peter rietbergen

Disciplinary action? Whatever its form, it comes too late to restore the memory of the ship as a one-purpose community. To do that, more is needed.

The terrible consequences - in a close/closed cmmunity - of one man's self-deceit and jealousy. This is, in every sentence and sense, a gruesome chapter.

I do like this story but, to be quite honest: I find Jonah not believable. He is far too articulate and sharp-witted for a boy his age. It is as if an adult is speaking through him - which, of course, it is, precisely.

interesting, again. But then: did i miss a moment in the story where we actually see/feel that Lynton asks himself what Alexander "sees" in him? Assuming you mean this kind of "seeing" to refer to the question: what Alexander really feels about him? Not as an - almost Brad-induced, incidental - college friend but as someone who has a deeper appreciation of him?

You may be right. But I'm trying to deduct - from the info the author gives us - what, exactly, Alexander (a supposedly smart, academical, intellectual boy/man who's apparently also emotionally strong) actually "sees" in Lynton?

“You’re smart, Lynton. Figure it out.” Actually, this short appraisal/admonition poses two questions. The obvious one: in the present, after so many years, Lynton has not succeeded, yet. But: why does Alexander, afater some (how many?) years as a friend/fellow student, feel that Lynton is smart in the first place? Diligent, yes. Hard-working, definitely. Trying to be a good friend - that, too. But smart?

It feels strange, Clara. To be doing nothing wrong, and yet feel accused. To know the danger lies not in the act, but in its appearance. And yet, I would not take it back. Not the sitting by his cot. Not the moment when he woke and looked for me. Not even the quiet days when, for just a breath, I thought I was seen, not as a midshipman, but as someone of consequence. This, alas, does apply to far more human relationships than - even now - the male/male one. If only because, for innumerable reasons, so many people are jealous when they see affection/love given to others than themselves.

take you time. i do realise one cannot write "on command".

part of the text repeats itself.

So much better than "Emily in Paris". Of course, it still was/is a rom-com - of sorts, or, to put it otherwise: with a twist. But, despite a few hackneyed turns-of-phrase, it also is very well written, with both humor and sarcasm. Please, please: do not provide a sequel. It would dispel the magic of this short story...

I adisagree. True, one might have thought Luke would make a difference. But as far as the author lets us know: not to Lynton and Alexander. Both have someone else in mind.

as I am, even thus far into the story. Inevitably, as with so many of your band of devoted readers, i hope for a "happy end". But I do not know if, given the way(s) you describe their characters, interactions, they really suit one another. But then: how many couples do. Or, what actually is "suiting one another"....

Reading the previous three, four chapters, and now this one, I fully realise that the story isn't, really, about Graham and Matt, but about Graham and Vince. How stupid of me not to have seen this earlier...

“You NEVER learn your lesson,” Wil shook his head, laughing so hard he was almost crying. “Hot boy shows up, and all your sense goes right out of the window. ...." is this the essence of "Jimmy's" life ?

This is, once more, a very moving chapter. One might even argue that whatever problems the author has in store for his characters, he at least gave them this...

Perhaps, but, indeed, depending on the moment Pitt actually left England. Since I am, perhaps, the most ardent admirer of your story, I am - inevitably? - also the most nit-picking one... I'd like, in a much wider sense, to raise the question of the availability of postal services, specifically regarding the exchanges of letters - one of your truly inspired narrative strategies. The dates of sending and arrival - in this case from the Caribbean to England and vice versa - assume some kind of regular meeting-up between, either, ships at sea - not that likely - or of shorter or longer periods at some Caribbean port. But those, in their turn, would have to coincide with the departure/arrival of ships homeward-bound or, again, recently arrived. It is my impression that normally the time-scale for any letter would be (one-and-a-half or two) months rather than (four?) weeks, als taking into account the postal servcie in England itself. But I may be entirely mistaken....

Fascinating: William (Pitt) and Blake (Jamie). The poem. (and we had "Jerusalem" last saturday...) Such a very apt choice - though i seem to remember the poem, or at least these lines, were first published in 1808/1909 - and therefore, given the chronology of your ship's movements, couldn't have been in Pitt's possession. But who cares: you make such splendid and, also, emotionally-profound use of the possibility of Pitt's owning them- and, perhaps, even, of its impications: to walk in England, again.

Ah, but - luckily for the story-writer - there are so many Venetia's around. We recognize them, ever since Dickens wrote about one - wasn't it in the Pickwick Papers, or was that the one who dabbled at poetry herself? Anyway: a 'starving' artist's bread-and-butter depends on them, too...

Thanks for a very funny and, more to the point: apt description/analysis of what it takes to create an audience/readership/buying public for 'culture', today, epsecilally if it isn't obviously 'popular culture'. For the 'content makers' it's definitely not an easy game to play, and, yes, young adults probably know best how to deal with the publicity problems.

Indeed. But perhaps I should have been more specific: what happens if two persons know they love each other and yet also know they cannot, should not live that love. Not because of material/physical restrictions (r.g. distance) but ethical/moral ones.

Can one live with the certainty that love is there and yet cannot be lived?

If only more kids had an imaginary friend to guide them to adulthood. But, of course: even beyond that stage we need to use our imagination to survive life's crises. Thanks for this chapter.

I still wonder how old Lynton is. Not in years but in some basic understanding of what's happening around and to him. He often reacts not like an adult, not even a young adult, but like a child and, indeed, a stupid one at that. If only therefore I can't even begin to imagine what Alexander sees in him.

emotionally compelling, and structurally clever.

I'd never have thought the man who wrote this also is the author of "Down in The Holler".