After experiencing the tension, drama, and heartache of Here Burns My Candle, you may have been surprised to find several lighthearted moments in Mine Is the Night. What is gained by adding a touch of humor to a scene and to this novel in particular? Think of one bit of action or dialogue you found amusing or entertaining. Why did it appeal to you, and what did it reveal about each of the characters involved? Since laughter and tears are at one end of the emotional spectrum—and apathy is at the opposite end—we often move rather quickly from one heightened emotion to another. Which scene in particular moved you, and why might that be so?
Restoration and redemption are the twin themes of Mine Is the Night. After many losses what is restored in Marjory’s life? In Elisabeth’s life? When someone is redeemed, he or she may be rescued, set free, delivered, or bought back, depending on the situation. In what ways are Marjory and Elisabeth redeemed? And how do some of the other characters experience redemption? Roger Laidlaw perhaps, or Fiona Cromar? Are there any characters in the novel whom you consider beyond redemption? If so, who and why?
Imagine Marjory, Elisabeth, and Anne ten years hence. What might their lives look like in 1756? Where are they living, how are they spending their time, and what is the condition of their hearts? The epigraph chosen for our Readers Guide states, “A woman’s whole life is a history of the affections,” suggesting women tend to measure themselves by the success or failure of their relationships with others. Do you agree or disagree, and why? What might your own life look like in ten years, particularly in regard to your relationships with those you love?
Readers who favor historical fiction are quick to explain their preference. Cynthia from California wrote, “It transports me to another world and enlightens and enriches me while I am entertained.” And Christine from Indiana said of historical fiction, “It carries me away to another time and place where people lived, loved, and were finding their way just as I am today.” If you prefer contemporary novels, what reasons could you offer? And if historical novels are more to your taste, what do you enjoy about them? When you reach the last page of any novel, what emotion do you most want to experience?
For more about the author, visit www.LizCurtisHiggs.com.
Scottish Glossary
a’—all
aff—off
ahint—behind
ain—own
Almichty—Almighty
anither—another
atween—between
auld—old
awa—away, distant
aye—yes, always
bairn—child
bethankit!—God be thanked!
blether—jabber, gossip
bliss—bless
blissin—blessing
braw—fine, handsome
brig—bridge
Buik—the Bible
burn—brook, stream
byre—cowshed
cauld—cold
close—passageway, courtyard
coo—cow
creepie—low chair, footstool
deid—dead
dominie—schoolmaster, teacher
doon—down
dreich—bleak, dismal
dwiny—sickly, pining
faither—father
fash—worry, trouble, vex
foy—party, feast, celebration
freen—friend
gane—gone
gie—give
girdle—griddle for cooking
gowf—hit, strike, slap
gracie—devout, virtuous
granmither—grandmother
greet—cry, weep
guid—good
ha’—half
hame—home
heid—head
heidie—headstrong, rebellious
heiven—heaven
het—hot
Hielands—Highlands
hoose—house
hoot!—pshaw!
howdie—midwife
hurlie—trundle, move about on wheels
ilka—each, every
ill-kindit—cruel, inhuman
ither—other
jalouse—imagine, presume
ken—to know, recognize
knowe—knoll
lands—tenement houses
lang—long
leal—loyal
leddy—lady
leuk—look
loosome—lovely
Luckenbooths—locked market stalls
luve—love
mair—more
mebbe—maybe, perhaps
meikle—great, much
mem—madam
mercat—market
micht—might
michty—mighty
mither—mother
monie—many
muir—moor
nane—none
nicht—night
niver—never
noo—now
och!—oh!
onie—any
oniewise—anyhow
oo aye—yes (from French oui)
oor—our
oot—out ower—over
pend—vaulted passageway
praisent—present, gift
puir—poor
richt—right
scoonrel—scoundrel
sma’—small
souter—shoemaker
spurtle—porridge stick
stayed lass—old maid
syne—since, ago, thereafter
thegither—together
thocht—thought, believed
tolbooth—town prison
toun—town
tron—public weighing machine
verra—very
wa’—wall
walcome—welcome
wark—work
weel—well
wha—who
whan—when
whatsomever—whatever
whaur—where
wheesht!—hush!
wi’—with
wird—word
wynd—narrow, winding lane
Mine Is the Night Page 44
