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But probability alone does not a great novel make. Darsie Latimer's character is even less probable than his semi-historical counterparts, such as Edmund Waverley and Henry Morton. And this is strange, since moving further into fictionality, one could argue, a writer might allow themselves more latitude to make a character interesting, even if certain circumstances remain historical. Is this a conscious effort on Scott's part to show, after the fictionality of history, the fictionality of fiction?
Scott disturbs narrative conventions even further when the conspiracy against the Hanoverian King George III completely fails to materialize--ironically, for what seems to be the silliest of reasons: the Pretender (or the Chevalier if you're a Jacobite), Charles Stuart, refuses to give up his mistress. Thus, the main plot of the novel sizzles out and really not much happens in these 400 pages. Mind you, I personally don't need much to happen, but the 19th century novel did. Scott as a postmodern writer? That is pushing it too far, but this novel awaits a postmodern critique enlightened by a reading of Eco and Bakhtin.
That said, there are some really interesting things going on. Apart from the "regular" set of characters of Scott's Scottish novels, this one features an orthodox Quaker who is the epitome of anti-militant mercantilism. The form is also quite new for Scott--the novel is an epistolary, a set of letters between Darsie Latimer and his friend Alan Fairford. Thus, the novel's first-person point of view is split, and this provides for interesting contrasts.
For me, Scott sort of shot himself in the foot with this novel. His earlier novels ("Redgauntlet" is the last of the Scottish novels, written eight years before his death) lead one to expect a major action to happen before the denouement, and this one avoids that a bit too artificially. It seems that Scott was at pains to stick to history, and his own political convictions, a bit too much: a fictitious Jacobite rebellion is OK as a narrative vehicle, but it shouldn't interfere with the peaceful Great Britain (in which Scotland was in many respects subsidiary to England) that Scott himself inhabited and advocated. And so narrative excitement has to give way to Scott's pacifist politics--an honest choice, which Scott consistently maintains in all the Waverley novels--and character development and politics take precedent.
A final note: Scott has always proven himself a masterful and honest critic of royalty and nobility, especially of those characters he seems to love. "Waverley"'s Mac-Ivor is chastised for his political obstinacy, in "The Fortunes of Nigel" King James I (a Scot) is rebuked for his fickleness and corruption, and in "Redgauntlet" the formerly charismatic Stuart proves effeminate and tragic (dying an impoverished alcoholic, in the footnotes). And often enough, these tragic characters are of more interest than the somewhat ineffectual and sometimes foolish main characters: something for readers of literature to sink their teeth into.
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In his latest novel, Mr. Shaara introduces us to many of the Civil War's greatest leaders as they learn their craft under fire in Mexico. The book follows the exploits and deeds of one General Winfield Scott as he leads the campaign to defeat Santa Anna's army.
At his side is a young engineer, Capt. Robert E. Lee. Shaara's portrayal of Lee as a young officer, unsure of his untested abilities and his place in the command structure, is truly wonderful. It is a whole different Lee than the polished General of the Civil War. With each new mission Scott assigns him, we can see Lee grow and mature as an officer.
Many of the other men who would later become Generals are also with Lee in Mexico, Grant, Jackson, Meade, Johnston, Pickett, Longstreet, albeit as Lieutenants. They are not given the same in depth treatment as Lee, but already you can see their abilities developing for command.
General Scott and Santa Anna are also portrayed in manners rarely seen. Few modern Americans have heard of Scott, which is a shame since he was one of the best Generals in our early history. Santa Anna is usually mentioned only in conjunction with the Alamo, but here he is given a very fair treatment.
Overall I would say this book is every bit as good as the Shaaras' works on the Civil War. Once again Jeff Shaara has restored life to a long dead period of our nation's history.
Like his father before him who's book Killer Angels brought to life again the battle of Gettysbugh as seen through the eyes of some of the people found in Gone For Soilders. The characters are well fleshed out and the story moves along well. It should help bring more people to read up on Pre-Civil War America and some of the men whos names are covered in this fine novel.
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