Symbolism within Fyskar – ending

Okay, we’ve done the beginning and middle of Fyskar. Let’s face down chapters 15-25 or the ending of the book.

Sidenote: I chose the name Fearchar because it means Good Man in translation. However I always pronounced it “Fair-char” in my head when I wrote it. Apprently it is pronounced fur-qur or something close as a real name and I’m still having a moment of questioning my decisions in life. This is why I won’t do a read aloud for my book. I will flub all the names terrible and probably piss off a bunch of people. So, if someone who can speak Scots Gaelic and does audiobooks ever wants to give this thing a whirl, I’d be eternally grateful and willing to listen as they tell me I wrote a ton of stuff wrong.

Eoin is supposed to represent me. I tend to use the MCs in my books as my window into working through therapy. This book was me working through coming to terms with adulthood and stuff I don’t want to do. I wanted to be an archaeologist or a professor. I became a housespouse because it was the financially wise decision for my house. It took me almost a decade to come to terms with that. Fearchar represents my art and seonaid represents my writing. Bercilack, Osla, and the children were my childhood dreams and ambitions, career goals and where I saw myself in the future. The Dalerochs were the proverbial world sneaking up and whacking me on the head telling me to grow up and do what was right for my family. Amina and Tau are my connections to the world, friends and family as I grew up and started finding my place. The upheaval of events and Marduk’s palace are the rough patches of adulthood and accepting that some things you can’t return back to. You can’t turn the clock back. Life isn’t a video game where you get to respawn if you die. It sucks. It’s hard. You have to fight to make a spot for yourself. And then you die and the world forgets about you. Gotta love morose books. Anyways. Here’s the chapter breakdowns.

Chapter 15

Ah, the little bird statues. Here’s where I get into Fearchar being the artist, and dropping a hint about Bercilack.

The episode involving the king’s child, Mirza, and Eoin is a reflection on my inability to communicate when I get into anxiety inducing selective mutism. It’s also that moment in time, where, as long as the mutism doesn’t activate, I will go into deadpan analyitics as a comforting mechanism when I’m working through a difficult situation and the fact that I’m covering up a lot of major emotions when doing so. I’ve been told on a couple occassions that I’m rather cold when people get hurt and I’m trying to help them. That my analytics doesn’t help them feel better, but it does make the situation less worse. To me, it’s a coping mechanism so that I can keep my emotions in check rather than let them overwhelm me. Because, if they overwhelm me, then I’m not useful and am just in the way.

The specifics with the king’s child came about because one of my nephews was being super fussy from having an upset stomach/allergy to his powdered formula and my sis-in-law was just overwhelmed, so I took him off her hands for a bit and got him to fall asleep so she could have a bit of a break from the fussing.

The name Niloofar. Water-lily. A girl’s name. Okay, really what I wanted was an Arabic name for Lotus. This one is a reach, but bear with me. I claim being an eclectic wiccan. I do appreciate a lot of Buddhist philosophy and teachings though. I find a lot of comfort in it. The lotus is sacred within the teachings as a symbol. The pure flower rises from the murk and mire, unmoored as it’s roots are free within the muddy strata. Eoin’s third name was supposed to be a representation of moving into an enlightened frame of mind, even while in the midst of the dark and difficult. Water-lily was within the same classification of aquatic plants and I could find a name. The fact it came up female is secondary, but I like the aspect that Eoin is able to better represent the feminine aspect with themself with it.

Impundulu is another name with symbolism. An acknowledgement that Eoin and his children were different. Not quite a part of Egret’s Nest. The shape of Impundulu is based on the a hamerkop, which is a wading/fishing bird. Again, Eoin comes from a fishing clan. As a single member of both it’s species and genus, it seemed to be a fitting representation of Eoin’s place in society. Where as White Bird that Mirza uses is his impression of Impundulu looking like an egret, the place Eoin found his soul’s home in. Egrets and Hamerkop will share the same territorial areas and egrets are known for sharing their nesting habitats with other birds, again a bizarre stretch for symbolism, but it was important for me. A way to show with Egret’s Nest that Eoin had found somewhere safe, where his family was cared for, if a bit of an outsider.

Chapter 16

Henri. He was the mentor. The teacher figure people deeply want when they are coming to terms with adulthood. With learning how to live in an unfamiliar world. Self help books and psychology can get you so far before sometimes you just need a person to take your hand and give you a bit of guidance. Also, I put Henri in to explain why Eoin learned French sign language and as a nod to the history of Arabic archival preservation and interest in world trade. The Huguenot were a relevant aspect for the time period and again, another nod to Mirza’s propensity for ‘different’ people. There is plenty of evidence that many Arab nations were grounds for intellectual exchange regardless of religious propensity. I took an Islamic art history class in college purely because of my fascination with the architecture. The vast influence on the Mughal empire and subsequent effects of exchange between China and the Middle East and the Silk Road exchange up to Europe fell into place for me. My whole degree in Asian Art History and Asian History finally made sense with this one “outlier” class I took as an elective.

Chapter 17

This was where I needed to set up how Eoin got back to Skye and what was waiting for him in going home. What his bargaining chips and obligations were.

Chapter 18

Well. Lots of title dropping. Lots of backstory exposition. Lots of sensations. I mean, it’s the chapter of the book. The one where I’m trying to explain in the best ways possible what it would feel like if people could share souls. The emotional overload doing so could be. Having a moment of being able to be the in between of masculine and feminine. It’s also the one scene in the book where I work the scene in it’s entirety. If you get into reading my other stories, here’s something to be aware of. I write detail and I don’t fade to black on consensual. If you run into a fade to black, you’ve probably found something uncomfortable. This book does have both. Read carefully.

Chapter 19

“That floating feeling…” yep. I pretty much set up that Eoin and others with the power have a built in addiction problem. A euphoric high on shared emotions. An ability to completely understand another person. That gets explained in more detail in Subgalaxia. Suffice it to say, it’s a big chemical dump of love hormones in the brain.

The burned out conference house and Eoin’s house are based architecturally on a set of archaeological designs from the Pictish time period that have been found both in the Hebrides area and amazingly enough in some areas of Africa. There was evidence of a low roofed structure specifically designed to make it a place of talking and difficult to resolve disputes physically. The house behind it is shaped like a person with a left and right arm for sleeping and storage, a center with a hearth(heart) and the head where cooking was done. I wish I could remember the name of the book I learned this in. I’d link it.

Chapter 20

The box of toys, blankets, and vials. This one has to deal with some things that I equate to people personally. I like archaeology and antiques. There are some things I don’t and won’t touch out of a bit of superstition for myself. Kids toys being one of them. That and baby blankets and things like that when I don’t know if the kid lived into a adulthood or not. Just a big fat nope for me. Even if I don’t believe in an afterlife and ghosts, this one is just a heebeejeebee thing for me, so I made some of my phobias into a spirit box.

The rest of the contents in the other box are references to historical ceremonial artifacts like the casting stones, the troughs, the tap tattoo sticks, and the garments. The seagull wings were a stretch, I made that one up based on some modern age tribes that use wings as a way of representing a freeing of the spirit during rituals in some island nations and Amazon areas.

Eoin’s tattoos. And the ones I use for my Avatar. It references back to the concept of the Lotus or rising from the base instincts to enlightenment and the concept of the four elements being ever present in the daily life, the change that never changes.

  • Eagal: to be afraid
  • Craidh: pain
  • Corraich: anger
  • Camhanaich: dawn
  • Turadh: a break between clouds
  • Gloaming: twilight
  • The Four wedding bands around the arms are to represent fire, water, earth, and wind.

The White Horse concept comes from an accumulation of mythologies distributed amongst the Proto-Indo-European language groups. I fudged with some of the legends for Eoin, but here’s a quick and dirty explanation if you aren’t familiar with some of the history behind White Horses. This is structured to later come in to play with the Red Hare Bai mentioned in Subgalaxia, and the Red Hare is based off a stallion portrayed in the 14th century novel Romance of the Three Kingdoms but I am getting way ahead of myself with that reveal. The word Bai in this case means pure in this particular case and is a reference in a long running way that gets explained in Subgalaxia that the Fyskar are an offshoot from the original group of people who are now called the Tarim Mummies – or the Red headed mummies of China. This is a lot of geography, cultural exchange, and playing with history for the sake of fantasy and fiction.

I didn’t say this was going to be an easy read or make a lot of sense if I unstrung the whole thing.

Oh, and Sven in Polaris Skies is named after one of the archaeologists who discovered the Tarim Mummies.

Chapter 21 – 25

The crown is based on a red deer’s antlers, which finding how to describe that measurement and weight was not easy. Freshwater pearls and aqua-beryl are accessible semi-precious and precious jewels in the area.

Really, this section is wrapping up Eoin returning home, reuniting with his family and Mirza. I make him more decisive in his actions, accepting that he has had to leave behind his old life and facing his new life head on. It’s still not what he thought he would be ultimately from his early years, but he’s taking control of it and directing it as he wishes for what he can do. I do leave him in the end surrounded with aspects of home, but alone and learning to relax with being along, to be okay with the decisions he’s made.

So, shall I do an analysis on Subject15, Polaris Skies, and Subgalaxia?

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Blog Book Review fyskar

Chapel Orahamm View All →

I am a writer and artist working through the Kavordian Library series. I write sci-fi, fantasy, lgbt romance.

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