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Backend notes


Neyu <--> Vikrannu - Damamat culture is very spur of the moment, take things as they come and adjust accordingly. Mentally flexible. Reflects mobile, sea-going lifestyle and possibly indicates a kind of social structure based on tight groups of friends, family, associates. Neyu comes from a more steadfast kind of culture, long-view planning, patience. Things always doen with assistnace. This kind of reacting-in-time is new to her, and is something Vikrannu does well. --Adminwiki (talk) 00:00, 3 April 2013 (UTC)


Lives on a large farmstead run by her family on an agrarian subcolonial world (Radi, portions of which are held and governed by homeworld states. It is a "suburb" to a more developed industrial colonial world (Gantu) that operates as a trading clearinghouse for the materials and resources coming from local systems.

Neyu comes from a steadfast kind of culture, long-view planning, patience. Things always done with assistance, both familial and governmental (government seen as "over-family?"). Deliberate, considered. Also always done with elders' or experts' advice. Considering her pre-story story, there's already signs of societal stress. We only see her parents and siblings, and see one aunt who lives a distance away perfomring different agricultural duties. What's causing this stress? Are people being conscripted? It puts Samsithi in a different light.

Are there other pressures? Possibly disease, or poor terraforming? A combination is more likely. Maybe Radi is a struggling colony, barely able to keep itself in the black in terms of resources and money. There's simply not enough money for most people to get off-planet and back home, or at least back to Gantu.

This means that Vikrannu deals frequently with stowaways. Need to think how she usually handles them. This is why she knows she can leverage techie help when trying to get off-planet -- they want to leave, and they know her ship is their ticket off world.

Polyphony and dialogic self

If we assume that identity is constructed from various voices and viewpoints held by a given person, which can change over time, and which the person can adopt to differing degrees in order to adapt to changing environments and situations, then a character arc, in which a character expressly goes through some kind of change, or resist a change because of personal belief or will is all about dialogic self. Just as a story arises from the tensions between characters interacting in it, personality and identity (maybe not personality, look that up) arise from the tensions of these different viewpoints and ideologies in the mind. Less a mirroring than operations of concatenated circles, like gears within gears.

Chapter 1 summary

  • If family is paramount for Vaasith, then using every method possible to contact her brother and sister makes sense. She has to let them know that her parents are missing, possibly dead, that her aunt is definitely dead, that the farm has been overrun, and that Pukka has just been killed in a bombing run. (This changes tenor of the events happening on Radi prior to teh start of the story.) --Adminwiki (talk) 02:03, 3 June 2013 (UTC)