Crayon

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Breakfast of Champions

I knew you'd enjoy the opener the way Le Carré writes it.

I made the cinematic reference because if this story was made into a movie and the opening shot was a pan around the desolate airfield, there would be a lot of effort made to portray that image. The location and scene would be carefully selected and artfully filmed.

Why is it okay/expected for image based media but not when it comes to words?

The harp tends to figure large within Cornwell's Saxon tales. I guess it was a 'wonderment' instrument capable of producing rare sophisticated music in the 9th century.

I do like this line and the cause/effect innuendo.

755

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I guess that 'screaming' is correct

https://www.youtube.com/watch?v=mqWqrmsS-uU

“We are all lonely and all seek a hand to hold in the darkness. It is not the harp, but the hand that plays it.”

Bernard Cornwell, The Last Kingdom

beef jerky

Snow covered the airfield.

It had come from the north, in the mist, driven by the night wind, smelling of the sea. There it would stay all Winter, threadbare on the grey earth, an icy, sharp dust; not thawing and freezing, but static like a year without seasons. The changing mist, like the smoke of war, would hang over it, swallow up now a hangar, now the radar hut, now the machines; release them piece by piece, drained of colour, black carrion on a white desert.

It was a scene of no depth, no recession and no shadows. The land was one with the sky; figures and buildings locked in the cold like bodies in an icefloe.

Beyond the airfield there was nothing; no house, no hill, no road; not even a fence, a tree; only the sky pressing on the dunes, the running fog that lifted on the muddy Baltic shore. Somewhere inland were the mountains.



I read some reviews that slaughter this book and author, but me I love the poignant bleak, sensual scene that John le Carré' projects with this opener. The power of description that is full-blown but not over-egged (IMO). 

This the kind of cinematic opening that I love. A widescreen camera-pan introduction and we drink in the scene. Penned in 1965 and considered redundant and far too pompous by today's standards. Classical music versus Hip-Hop I suppose; but I guess my taste is in the past and this book is dear to my heart. I first read it my youth and a mountain of modern pulp has since passed between my ears, yet I've never forgotten the image of that airfield.



Snow covered the airfield.

It had come from the north
in the mist
driven by the night wind
smelling of the sea.

Considered poetic and elaborate compared to the reviewer suggested re-write; 'The airfield was covered by a dusting of fine snow.'

The Last Kingdom, by Bernard Cornwell(...read...)
The Pale Horseman, by Bernard Cornwell(...read...)
The Lords of the North, by Bernard Cornwell
(...read...)
Sword Song, by Bernard Cornwell(..Reading..)
The Burning Land, by Bernard Cornwell
Death of Kings, by Bernard Cornwell
The Pagan Lord, by Bernard Cornwell
The Empty Throne, by Bernard Cornwell
Warriors of the Storm, by Bernard Cornwell


The nine-novel Saxon Stories bookset (Xmas present) is keeping me engaged and thoroughly absorbed. Historic fiction, based loosely upon (or spun around) fact. It is set upon my doorstep and has sparked interest within me along with a yearning for historical research including site visits.

Joy!

I am reading the novels back-to-back and have found more expression (less repetition of common terms -- leading to word-worn cliché), than in those other marathon reads that were Ken Follett’s ‘Century trilogy and ‘Pillars of the Earth’ and its sequel ‘World Without End.’

(What I mean is that, like a sex scene, there are only so many words and ways to describe a sword fight. In novels that are full of fighting, Cornwell's first-person prose somehow manages to sound fresh and innovative (authentic and invigorated). In my opinion, that's no mean feat!)

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