Monday, April 9, 2012

Locke Lamora Read-along: Week Four

I was doing so well catching up with the past discussions, and then the holiday weekend hit and I took extra days off work and I did fuck-all knows what and I didn't get any more reading done. That's okay, I did some quilting and finished Season 1 of Downton Abbey.

In Locke Lamora news: this week's discussion covers Chapter Nine through Chapter Thirteen and is hosted by @ohthatashley, who posts on Monday at SF Signal. Scott Lynch's AMA (Ask Me Anything) at the Fantasy Subreddit was rescheduled (sad day), and there was another "Thoughts on Scott" by Myke Cole posted. Here are links to all the bonus stuff posted on Scott Lynch's livejournal, more for my benefit than yours:
It Came From Burger King
Other Roads Not Taken
Early Visual Aids
YOU SUCK, LYNCH





1. In the chapter “A Curious Tale for Countess Amberglass” we learn of the tradition of the night tea in Camorr. I found that not so much fantastical as realistic – how about you?
I think it's fantastical, if not for Fantasy than certainly for the Upper Class. Having to wake up in the morning for work each day means I certainly don't have the luxury of a midnight tea. It sets the scene for how these two women live their lives, and it also gives the scene a sinister feel, becasue they are acting under the cover of darkness, presumably without even the Don knowing of the meeting's purpose.

2. When Jean meets with what will become the Wicked Sisters for the first time, the meeting is described very much like how people feel when they find their true work or home. Agree? Disagree? Some of both?
Definitely agree. Lynch definitely follows the "Third time's a charm" view, with the Wicked Sisters and later with Master Meraggio.

3. Salt devils. Bug. Jean. The description is intense. Do you find that description a help in visualizing the scene? Do you find yourself wishing the description was occasionally – well – a little less descriptive?
If a book can make me cringe with the character's pain and make my heart skip beats with the tension, then it's doing its job!

4. This section has so much action in it, it’s hard to find a place to pause. But... but... oh, Locke. Oh, Jean. On their return to the House of Perelandro, their world is turned upside down. Did you see it coming?
I thought someone was going to be dead, yes. Not necessarily upon their return home, but I knew the book was not going to end with the group complete. The scene was nicely horrifying and proves that Capa Raza is brutal and not to be trusted for anything. I wish Bug hadn't died. And even though the twins were fun, we didn't know them well enough to really mourn their deaths, as opposed to mourning Locke's loss of his friends.

5. Tavrin Callas’s service to the House of Aza Guilla is recalled at an opportune moment, and may have something to do with saving a life or three. Do you believe Chains knew what he set in motion? Why or why not?
I really wish I knew more about Chains and his motivations. Do we get any viewpoints with him in the second book? I'm guessing not. But I feel like there is so much history and conflict in Chains's story, and I wish Lynch had given us more! Chains is the most interesting character in the book, after Locke.

6. As Locke and Jean prepare for Capa Raza, Dona Vorchenza’s remark that the Thorn of Camorr has never been violent – only greedy and resorting to trickery – comes to mind again. Will this pattern continue?
I doubt it. We already know that Locke can be violent, I just don't think that has carried over to the Thorn of Camorr name. I think Locke is going to be very cruel to see his endgame with Capa Raza.

7. Does Locke Lamora or the Thorn of Camorr enter Meraggio’s Countinghouse that day? Is there a difference?
I don't think there is a difference. The use of names can be very interesting, like in The Name of the Wind with Kote/Kvothe, but I don't think the symbolism is as strong in Locke Lamora.

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