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Thursday, May 25, 2017

"Dragon Flight" -- from the novel by Anne McCaffrey

Lessa is champing at the bit. She is supposed to be Weyrwoman, which is supposed to mean something, but she's kept uninformed and occupied with busywork. She wants to be out flying her dragon with the other riders. Instead, she's memorizing ballads.

She does get to soar, through the in-between, and learns things about herself she never knew.

This is the section connecting the two award-winning novellas, including "Weyr Search" and "Dragonrider". It is the stitching holding these two tales together. It has wonder of its own, but the stitching bears some of the more interesting parts. This section also matches the title, lending the section additional weight.

The section opens with poetry or verse. Lessa, the narrator, is required to memorize and write them perfectly. She calls them ballads, but ballads have a specific structure, which these do not follow. The form requires an ABCB rhyme, with iambic rhyme and alternating four and three feet. Perhaps these are rough translations from the far future. Or maybe the idea of what a ballad is has changed in the far future.

Here's a sample:
Seas boil and mountains move,
Sands heat, dragons prove,
Red Star passes.
Stones pile and fires burn,
Green withers, arm Pern.
Guard all passes.
The lines are taut with strong enough imagery. It even surprises with the changing of "passes" from verb to noun. Separate from the narrative, the verse--while good--are not especially remarkable. But McCaffrey does infuse these with a mythic power. In one of my first workshop classes, a young woman imitated the use of these verses mixed with narrative. Even should a young poet manage strong lines, it is only when Lessa ponders their purpose that they gain particular significance. Just picking at the lines seems to lend verse more gravity.

Should one want a more mythic quality, one might study the old masters like Ovid or Homer in their invocation of Gods and try to extrapolate that into a new context. Most writers, however, will probably not that interested in poetry, so McCaffrey's method should suit writers well enough.


If you've tasted McCaffrey's style before, you already know what I'm about to say and don't care, or you have turned your nose up at her prose and are baffled I am taking her seriously as an artist. As a bestselling author, McCaffrey clearly has plenty of readers where this isn't a problem, but the work tends to explain emotions and motivations, for example:
"Manora regarded Lessa warily. Lessa smiled at her reassuringly."
 Some readers want to be told how to react, some do not.


Much of the novel is about Lessa's striving for her place in the world, which is typical for most young people. But here the context can be viewed through a feminist lens: a young woman jockeying  for position among the other, older men. She has cards up her sleeve that she is waiting to play.

The large speculative treat is the "between" time-traveling. For award-winning stories that first appeared in Analog, the absurdity of time-traveling dragons must have been a consternation to voters. Despite the novellas garnering attention, the novel received no recognition until years later.

And yet the bizarre idea works with readers. Why? One might suspect that it is well integrated into the narrative. It utilizes earlier ideas and brings things that might seemed like chance and made them sound suddenly more probable (if you are willing to suspend disbelief).

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