dorothy dunnett writing a character finally realizing that what he's feeling is, in fact, love with the line 'He felt like a dog [...] whose master had died.' is the most insane shit i've ever read with my own two eyes. lymond chronicles books are on another level.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Qualityâ Free Actions
Free to watch âą No registration required âą HD streaming
pawn in frankincense chess game is the craziest scene of all time for many reasons but it being a jerott pov truly elevates it because for the past two books this man has tried and mostly failed to understand who francis is, and here he's the witness and narrator of the worst moment of francis's life and it's just. so good. but also what is wrong with dorothy dunnett
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Qualityâ Free Actions
Free to watch âą No registration required âą HD streaming
I finished The Lymond Chronicles today. I started on the journey in 2020, after reading that Lymond had been one of C.S. Pacat's inspirations for Laurent in Captive Prince. At the time, the books were above my reading level, even though I'd been a voracious reader all my life. I enjoyed the first two books, though I struggled through them, and then decided to put the series down for another time. Then late last year, I picked up the third book. I felt I was a far stronger reader. From there until the end of Pawn in Frankincese, everything was a blur, I read it so fast. After the heaviness of the ending, I had to take another break. So two weeks ago, I decided to pick the books back up and again I devoured the last two.
I'm not quite sure what to do with myself. I am inmensely relieved about the ending and have little to complain about. I wondered how Dunnett would manage to wrap up so many ideas and somehow she wrapped up most. I'm incredibly happy about where the characters end up, namely Lymond and Philippa, my favorites (separately and together!)
But I still have so much to think about and to say about these characters!
I'm still thinking about Marthe and her true intentions. About Lymond's strange dynamic with the Tsar. About what KuzĂșm will grow up thinking about his parents. And I so wish we had gotten a final conversation between Lymond and Kate.
Another big thing for me is the sexual and gender fluidity we see in Lymond, which some readers (particularly older ones) seem to understate, but which was such a big driver in my decision to pick up and stick to the books. The bonds with his men are undeniable but I find myself wondering if he ever truly desires other men, or just recognizes his beauty as a weapon to be wielded against any gender. In any case, he hardly ever seems to have sex for pleasure, which in and of itself is rather interesting, given his reputation. So much to unpack. I think I will write extensively about several of these things.
LYMOND SPARK NOTES: a low-effort project by @yekoc
There is a lot going on in Dorothy Dunnettâs series the Lymond Chronicles, including literary references, un-translated quotations in multiple languages, and real-life historical personages. This project is not intended to delve into, really, any of that. Instead my hope is to map out the basic emotional and narrative core of Lymond, the stuff thatâs underneath all the rest of Dorothyâs (and Lymondâs) trimmings. Imo the point of the books is that Lymond is traumatized, bisexual, and he REALLY wants to kill himself. So letâs talk about all of that.Â
Book 1: The Game of Kings
A useful way to think of The Game of Kings is as a mystery novel. The central mystery here (which continues in various forms throughout the series), is who is Lymond? This is a mystery to the reader, but itâs also a mystery to all of the other characters in the book. Each character has their own view of Lymond, and often these views donât line up at all. This makes the book confusing: sometimes itâs even hard to keep track of whether the person being discussed is Lymond, especially when heâs in disguise or being referred to by one of his many different names or titles. And this isnât just a literary device â the question of who Lymond actually is, and where his loyalties really lie, is the question that frames the bookâs plot and that is finally answered (in part) at the end of the novel.Â
Opening Gambit: Threat to a Castle
Lymond -- our hero! -- secretly returns to Scotland from forced exile, gets a pig drunk, flirts with and threatens his sister-in-law, sets fire to his mother's castle, stabs a pregnant woman, and infuriates his brother. War with England begins.
From the book's first lines we get different takes on Lymond, all from outside points of view. âBusy men preparing for war against Englandâ say his name âwith contempt, with disgust,â and â interestingly â âwith a side-slipping look at one of their number.â In contrast, âa womanâs voiceâ says his name âwith a different noteâ and a laugh. Finally, Lymondâs own men wait for him with âconcernâ â they care about him. This pattern of different people seeing and describing Lymond radically, and confusingly, differently, will continue throughout the series. Yay!
Okay, but what actually happens in this chapter?
A lot. Lymond gets a smugglerâs pig drunk, for example. But here are some key things we learn:
Mungo Tennantâs house (Edinburgh):
Lymond is an outlaw (why?), is not supposed to be in Scotland, and will be killed if heâs caught.Â
Sir Wat Scott of Buccleuch and Tom Erskine, two important landowning Scots who are loyal to the baby Queen Mary, discuss who else can be trusted to protect the country against a potential English invasion. Two options are:
Sir Andrew (Dandy) Hunter. They reject him as too poor (âhis estateâs been bled dryâ) and with an ill-equipped army.Â
The third Baron Cutler. This is Lymondâs older brother, Richard. The conversation about Richard is critical to the plot of this book: Buccleuch says some people think Richard Cutler cannot be trusted because Lymond himself has committed treason, and that if he doesnât hunt down his own brother then heâll be as good as a traitor too. Buccleuch disagrees with this and trusts Culter, but he and Erskine both acknowledge that if Richard Cutler doesnât eventually bring Lymond to justice, the Scottish court wonât trust him to help against the English.Â
Lymond, listening outside the door, overhears this conversation about his brother the Baron Culter.Â
Lymond then sneezes and is caught listening. He insults Richardâs new wife and departs. We discover, as the scene draws to a close, that he has stolen all of Mungoâs smuggled French wine â and then dumped it into Edinburghâs gutters.Â
Sybillaâs house (Midculter):
Sybilla, Lymondâs mother, had three children: Richard (now the Third Baron Culter), Lymond (titled the Master of Culter, because heâs the younger son), and Eloise, who died at school in her teens.Â
Wat Scottâs wife Janet complains to Sybilla that Watâs son and heir, Will Scott, has come back from university with high-minded moral ideals and is fighting with Wat as a result.
Janet attempts to talk to Sybilla about Lymond and the rumors that heâs come back to Scotland. Sybilla wonât focus on the conversation and keeps trying to change the subject. Earlier, we learned that âwhat she thought of Lymondâs activities she did not say.â This is interesting, since sheâs not reluctant to give her opinion about anything else.
Janet does manage to mention that if the English took over Scotland, Lymond might be restored to the line of succession for Midculter (he was removed from it when he was outlawed) and become his brotherâs heir again â if his brotherâs new wife doesnât have a son first.Â
 Lymond sneaks into the castle during this conversation and takes Mariotta, Richardâs wife, briefly hostage. He also flirts shamelessly with her.Â
Mariotta is confused by Lymond: she is expecting something terrifying, not an âinsolent, self-indulgent,â slightly drunk rich boy. Lymond teases her again, saying that didnât she know he looks different than Richard? He has the âfamily coloring,â whereas Richard, who has brown hair, does not.Â
Lymond says that he and his men have forced their way into the castle because he needs money to support his vice, and to amuse himself. When Mariotta reminds him that his own mother is in the group of women heâs proposing to terrorize, Lymond receives the news âwith tranquil pleasure.â
Boghall:
Wat Scott muses on the confusing politics of the English and Scottish border wars. Here I, your note-taker, skim and skim and conclude that some Scots support the English and some would rather turn to the French for protection, and it all has a lot to do with Protestantism vs. Catholicism, but in the end Wat Scott dislikes the English far more.Â
We meet Richard Culter for the first time: âA sober, thickset figure with brown hair and reliable grey eyes.â
Wat Scott tells Richard that Lymond is back in Scotland and says that Richard might as well be in league with Lymond if heâs not going to actively oppose him.Â
Wat Scott also tells us why Lymond is an outlaw: âFive years ago your brother Lymond was found to have been selling his own country for years: heâs been kicked from land to land committing every crime on the calendar and now heâs back here, God forgive him, with filthier habits and a nastier mind than he set out with.â
Wat concludes his argument: the Scots think the English are going to invade and they need to field an army. If they canât trust Richard and his men to be part of that army against the English â and they canât, if thereâs any belief that heâs sympathetic to Lymond, who is a traitor to Scotland and sold the country out â then the Scots army will lose.Â
As they have this conversation, smoke rises in the distance. Lymond has set fire to the castle at Midculter, which contains Richardâs mother and Richardâs wife.
Midculter:
Sybilla sees her son Lymond for the first time since he was outlawed and exiled. He is armed and holding her daughter-in-law hostage. âAfter the first moment, every trace of expression left the Dowagerâs face; her white hair shone like salt.â
As Lymondâs men rob all the women, Mariotta notices that Lymond will not look at his mother at first. Finally, he does, and Sybilla accuses him of âplay-acting.â Lymond says the robbery is real, and that he has changed from the son she used to know.Â
âFrom the stews and alleyways of Europe with a taste for play actingâyesâand killing and treason and crimes, they say, nameless and enticingly erotic. Havenât I been worth five yearsâ excellent gossip to you?â
Lymond then throws his knife and hits Janet of Buccleuchâproving his point that this is not play-acting, despite his flowery and dramatic speeches throughoutâand exits, setting fire to the castle on his way out.Â
Richard reaches Midculter and finds out what happened. He swears that he wonât be âmade a foolâ of by Lymond again, implying that he trusted him before but now sees him as the outlaw and criminal he really is and will help hunt him down.Â
He canât go after Lymond, though, until after he fights the war with England thatâs just begun.
Europe
King Henry of France watches as the English go to war to try to take control of Scotland by forcibly marrying Queen Mary to the young King Edward.
Henry would like to âserve and protectâ Scotland, but has to make sure he doesnât threaten the English so much that they ally with the Holy Roman Empire against him. So⊠he watches and waits.Â
Reading Questions:
Of all the views of Lymond we are given in this chapter, whose do you trust most and why?
Why did Lymond pour out all of Mungo Tennant's wine? (I genuinely don't know but it's Dorothy so there must be a reason...)