Hadn’t thought much about it, but now I am. If I hadn't known to look for it, I might have passed it by entirely.ī, some interesting points about the Brown Father. I found the fate of the Earl easy to miss, it's so briefly handled. The climactic scene between Flay and Swelter is well worth the wait, as is the following resolution with the Earl. As far as I can tell, he subsequently disappears, and serves only to provide a distant view of the castle. No big surprises, but fun nonetheless.Īt the beginning of 'In Preparation for Violence', Peake introduces a distinct 'small mottled horse, on whose back sat a man in a cape'. The scene is most useful for the Reveries, where we finally get a chance to see directly into each character's head. We already know how tradition-bound the society is. Interestingly, the Breakfast itself I find uninteresting. I don't recall whether Flay's departure from the castle will play an important part in future books. It does provide some complexity in Flay's life, but I don't know that we needed it. I could have done without the cat throwing, but then I like cats. I don't know what it means, and who he's meant to be. He doesn't argue with Keda's clearly stated suicidal impulses. He's the first character we've seen up close who's truly beyond the ambit of Gormenghast (though still under the Mountain's shadow). He's a fascinating figure, and I wish Peake had done more with him. I don't recall the second two books well enough to know what to make of Keda's Brown Father.
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