Reading Room V - The Lads on Holiday - Week 4 - Alfresco by Cherilyn

[moonlightmead.livejournal.com]

Title: Alfresco
Author: Cherilyn
Link: zine story, not online, available in Unprofessional Conduct 8
Pairing: B/D

So the holiday fics have taken them to Bognor Regis, and to northern France and to the Cotswolds, and I believe they are shortly off to Portugal, but at the moment the lads have a weekend off and this time are off fishing. Only they have very different ideas of who is fishing for what...


When I first thought about getting involved in the Reading Room and introducing a story, I think I was expecting that for the first fiction I introduced in the Reading Room, I would go either for something I adored to excess and had a great deal to say about (endlessly...), or for something I really didn't like and could ask people what it was that they liked about it. But of the stories suggested in the initial discussion, funnily enough, Alfresco doesn't actually fall into either of those categories. Which may make it a better choice, because sometimes the stories that engender entirely split points of view get all the attention, and others miss out, especially short zine-only stories. So let's redress the balance.

We are in CI5, and the boys have a weekend off. Bodie is making plans. He fancies fishing.

"Got all the equipment needed for the Great Outdoors, got me rod waitin', got me bait; I just need a bit of stimulating company to make the weekend complete."
"I dunno. Was going to work on the bike," Doyle mused, awaiting further coaxing.
"Could have something a bit more interesting to work on if you play your cards right. Might even get to play tent-poles."
"Oh God. Innuendo before lunch - is it legal?"
"Between consenting adults, yes. Oh, go on, Ray."
"All right, all right; hate to see a grown man beg."
Bodie's lips twitched. "Depends on the situation. I'll pick you up tomorrow morning, about six."

Rarely have I heard such constant double entendres.

It emerges that this is a regular habit. In the dozen previous fishing trips, they have used the fishing rods once, and despite Bodie's talk of camping, they invariably find comfortable hotel beds, generally with company in them. Doyle is expecting the same again, and his preparations and packing are minimal. When the pair of them arrive in a field ("We're not in Kansas any more, are we, Toto?" "Wales." "This is a put on, right?") and Doyle realises that they are apparently going to camp for real, his lack of tent and sleeping bag are joined by his lack of humour, and he gets back in the car. Only to realise that it has apparently chosen now, of all times, to break down. The only way he can make use of the car is to sleep in it. Or there is Bodie's very small tent, which already contains one sleeping bag. And Bodie.

I believe the appropriate phrase is And Matters Proceed From There.

Things I like about this story: the dialogue. The sample above is a bit atypical, because of all the double entendres. But even that dialogue sounds natural enough to me, and the rest of it is entirely plausible and in character. I am not quite so convinced by the narrative descriptions: 'a brief ocular duel' (p.49) doesn't work for me, for example, and I'm not really sure what 'soulful accents' (p.47) are. They do come across as very matey, though, which I like.

The other stories by Cherilyn I have read are two or three pages long (Brief Encounter, Early Days) and 150 pages (Fruit of the Spirit), so she is certainly happy to vary the length! This one is six pages. The pacing is right. One thing I only noticed at the last minute - ie, while writing this - is the way it turns from almost totally dialogue in the first three pages to almost entirely silent (well, no - perhaps not silent - 'wordless' might be a better description) in the final three.

I'm not going to spoil it by going through the 'how' and the detail of the resolution, which often can be the most fun aspect of a story. But I will highlight one aspect: this is a Bodie-as-plotter story. He has totally engineered the situation. It's not just immobilising the car. He absents himself as Doyle flings his luggage into the car, so he can pretend he thought Doyle had brought a tent. He puts Doyle off radioing for help with the single comment that they'd be the laughing stock of CI5. There's a suggestion that at least some of the 'fishing' (ha) trips were planned in order to work up to this one.

I found this refreshing. While I can see Bodie keeping secrets, I tend to imagine Doyle as the sneaky one. But this is a Bodie who is not only sneaky but very thorough about it, right down to knowing how to stop Doyle just getting on the radio. I thoroughly enjoyed re-reading it straightaway and laughing at how apt Bodie's inducements actually are ('got me rod waiting, got me bait' and legal 'between consenting adults') and realising why Bodie claims to need the loo as he picks up Doyle. But I can't remember many others where Bodie does this kind of long set-up (although, funnily enough, sbn3745 just posted a sneaky Bodie story as I was drafting this: Moment of Truth).

So: thoughts?

(1) If you've read it: did you enjoy it? Yes, no, why?
(2) Bodie as plotter? Yes? No? Which of them would you think of as the more likely to conceive and carry off a long-term plot like this successfully? Bonus question: Doyle wonders how long Bodie has been planning this. Any offers?

This is a zine-only story, so for people who have not read this story (as well as those who have)...

(3) Fics with twists, or late reveals that change the set-up: do you enjoy them more or less on the first reading or on subsequent readings? Or do you never read them again, or wait until you have forgotten before reading?
(4) All the fics for the 'Lads on Holiday' reading room are either set in Britain or in fairly nearby countries (France, and I think Portugal is coming up), and a number are fairly active holidays. Is that because we are all being conscientious and thinking 'what were 70s and 80s holidays like in the UK?' Or because we think that Bodie and Doyle would stand approximately 36 hours of lying on a beach doing nothing before finding (or starting) trouble? Or simply chance? There were tons suggested as holiday stories, and perhaps it was just accident that people picked the UK ones. There are fics which put them in cabins on the Pacific coast of America watching monarch butterflies ('In Hot Water' on the Proslib CD) or refer to 'a long-ago Jamaican holiday' (a throwaway remark in 'Shadows Over The Land' - p.55 - which really surprised me), but are they really the kind of boys to lie on exotic beaches? (It's c.1980. If you catch a plane there, it's exotic.) Or do the holidays tend to reflect the experiences of the authors?

Have at it!

Comments

[byslantedlight.livejournal.com]

"Oh God. Innuendo before lunch - is it legal?"
"Between consenting adults, yes. Oh, go on, Ray."
One of my favourite bits... *g*

1 - I did enjoy it! Although actually I thought it was a different fic when I was re-reading it, a longer one - the one where they end up camping for a week or so, I think, except that now I do think about it, that was Doyle plotting to get Bodie up there... (hah, see my paragraph below, which I wrote before this one!)

2 - But I can't remember many others where Bodie does this kind of long set-up
Erm, he did in The High Up Singing and Alive Fruit (http://www.palelyloitering.com/By%20Slantedlight/HighUpSingingAndAliveFruit.htm) (though Doyle did too... *g*) Although now you've said that and I'm trying to think of the opposite - are there many stories where Doyle is actually long-term sneaky to get his own way? You're right, I do imagine him as more... capable of - or wil to use - triple think? *g* but... does he in many stories? Do either of them... I don't think they do in canon either, do they - unless perhaps it can be said that Bodie does, in Wild Justice... hmmn!

Can I see either of them as plotters...? Yeah - and Doyle more so, for some reason, though I don't think that is upheld by canon... Maybe because we often see him trying to figure out Cowley's double- and triple- things, whereas Bodie seems happiest just to go along with things? Bodie seems more happy-go-lucky about things (or perhaps accepting of them?)

3 - If they're good stories then I'll read them again for the joy of the journey... *g* That's what re-reading is to me, it's not the brilliant surprise of the destination, it's the getting there...

4 - Hmmn, the lads on holiday... I suppose I tend to think that Bodie's perhaps exotic-ed out, because after all he's been to Africa and so on - though he does say (is it in Slush Fund?) that he likes sun and... well, other stuff, but I'm sure he says sun! And Doyle always seems happy enough where he is... I suppose that's part of it, that we never hear them talking about going away on exotic foreign holidays in the eps - though that doesn't mean they can't, of course... But when we do see them on holiday it's always at home, even when they have a whole week off in WtHCO...

Whether or not I can believe the lads in a specific holiday destination depends mostly on the author's ability to convince me, I think - that it's them there, not the author, and that they've chosen that place for a reason they really would... In In Hot Water, for instance, I love the way their exhaustion and tension has been built up, so that Cowley sends them away. I also suspect the author just wanted to put them somewhere she loved, but in this case it works for me - because her love of the lads shines out too... Erm... trying to think of one that I believe less... There's a few set clubbing in Spain etc, which I don't quite believe, though they're enjoyable enough stories - I just can't quite see our lads, at the age they are, hitting the dance floors there like that... but perhaps I just have a too-'90s view of those dance floors! I suspect they could afford more expensive holidays, so there's no huge reason why they wouldn't take one, now and then, but... they seem so happy where they are! *g*

[moonlightmead.livejournal.com]

Ooh. Replies!

"I don't think they do in canon either"

No, I think you're right. In canon, there's very little about long-term planning, but then what can you expect when it's a story a week, and self-contained in 50 minutes?

I thought there were lots more examples in fic, but now I am thinking that perhaps my examples were long-term campaigns, rather than long-term planning. And even now, I am having trouble coming up with examples. I was hoping other people would do that!

"That's what re-reading is to me, it's not the brilliant surprise of the destination, it's the getting there..."

Agreed. Sometimes you have to re-read, just to appreciate what is really going on. 'Redemption' is a great example of that, of course.

In Hot Water: "I love the way their exhaustion and tension has been built up, so that Cowley sends them away"

Oh, interesting. I find that - the build-up - fairly unconvincing, but yes, the detail of the place is lovely.

Clubbing in Spain? Hmm, Doyle would probably be muttering, "If we were back home, I'd be nicking him" about anyone imbibing any substance in any club - and half the club owners on general 'if only we had an extradition treaty' principles, surely.

Thanks so much for the reply!

[byslantedlight.livejournal.com]

In canon, there's very little about long-term planning, but then what can you expect when it's a story a week, and self-contained in 50 minutes?
Yeah, but we don't even hear plans they've made for their summer holidays next year! You'd think that sort of thing might come up in chit-chat in the car, and we do hear some of their chit-chat... (And obviously totally disregarding the fact that the scriptwriters/lads were presumably focussed on a little witty banter between them, rather than ordinary chit-chat... although come to think of it, we do get the ask for a raise running chit-chat, and the betting on horses... Hmnn... *g*) We rarely even get "Next time I'm going to..." type things, though... But they do show us that Cowley's into long-term planning (usually of a case) in just 50 minutes... *g*

And even now, I am having trouble coming up with examples.
That's so often my problem! And then I start to wonder if it's an impression more than actual plotting...

I find that - the build-up - fairly unconvincing
Ooh, I'm curious - why's that, then? *g*

[moonlightmead.livejournal.com]

Ooh, I'm curious - why's that, then?

That Cowley is playing matchmaker. Argh! No!

You'd think that sort of thing might come up in chit-chat in the car

I'm trying to remember what comes up, but I can't now. "Le weekend!" is about all I can think of.

[byslantedlight.livejournal.com]

That Cowley is playing matchmaker. Argh! No!
Oddly enough I've never thought of it like that, though I suppose he technically is... I've always read it that he recognised a problem/issue between them, and went about solving it in his usual machiavellian way! And I absolutely do shy away from those fics where he plays matchmaker (or where the lads even feel they "have to" tell him about their relationship...

They chit-chat about expense chits and payrises... the mobile ghetto... erm... *g* Flirty Gert in the 2.30 at Haydock Park... erm...

[shooting2kill.livejournal.com]

Questions are a *good* idea, especially when I can't think of that much to say about a story so thank you for your interesting points! They really do help to concentrate the mind.

If you've read it: did you enjoy it? Yes, no, why?

It was OK, nothing to write home about, really, but to be fair to the story my reading of it was quite cursory, perhaps too cursory to form a proper judgement. Probably because I’m not that keen on holiday stories or stories where they're meant to be having fun etc. or too much humour. I think I prefer B and D hard as nails, dangerous and trying *not* to fall in love but failing. So I do tend to avoid curtain fics, older lads, holidays etc. Having said all that, Et in Italia is a favourite so that just shows you how near-imposibble it is to come up with a satisfying or conclusive answer when trying to analyse/categorise stories.

While I can see Bodie keeping secrets, I tend to imagine Doyle as the sneaky one.

I think we're talking canon here? On TV, at least, I think I see Doyle as the more volatile, vociferous character, thinking aloud rather than keeping things to himself and also sometimes acting *before* he thinks e.g. throwing people off roofs or returning to the scene of a crime and getting involved with a key witness, but I don’t think I’ve ever thought of him as sneaky. Are you thinking of any examples? Bodie can certainly keep a secret e.g.having a spare car etc in Fall Girl so yes, as far as the job is concerned I can see him being a plotter, or at least thinking long-term and I suppose you could argue in a way that’s sneaky, but sneaky sounds so negative ('plotter' can be negative, too, especially if you're being plotted against....) and I don't think planning long-term in Bodie's line of work *is* negative but just common sense. He does seem to have more long-term secrets than Doyle e.g. Krivas and the girlfriend who was murdered. Or maybe it’s more the case that he dislikes talking about himself? (Doyle accuses him of being 'cagey' about his past in Kickback.) Or maybe he just dislikes talking, preferring to stay in the background and listen? As the series progresses he seems to talk less and less but I think that was more to do with Lewis Collins the actor being hung over. But I really don’t feel that Bodie could be bothered plotting over Doyle, or even a girl, to this extent. I think, at least with the latter, he’d just shrug and think they can take me or leave me, kind of thing - more fatalistic. Even Marikka (supposedly the love of his life), does most of the running.

Fics with twists, or late reveals that change the set-up: do you enjoy them more or less on the first reading or on subsequent readings? Or do you never read them again, or wait until you have forgotten before reading?

I suppose it depends on the type of twist and if the rest of the story remains interesting and rereadable with or without it - how much it impacts on the rest of the story. There was one fic where the writer threw in at the end B & D dying. That little twist had very little bearing on the story, therefore seemed quite gratuitous, almost like an afterthought and I think it did spoil things for some readers, but then, as you mention, the twist in the story in Maddalia's Moment of Truth was very welcome, so it depends.

or for something I really didn't like and could ask people what it was that they liked about it

Yeah, I suppose we do tend towards praising or 'reccing' a story when, if it's a *discussion* reading room (as opposed to a 'reccing site), we're just as free to do the opposite.

Sorry for all the edits and thanks for hosting this week's discussion.

[moonlightmead.livejournal.com]

"thank you for your interesting points! They really do help to concentrate the mind."

You're very welcome. I thought that especially with a zine story, it was worth bringing out some of the more general issues. Also, I want to know what people think. Alas, I think everyone is off retracing the lads' steps by going on holiday.

"I prefer B and D hard as nails, dangerous and trying *not* to fall in love but failing"

Totally with you there. Perhaps that's why you routinely destroy my weekends with your Visions series. I end up reading them all. Again.

"I think we're talking canon here?"

Whichever you please! I was actually thinking about fic, but yes, fic based on what little canon we have to work with. I have very few examples, and I am curious where I got this idea myself. Doyle may be the one to describe Bodie as cagey, but in fairness, when Bodie doesn't want to talk about something, he says so. So he warns Doyle off asking more about - hmm, northern Ireland? - with something about "If you think you're getting me to talk about that..". That's not being cagey, surely. Just unwilling to discuss it. Oh, I shall have to find better examples tomorrow.

"There was one fic where the writer threw in at the end B & D dying. That little twist had very little bearing on the story, therefore seemed quite gratuitous, almost like an afterthought and I think it did spoil things for some readers,"

I am almost sure I can guess which this is, and I don't know whether it's fairer to refer to it by name or by quote. I'll go for the latter. It's a fairly long one, and ends with "In fact, they had almost two (something) years, until.." and then what happened, with something about Murphy standing in the ruins or something similar? If it's that one, I really liked that ending! Well, not liked, perhaps... but I could go with that as an ending. I felt like wailing, but I thought it was plausible. The death count in CI5 is horrendous, and they know that, and they choose to stay in it. They're just lucky they're working together in that story. And if it is that one, I know that it has blindsided me not once but twice. I read it in the online Circuit Archive early on, when it hadn't occurred to me to keep a note of who or what I had read. And then I read it on the Proslib CD later. The beginning gives no hint of where it's going to end up, and it was long enough that when I read the beginning, I really had no idea that this was the one that ended up with that ending. So it came as a shock twice!

Thanks for your comments! It was difficult to know which bits to pick to reply to - so much was interesting. May come back later :)

[shooting2kill.livejournal.com]

I'll go for the latter. It's a fairly long one, and ends with "In fact, they had almost two (something) years, until.."

I've only read it once and that was years ago but the story I think it was, was the one you've described (but I don't remember Murphy at the end) but the reason I say 'think' is because every time I go back to check the end it's not as I remember and I wonder if the author changed it? I originally remember it as having a very abrupt, kind of ending, almost a paragraph just added on, whereas the one I've just looked at has the story gently sliding into the end, so it's not nearly as shocking but still unbearably sad. And the original ending left no question as to what happened to them, but I think the one I've just checked is more ambiguous. I might as well name it, Garnet's Trip Through Your Wire. Is that the one you're thinking of?

[moonlightmead.livejournal.com]

Ah, interesting. Trip Through Your Wire is not the one I'm thinking of, no. But I have read it at some stage, now I look at it, and yes, it's ambiguous at the end. I would have said he makes it, actually!

The story I was thinking of was one by Angelfish: Chances. Absolutely no ambiguity about that at all. But one of my favourites,

[shooting2kill.livejournal.com]

The story I was thinking of was one by Angelfish: Chances. Absolutely no ambiguity about that at all. But one of my favourites

I think I'm going mad. Chances has the ending I was thinking of but I'd always thought it was from Trip Through Your Wire! (*And* I've read Chances more than once so I should have remembered..). Thanks for that.

[firlefanzine.livejournal.com]

My first impression of the story was 'nice enough'. Which is really not bad - but also not impressing.
Then I made the mistake to read your (very nice!) rec, before I could built up a more coherent opinion.
And your point #3 made me think:
"(3) Fics with twists, or late reveals that change the set-up: do you enjoy them more or less on the first reading or on subsequent readings? Or do you never read them again, or wait until you have forgotten before reading?"
I would say I agree to BSL with her "If they're good stories then I'll read them again for the joy of the journey... *g* That's what re-reading is to me, it's not the brilliant surprise of the destination, it's the getting there..."
But now I would like to know if I even would like it better, knowing some background information.

So... I tell you later! ;-)

[moonlightmead.livejournal.com]

I know what you mean about 'nice enough'. It made more of an impression on me the first time. Thinking about it, I don't think that's entirely because of the fact it involves a bit of a twist. I think it's because I first encountered it in context: that is, sandwiched between a cheerful O Yardley Christmas story (which also has a one-liner in the final line, funnily enough) and Eleanor Hamilton's Blaze of Glory, which is not at all a light read. Looking at my introduction, I realise I entirely forgot all about that context and was looking at it just on its own.

There is probably an entirely separate discussion to be had about how you put stories together in zines and how reading them in different orders affects your perception of them. Might be worth a separate post on a quiet day.

So... I tell you later! ;-)

Grin, you mean you are going to re-read it again? If you get side-tracked and read the other stories too, let me know whether it changes!

Alfresco?

[firlefanzine.livejournal.com]

Second reading.
Well, not much change in my opinion. Some witty moments, but it doesn't really touch me deep inside. Now knowing what Bodie was up to with his loo tactic for example, is not really mind-blowing. ;-)

"But I will highlight one aspect: this is a Bodie-as-plotter story."
I'm no native speaker, but isn't 'plotter' too strong for that? I mean, it's not one of Cowley's triple thinkings.
In fact they both enjoy the outcome... *g*

"There is probably an entirely separate discussion to be had about how you put stories together in zines and how reading them in different orders affects your perception of them. Might be worth a separate post on a quiet day."
For me it's maybe important with a music CD. But with stories, I don't know... I think I never have read the stories of a zine in 'the real order'. I always pick the stories I'm interested in first. And most of the time there are at least hours, maybe days or weeks between the stories.

"Grin, you mean you are going to re-read it again? If you get side-tracked and read the other stories too, let me know whether it changes!"
Well, certainly I wouldn't read that death fic! *runs and hides*
'And Shadows Over The Land' isn't my cup of tea either, it's with a Doyle as a gay rights activist, right? And the Garnet story is too 'ambiguous at the end'...
LOL! No side-tracking this time! ;-)

Btw - should I know what 'Alfresco' is? *scratches head*

Re: Alfresco?

[moonlightmead.livejournal.com]

I'm no native speaker, but isn't 'plotter' too strong for that?

I don't think plotter has to mean something bad. A plot very often is, but it can also just mean a secret plan - a plot to arrange a surprise birthday party, for example.

Well, certainly I wouldn't read that death fic!

Ah, no, I meant, 'if you read We Three Kings, and then Alfresco, and then (erm...) the one straight after'. Not the others. I wouldn't ask you to read all those!

Btw - should I know what 'Alfresco' is?

Oh! Excellent point! I am the one who likes titles and context and all that jazz, and I completely forgot. I think I would spell it 'al fresco', but the dictionary tells me that I am wrong. In English, alfresco, and it comes from Italian. And it means 'in the open air'. Thanks for picking that up.

[sc-fossil.livejournal.com]

I think it's a nice little fic with a twist that wasn't hard to work out beforehand. But that being said, I enjoyed it. It's not supposed to be a great epic, but merely a bit of prose to enjoy.

I'm impressed that you got to page 55 in SOTL. *bg*

I didn't really give much thought to Bodie being a plotter. It's in the story so I took it at face value.

I like fic with twists. I like to think I know what's what and then being totally surprised (but in a delightful way). The fic you mentioned, with the lads dying in the final line, is not a fav of mine, although I enjoy that author very much otherwise.

Thanks!

[moonlightmead.livejournal.com]

It's not supposed to be a great epic, but merely a bit of prose to enjoy.

Yeah, I agree, and I did enjoy it. As I said to firlefanzine, I am now wondering whether I enjoyed it more the first time of reading and re-reading not because it was new to me, but because it was in a zine. It really stands up excellently when it's paired with the story which follows it, which I liked very much, but which is much angstier.

Shadows On The Land is one of the zines I was thinking of when I responded to your zine thoughts and said I had recently read a couple and was thinking of posting my opinions. It strikes me as an example where knowing something about the context of the writing of the thing probably makes a big difference to how you receive it.

I also enjoy twists. Not so much the 'villain revealed as least expected character, to chorus of "You!"' sort of twist, but the twists about character's viewpoints and perceptions of each other.

[siskiou.livejournal.com]

First, thanks for picking this story, because it is one I remembered the plot of, but not the author or title, when we were looking for camping stories a while back.
So, the twist was no surprise for me this time around. It was what I remembered most of the plot, though.

I enjoyed the story, and also noticed how the feel of it changed from very vocal to much less so, and for some reason I enjoyed the first part more. Not sure why.
Bodie has it all planned out, but he just assumes Doyle has packed for camping, even if they never actually did during all their previous fishing trips? Or was it part of his plan to get close to Doyle (one tent, one sleeping bag).

Interesting question about the plotting. I don't really think of either as a plotter. That's Cowley! But it's fine with me in this story.

Regarding re-reading: I often enjoy a story more on the second read, when I'm not rushing so much and know what to expect. I'm one of those readers who loves spoilers.

I hadn't realized that all the stories picked were set in England. Maybe it's where we feel the lads belong, or maybe it was sheer coincidence.

[moonlightmead.livejournal.com]

Hiya, and thanks for your comments!

I have recently read - and perpetrated myself - quite a lot of fic where the boys are very vocal in bed. I thought it was quite a nice change to see 'mumbled protests' and the like instead of long exposition about when exactly they fell for each other. However, yes, for some reason, I enjoyed the first part more too.

"Bodie has it all planned out, but he just assumes Doyle has packed for camping, even if they never actually did during all their previous fishing trips? Or was it part of his plan to get close to Doyle (one tent, one sleeping bag)."

I get the impression that he knows perfectly well that Doyle won't bring a tent or sleeping bag. He manufactures a reason to be out of sight when Doyle puts his stuff in the car. If he'd seen one overnight bag and nothing else, and said nothing to Doyle, and then delivered them both in the field, Doyle would be certain to bring it up immediately: "You saw what I packed, one bag, did you think I had a sleeping bag hidden in the toothpaste?" Because he was out of the way, Bodie can pretend he didn't know.

The more I think about the plotting, the more I think you're right. Carrying out plans, yes. Making the plans, though, not so much. Even undercover. I think we see them relying on quick wits much more than elaborate planning: Doyle claiming to have been in the marines when questioned by Shelley; Bodie becoming the Scouse burglar when caught in (argh, who?) someone's house. But Cowley, now... yeah, much more plotty. Although I think my view of Cowley is much bleaker than most people's. I will believe almost anything of him. I'm not sure he's always bluffing in the interrogation room.