Tag Archives: review

“The Purchase” and Point of View

imageWhether consciously aware of it or not, the point of view from which a story is told can make or break the story. The most popular points of view are first person—in which the reader sees the events unfold through the eyes of a single character, including their thoughts and feelings—and third person. There are typically three types of third person narrative. The first is limited, essentially another take on the first person narrative. In third person limited, the reader can only know, see and feel what the point of view character knows, sees and feels. In third person omniscient, the reader experiences the narrative from a variety of people’s points of view. In third person objective, the narrator tells the plot as if the reader were viewing a movie, taking in all of the characters’ expressions and actions, but with none of the characters’ thoughts and feelings expressed in the narrative, other than those responses which can reasonably be observed.

The Purchase by Linda Spalding is about Daniel Dickinson, a Quaker living at the turn of the nineteenth century, who is excommunicated after his wife dies and he marries Ruth, the fifteen year old Methodist orphan living with his family as a servant. Disillusioned with his former life and feeling as if he has no future, Daniel moves his five children across the country to settle in Virginia. At an auction to purchase farm equipment, Daniel inadvertently bids on a slave and is bullied into giving up his favourite horse as collateral for the purchase and taking the eight year old boy, Simus, home with him. Thus begins (if I may borrow a phrase) a series of unfortunate events for Daniel as his family grows and he tries to build first a house and then a mill on his land.

The story is told from the point of view of an omniscient narrator, following each character’s thoughts, feelings and actions as the scene unfolds. This allows the reader to glean information that the main character(s) may not have. The following passage demonstrates Spalding’s expert use of this narrative technique:

“If we take my children to Virginia, thee could travel as a wife.” It was possible, [Daniel] supposed now, looking back at her unwashed face, that she had never had a book of her own. “Thee may borrow my Aeneid,” he called back to her, “with due care to its binding.” He turned to smile, but she had lowered her head and did not see.

But I am reading it just now, Mary wanted to say. That book was the one thing she shared now with her father. It was theirs. She stayed silent.

If this were written from Daniel’s point of view, we would not know that Mary wants to say something to her father but chooses to remain silent.  Spalding also uses this technique to hide from Mary that her husband was involved in Simus’ murder. The reader knows it was reluctantly so and that he tried to stop it and gave up and left before the actual murder took place, information Mary never finds out.

The Purchase is written in third person omniscient, but it is more a cross between this and third person objective, as many character thoughts and motivations are hidden. Ruth is the best example of this. Though she is present throughout and the reader knows she struggles with her position in the family, little is shown with respect to her emotions. Next to Daniel, the well-meaning but aloof patriarch, the most detailed, well-rounded character is Simus. Though he is around for perhaps only half of the novel, his life and death act as catalysts for most of what occurs in the plot. Mary, the eldest daughter, and Bett, a slave girl with whom Mary lives, befriends, and helps escape, aren’t as fleshed out as I would have liked. Though Mary gains local notoriety as a healer while secretly using Bett’s salves and potions, Bett only expresses fear at being caught, for it is against the law for blacks to medically treat whites. I would have liked to have known more about Bett’s feeling with respect to what happens in the story, as I felt the real story lay in the relationship between Simus, Bett, Bry (Bett’s son, the result of her being raped by her owner) and Mary, who form the closest thing to a family portrayed in the book.

Spalding’s choice to use this point of view allows her to expand her story, giving the reader snapshots into the lives of characters beyond Daniel and what he knows about his family’s goings-on. In this fashion, the author expertly layers the story, drawing the reader’s curiosity, rendering The Purchase a page-turner; the pace is quick, the chapters are short and the narration is easy to follow. The novel explores the themes of perseverance in the face of adversity, alienation, religious faith, and the make-up of family. Spalding draws thought-provoking parallels between the slavery of blacks and the servitude of women. Daniel remains cold to Ruth throughout. They do not have relations until they are several years into their marriage. Even then, he is aloof with her and quick to lay judgement. In many ways, He treats Ruth as more of a slave than either Simus, Bett or Bry, figuratively lashing out at her when she disobeys him or tries to assume ownership of the new homestead, he does not forge a relationship with her and goes to her only when he wants to have relations. This parallels Bett’s plight. Her owner (the Fox family) literally lashes her when she disobeys them, they forge no attachment with her and the owner uses his female slaves whenever he wants to have relations.

The Purchase intricately weaves the stories of the members of the extended Dickinson family into the harsh realities of pioneer life using a great deal of irony in the telling. The story itself is told darkly, but the end message is uplifting and emotionally and spiritually satisfying.  

A Tale of Two Villains

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The Once Upon a Time showdown we’ve all been waiting for unfolded last night, and it did not disappoint.

Last night’s episode, “The Outsider”, might have been subtitled “A Tale of Two Villains”, as it pitted Hook against Rumple in a battle, both of wit and strength. Hook, who puts Belle in danger to get Gold out of his shop so he can steal a shawl, Rumple’s prized possession, thinks with his head. Ordinarily, I would argue Hook is no match for The Dark One who pens iron-clad contracts, tricking those with which he bargains into thinking wish fulfillment is within their grasps. But this is not the old, lonely, bitter Rumple. Forging a relationship with Belle whilst believing a reunion with his son is within reach, Rumple is vulnerable. When he saves Belle on The Jolly Roger, he turns his anger on Hook, playing into his trap. The beating he inflicts on the pirate is both disturbing and comic; Belle’s reaction both touching and foolish.

Colin O’Donoghue plays Hook with slimy, sexy, smarminess. His proximity to Belle while threatening her on The Jolly Roger is both scary and (for lack of a better term) hot. But the real showstopper is Robert Carlyle in the role of Rumple/Gold. I melted when, after Belle is trapped in the elevator by Hook, the doors open to reveal Rumple and he and Belle hug. I cringed throughout Hook’s beating, reminiscent of a similar assault perpetrated by Gold on Moe French in season one. I grew excited at the prospect of Rumple in the real world after he crosses the town line and my brain began forming scenarios as to how the search for his son, Baelfire, might play out.

The last minutes of the episode are demonstrative of how a true cliff-hanger should play out. Belle shot. Rumple’s hand covered in her blood. A speeding car. Rumple dropping and rolling he and Belle from harm’s way. Hook hit. Brilliant. The one thing with the ability to top this: next week’s trailer. In the clips, an unconscious Belle lies in her hospital bed. Thinking, no doubt, she will awaken after sharing true love’s kiss, Rumple kisses her. Belle opens her eyes, sees Rumple, and screams, recoiling as she does. The implications are gut-wrenching and exhilarating at once. Oh, and let’s not forget the backstory clip that shows Rumple kissing Cora, which raises the obvious question: could Rumplestiltskin be Regina’s birth father? Is that why he took her under his magical wing?

On the deck of The Jolly Roger, Hook sums it up best when he tells Gold he looks more like the coward he remembers. Rumple, the man, is at his most vulnerable when he has something to lose. Branding him as The Village Coward was unfair. He ran from battle during The Ogre Wars because he had something to live for (his wife and child) and didn’t want to die. He gave fealty to the soldier in front of his son because he wanted to escape and get Bae to safety. He didn’t fight Hook in Storybrooke because he knew they were no match, so he appealed to his sense of decency (which, unfortunately, Hook failed to cultivate) instead. As The Dark One, he had nothing to fear. Finally, he had the means to protect his son. When Bae was lost, he was free to pedal his deals, searching for a way to be reunited with his son all the while.

Belle represents Rumple’s vulnerability personified. When he thought she was dead, he was strong. Since she’s returned, it’s been amusing to watch Rumple embrace his reluctant weakness, sparring with his inner-coward as it threatens to bleed through his hardened exterior. With Belle removed from the equation, will Rumple lose himself in The Dark One once more? Will Rumple be cashing in Emma’s favour IOU? Was Neal the driver of the car? Was it Bae? Are the two one and the same?

Next week’s episode is entitled “In the Name of the Brother”. Speculation has been this episode will focus largely on Dr. Whale/Frankenstein and his family. While I think this is an interesting tangent, much like last night’s Yaoguai tale, I hope they don’t lose sight of the Hook/Belle/Rumple triangle, which in my humble opinion, is much more interesting than the Snow/Charming saga.  

I wait with you and bated breath ‘til next Sunday.   

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Graphic from http://www.wetpaint.com/once-upon-a-time/gallery/once-upon-a-time-behind-the-scenes-pics-season-2-episode-11-the-outsider-photos#5