Blood & Honey
The First Performance: Reid
by Mahurin, ShelbyThe chapter opens with a vivid scene in Domaine-les-Roses, where Claud performs on a frozen fountain, playing a mandolin while the audience revels in the music. Seraphine’s hauntingly beautiful voice captivates the crowd, creating an atmosphere of unearthly passion. Reid, however, remains sullen and uncomfortable in his performance attire, which includes a shirtless costume and kohl-lined eyes. His discomfort is compounded by memories of his past as a Chasseur, contrasting sharply with his current debased state as a performer in a bizarre, feathered ensemble.
Reid’s mother, Madame Labelle, attempts to ease his tension with rose petal wine, but he rejects her efforts, irritated by his costume and the town’s eccentricities. The villagers’ festive attire and behavior—particularly their admiration for Toulouse and Thierry—further alienate him. Madame Labelle teases Reid about his admirers, but he remains steadfast in his loyalty to Louise, despite her insistence that “Louise Larue” doesn’t exist. Their exchange grows tense as Reid challenges her about his own identity, highlighting his internal conflict between his past and present selves.
The conversation shifts to the villagers’ celebration of Imbolc, a pagan festival, which Reid finds shocking given his Chasseur background. Madame Labelle mocks the Chasseurs’ ignorance of northern traditions, provoking Reid to defend his former comrades. Her casual mention of “Mother’s tits”—a reference to the Triple Goddess—throws Reid into further discomfort, revealing his deep-seated aversion to his cultural heritage. His refusal to engage with these traditions underscores his struggle to reconcile his rigid upbringing with the world he now inhabits.
The chapter closes with Reid’s visceral rejection of Madame Labelle’s attempts to educate him about pagan beliefs, culminating in his frantic retreat from the conversation. His discomfort with the topic and his mother’s teasing highlight his internal turmoil and resistance to embracing his roots. The scene paints a poignant picture of a man caught between two worlds, clinging to his past identity while being thrust into a reality that challenges everything he once believed.
FAQs
1. How does Reid’s discomfort with his performance costume reflect his internal conflict about his changing identity?
Answer:
Reid’s physical discomfort with his revealing costume (leather trousers, no shirt, horned mask, and kohl-lined eyes) mirrors his psychological struggle with his shifting identity from a disciplined Chasseur captain to a circus performer. The text reveals his humiliation through phrases like “ridiculous” and “debased,” showing how these forced changes violate his former self-image. His concern that fellow Chasseurs might recognize him underscores his lingering attachment to his old identity. The costume becomes a symbol of his unwilling transformation, with the bandolier strapped to his bare chest representing both his martial past and his exposed vulnerability in this new role.2. Analyze the significance of the cultural references (swan feathers, Imbolc) in Domaine-les-Roses. How do they contrast with Reid’s upbringing?
Answer:
The swan feathers worn by villagers (honoring the Maiden) and their preparation for Imbolc (a pagan festival) highlight the persistence of witch-associated traditions in northern towns, directly contrasting with Reid’s Chasseur indoctrination that vilifies such practices. Madame Labelle’s comment that Chasseurs are “thick-witted” about these symbols reveals a cultural divide—Reid was never taught to recognize witch culture despite hunting witches. This scene emphasizes how Reid’s worldview is being challenged, as he’s confronted with evidence that these traditions are openly celebrated rather than being the evil he was trained to eradicate. The bonfire preparation particularly connects to Lou’s past, further unsettling him.3. How does the exchange about “Mother’s tits” serve as both comic relief and thematic development?
Answer:
This humorous misunderstanding (Reid thinks Madame Labelle refers to her own anatomy rather than the Triple Goddess) lightens the tense mood while advancing key themes. The scene develops Reid’s religious/cultural ignorance—his visceral rejection of witch theology (“No, no, no”) shows his deep discomfort with unlearning Chasseur dogma. Simultaneously, it reinforces Madame Labelle’s role as his reluctant guide to witch culture, using shock tactics to break his resistance. The maternal imagery also subtly ties to Reid’s unresolved feelings about his mother (a recurring theme), making his overreaction psychologically revealing beyond the surface comedy.4. What does Reid’s interaction with the blond admirer reveal about his character and emotional state?
Answer:
Reid’s dismissal of his female admirer (“I’m not interested… I’m married”) demonstrates his enduring loyalty to Lou despite her assumed identity as “Louise Larue” being fabricated. His internal thought—”These girls aren’t Lou”—confirms his singular devotion. Madame Labelle’s teasing (“the inexorable Saint Reid”) ironically highlights his rigid morality, now redirected from Chasseur dogma to marital fidelity. This moment also shows his alienation from normal human interactions; where others enjoy the festival’s revelry, Reid remains socially and emotionally isolated, judging the villagers (“look like birds”) from his stoop like an outsider.5. How does the chapter use sensory details to create contrast between Reid’s perspective and the festival atmosphere?
Answer:
Vivid sensory descriptions emphasize the disconnect: the square reeks of “vitality” (fritters, rosemary, shouts, and music) that Reid finds dissonant with his grim mood. Where villagers experience sticky fingers, laughter, and Seraphine’s “unearthly” singing as joyful, Reid perceives them as bizarre (“bizarre town”). Tactile details—his itching kohl, the cold bandolier on bare skin—keep him hyperaware of discomfort, while others dance on ice without slipping. This sensory contrast mirrors the thematic tension between repression (Reid) and liberation (the witches/villagers), with Reid’s physical irritation externalizing his psychological resistance to the worldviews around him.
Quotes
1. “Her voice rose above the crowd. Unearthly. Passionate. Too beautiful to be human.”
This quote captures the mesmerizing and almost supernatural quality of Seraphine’s performance, setting the tone for the magical realism that permeates the chapter. It highlights the contrast between the human and the otherworldly in the story.
2. “I’m not a saint. I’m married. […] A name isn’t a person. I don’t care what a stupid piece of paper says hers is. I made a vow, and I will honor it.”
Reid’s defiant declaration underscores his unwavering loyalty to Lou despite their complicated circumstances. This quote reveals his internal conflict between societal labels and personal commitments, a central theme in his character arc.
3. “You are far from Cesarine, my dear. […] In the north, the old ways are still more common than you think.”
Madame Labelle’s remark highlights the cultural divide between different regions in the story’s world. This quote is significant as it introduces the theme of hidden traditions and challenges Reid’s preconceptions about witchcraft and local customs.
4. “Mother’s tits, you are petulant.”
This humorous yet revealing exchange between Reid and Madame Labelle showcases their complex relationship while introducing elements of the story’s pagan mythology. The quote stands out for its bluntness and the cultural insight it provides about the Chateau’s traditions.
5. “They clapped and stamped their feet to Claud’s mandolin, shouting praises. Fingers sticky from honey almond fritters. Rosemary biscuits. Seeded rolls. I frowned. The entire square reeked of vitality. Vitality—not fear.”
This vivid description contrasts the joyful celebration in Domaine-les-Roses with Reid’s discomfort, emphasizing the cultural dissonance he experiences. The quote is particularly evocative in portraying atmosphere and character perspective.