan Aiken’s Midwinter Nightingale (2003) has the geography and geopolitics of her offshore island in the 1840s heading in a very different direction from that in our world. This post attempts to start charting that alternate Britain using what we might therefore call virtual or alternative geognosis.
For award-winning, internationally-acclaimed author Rosemary Sutcliff (1920-92). By Anthony Lawton: godson, cousin & literary executor. Rosemary Sutcliff wrote historical fiction, children's literature and books, films, TV & radio, including The Eagle of the Ninth, Sword at Sunset, Song for a Dark Queen, The Mark of the Horse Lord, The Silver Branch, The Lantern Bearers, Dawn Wind, Blue Remembered Hills.