We have finished Part One now, and the rest of the book is divided solely into sections of Parts 2 – 7. The reason is clearly that restricting an entire chapter’s events to one day was becoming too confining, and this chapter goes through several days to allow for a faster pace.

This is Part Two. I know! Already, we’re so close to the end!


The new part begins with the term “fair comment” defined in the Local Council Administration.

A very important law. I wonder how it will relate to events in the story.


Now  we get the depressing, solemn, excellent, writing about Barry Fairbrother’s death that I expected from the last one! It’s as if she was deliberately playing with our expectations, although I wouldn’t go so far as to believe that’s the case.

This is a writing style I don’t think Rowling has used since the first chapter of Harry Potter and the Philosopher’s Stone. We abandon all perspectives now, and simply get the voice of the “omniscient narrator” writing about the town. It’s wonderful, beautiful writing, but then something related to the plot comes in very shockingly in its suddenness.

A copy of the Yarvil and District Gazette stuck out of Mrs. Catherine Weedon’s door in Hope Street for three days, until it became sodden and illegible. Finally, social worker Kay Bawden tugged it out of the letterbox, peered in through the rusty flap and spotted the old lady spread-eagled at the foot of the stairs. A policeman helped break down the front door, and Mrs. Weedon was taken away in an ambulance to South West General.

WHAM. Barry’s isn’t going to be the only death, is it? However, this vacancy doesn’t appear as if it will be very casual. As human nature is mutable, so is human death, I suppose.

And after this we get yet more brief description of the Square and then the perspective goes to Howard in his study. We get some interesting material about the election that furthers the plot and then more material about Nana Cath’s collapse.

I’m glad to see the election plot being furthered. We are getting ever closer.


We now go to Miles and Gavin at their legal firm. Again, these events don’t feel scripted. It feels like things naturally playing out as Miles excuses himself and goes to Howard’s deli and waits in the back room to speak with Howard. Their conversation feels natural, too, well written. But… there’s not much of a point to it, and it’s kind of a drag to read. I don’t know. I like to see more of the political plot forming, and it’s good to see some of it being set in motion.

But we have completely abandoned the politics plot as we go to Gavin and Kay in Gavin’s kitchen. I suppose the logic was that we had just seen Gavin at the beginning of work and followed Miles, so now we should go with Gavin.

The psychological insights are very good and interesting. This relationship is depicted very well, but I just can’t see where it’s going. You can’t do much with it except write this scene over and over again.

Also, I thought Gavin was having an affair with Kay, but he doesn’t appear to have a wife, and Kay doesn’t appear to have a husband, since

Gavin appears to have an ex-girlfriend or an ex-wife named Lisa, but what’s the problem? It’s just that Gavin doesn’t want Kay, I guess?

I really like how intricately connected all this is, but… well, what do I say? Blah blah blah, good psychological insights, good relationship depicted, nice to know more about Barry, it’s like a real conversation, but where can it go, everything I’ve said before, let’s move on.


Now we are firmly in the 2nd-person POV of Samantha. Rowling is giving us a lot of insight into the female mind and dysfunctional relationships. I didn’t really think Samantha was such a petty person, though, but I wouldn’t say it’s out-of-character.

Miles goes off to dinner with the Fawleys and his parents, and Samantha is home alone. The scene is done well, and then we get more insight into problems in Samantha’s life with the shop. And then in parenetheses we are given the full story of how Samantha married Miles, why. It provides a good explanation for her dissatisfaction with her marriage. She, too, is in a relationship just as bad as Kay and Gavin’s, and we can tell why and sympathize with her, though not as much as Gavin, since she isn’t as sympathetic a character. (In fact, Shirley and Howard are the only couple that don’t appear to have any relationship problems. They’re both selfish, horrible people, so I guess they get along fine.)

The subsequent conversation with Miles and Samantha is done well, with the reasons for her dissatisfaction seemingly complex. How does him being on the council cause this? But at the end it makes perfect sense.

The council: if he got on it, he would never get off; he would never renounce his seat, the chance to be a proper Pagford big shot, like Howard. He was committing himself anew to Pagford, retaking his vows to the town of his birth, to a future quite different from the one he had promised his distraught new fiancée as she sat sobbing on his bed.

When had they last talked about traveling the world?? She was not sure. Years and years ago, perhaps, but tonight Samantha decided that she, at least, had never changed her mind. Yes, she had always expected that some day they would pack up and leave, in search of heat and freedom, half the globe away from Pagford, Shirley, Mollison and Lowe, the rain, the pettiness and the sameness. Perhaps she had not thought of the white sands of Australia and Singapore with longing for many years, but she would rather be there, even with her heavy thighs and her stretch marks, than here, trapped in Pagford, forced to watch as Miles turned slowly into Howard.

And I have a feeling these feelings are going to lead up to something in the plot, too.

This is the best section in this chapter so far. I honestly enjoyed it, and think it is done very well. (Although the “Masionic handshake” comparison is very strange, as another reviewer pointed out. Perhaps it would be more familiar to native readers.)

I said starting this that every 9-year-old in the country was going to read this book, and I certainly hope not, because they will be very disappointed. The target audience for Rowling’s Harry Potter  novels will likely find this book very boring, and I imagine many of them have and will simply toss the book their parents foolishly bought them under the delusion that it would be “just like Harry Potter” in the garbage in anger. This is subtle writing for adults, and is written to be appreciated by adults, and mature teenagers.


Alison Jenkins, the journalist from the Yarvil and District Gazette, had at last established which of the many Weedon households in Yarvil housed Krystal.

Glad to see Krystal’s interview isn’t going to be abandoned, after all! But unfortunately Krystal isn’t home when the reporter arrives and Terri doesn’t trust the reporter and doesn’t confirm that Krystal lives there, so Krystal has an argument with her and goes off to the mall with her friends.

As you would expect, someone (her aunt Danielle) then calls to tell her about Nana Cath in the hospital. She had a stroke, but is still alive. All the same, I have a feeling she will be the next vacancy.

Sara Gruen would have taken us to the hospital in a paragraph with a one-sentence line about how sad Krystal is or how she can’t believe it, and then we’d just walk through the rest without any actual human insight. Rowling is about as far from that as is humanly possible. As Krystal takes the bus to the hospital, we are told how she feels about the idea of Nana Cath dying, a history of death in her life, and her relationship with Nana Cath. With the exception of the first, all were shown previously, but it is good to get elaboration. This is very interesting, compelling writing. I like that she gets in depth, and lets us know what she’s experiencing.

There is one part that reminds me extremely of Gruen’s writing and bothers me a lot, though:
Krystal never knew whether she and her Tully cousins were supposed to be on speaking terms or not, and no longer bothered keeping track, but she spoke to Dane whenever she ran across him. They had shagged, once, after splitting a bottle of cider out on the rec when they were fourteen. Neither of them had ever mentioned it afterwards. Krystal was hazy on whether or not it was legal, doing your cousin. Something Nikki had said had made her think that maybe it wasn’t.

I’m sorry. What? WHAT? Many reviewers have said that this book felt like Rowling threw too adult material in just for the sake of writing an adult novel, and this is one of the first times I felt that way, too. Krystal had sex with her cousin, and this is just mentioned casually, for no reason, as if it’s no big deal. If this becomes important later on, I’ll apologize. But right now it is extremely glaring.

All the same I do like this section. Krystal’s experience is very well explored. I liked how we got to know so much more about her family. And the subtle detail that Rowling recognized the steps a journalist would have to take to locate Krystal and brought it up again in the logical place (Danielle mentions a journalist calling about her).

And the scene with Krystal in Nana Cath’s bedroom is very emotional, but I wish we got a little more of Krystal’s emotions in it. It’s very annoying how the action is cut to give us more family history, which should have been given before Krystal and her aunt entered the room. Nothing should disturb this emotional scene with Nana Cath’s bedroom or it cannot make its full impact. But once that stops, the scene does manage to be fairly moving.

“Yeah,” she whispered to Nana Cath. “Yeah, I goes rowin’, Nana.”
But it was no longer true, because Mr. Fairbrother was dead.

One brief remark: I thought it was strange when we were first told way back on Monday that the rowing team would be canceled because of Barry Fairbrother’s death. I can’t help but think that the rowing teacher would be replaced. I know it would take time, and maybe it was just a thing Barry set up?


We are immediately swept into a scene with Andrew and Fats, where we learn how Simon reacted to Andrew informing him of his mistake.

He and his father had been in the woodshed, filling the baskets that sat on either side of the wood burner in the sitting room. Simon had hit Andrew around the head with a log, knocking him into the pile of wood, grazing his acne-covered cheek.
D’you think you know more about what goes on than I do, you spotty little shit? If I hear you’ve breathed a word of what goes on in this house—-
I haven’t—
I’ll fucking skin you alive, d’you hear me? How do you know Fairbrother wasn’t on the fiddle too, eh? And the other fucker was the only one dumb enough to get caught?

I found this very interesting to read. This is a perfect in-character reaction from Simon and I’m glad it was included. I thought Andrew might simply decide not to tell him for fear of this reaction, which would have been smarter.

And now excitement comes.

Sabotage. Andrew brooded on the word. He wanted to bring his father crashing down from the heights to which his dreams of easy money had raised him, and he wanted to do it, if at all possible (for he preferred glory without death), in such a way that Simon would never know whose maneuverings had brought his ambitions to rubble.

I love all of it. The story is finally going somewhere. The political intrigue is going to be excellent, I can tell. This is great writing setting up great writing. However, this theme seems to end so abruptly. Rowling writes “But then came the hour that changed everything“, and the story changes to telling about him going into town to stalk Gaia to Mollison and Lowe. The scene is portrayed well, again like it’s playing out rather than being written for a book, and I like how it cleverly kills 2 birds with 1 stone for Andrew: Simon can’t tell him to get a job anymore, and now he has a chance to get to know Gaia.

(Also It’s a bit odd how Howard seems to be almost attracted to Gaia. I get that he wants a cute teen waitress, but the way it is written is awkward.)

And we learned that Gaia actually does know Andrew exists. She has noticed him and identified him at least. The revelation that Andrew had a near-death experience was a bit odd, though. You’d think that would be a bigger issue for him.

The writing of Andrew going up the hill is very good. Things are going right for Andrew, and instead of how Gruen made us feel Jacob’s happiness with how things are going for him by simply having him tell us that was how he felt, we are told how things are going well for Andrew and coupled with the detailed description of his mood and the effect the writing goes us, we share his feelings.


This is a character-driven story, and these are characters. Consistent characters, well-done characters (also well-done puns; but “Over the Shoulder Boulder Holders” isn’t really the name of their store, is it? It just can’t be!).

I’m glad to see Mary again. I think that this story should focus more on her. I mean we get a lot about how everyone else reacts to Barry Fairbrother’s death, but only a few short scenes and snippets of Barry’s family’s reactions. I suspect this was intentional on Rowling’s part, perhaps that this would be a challenge or unexpected to focus more on how everyone else reacted.

The problem with this book is I find that I really have no choice but to say the same things over and over again. These are good scenes that feel as if they are playing out rather than having been scripted, and these are very good characters.

And that’s what I think of this section, too. The dialogue especially is good, how the characters clash is good. Although I have to say it is very annoying that one whole page is given to a parenteses conversation between Kay and Gaia in the past. I know that it gives us insight into them and their relationship, but it’s so distracting from the situation that I vow I will never do anything like this again. (Seriously, that fanfic user couldn’t get through my short story because I wrote mere sentences of this. If he ever opens this book he will not be able to get anywhere close to the end.)

But once we get back to the situation it plays out well, very naturally and very in-character for all. And this was hilarious:
Kay experienced a powerful stab of fury: Mary might be recently bereaved, but Gavin’s solicitousness seemed unnecessarily pointed. She had imagined this evening quite differently: a foursome in which Gavin would have to acknowledge that they really were a couple; yet nobody looking on would imagine that they enjoyed a closer relationship than acquaintanceship. Also, the food was horrible.

Seriously, I laughed so hard at that. Then I read it again, out loud, and laughed again. Rinse, repeat. Rinse, repeat. Hilarious. (I was in the garage, so I couldn’t be heard.)

This also serves to develop Kay and Gavin’s relationship, though. They’re in a horrible relationship and a horrible situation. And how is it going to develop from here? Gavin is too weak to tell Kay how he feels. So naturally Kay has to realize Gavin doesn’t want her and she has to instigate the fall-out, and then we’ll see where that leads.

Also, I like how naturally the argument between Kay and Miles starts. It is very well-written and it touches on social issues and shows why people like Miles are wrong, and the thing that annoys me is how it ends. This isn’t to say that I am annoyed because it is a bad ending to the argument, it’s a very good one and does a realistic job of showing how people in arguments act. For someone who believes that human nature is greatly mutable, Rowling portrays it here the way it is for the majority of the people.

Kay won. She obviously won beyond any doubt, and this gives a good example of what arguments are pointless in the first place. The vast majority of people will never accept that they have lost an argument. It is obvious that Miles has lost the argument. He cannot think of any flaw in the principle of Kay’s argument, so he argues that the very idea of principles is flawed. His behavior is so utterly childish it is hilarious. If this were so, he would simply have to pick a flaw with her principle! He argues that common sense is what is needed instead, yet he is unable to prove that Kay’s argument is not common sense! Even going along with Miles’ idiot logic, playing on his rules, Kay comes up with a comeback that destroys him and, again, wins the argument beyond any reasonable doubt.

And then their arrogant idiot 14-year-old daughter suddenly walks in and says this: “According to Neitzsche, philosophy is the biography of the philosopher.

Where do I begin with this? Okay, first of all: NEITZSCHE – WAS – A – PHILOSOPHER. If this statement is taken as the truth, it is not prove that all philosophy is invalid. It’s actually a good defense of philosophy. Why on earth would anyone be crippled in thinking about philosophy by CONTINUALLY WATCHING IT PLAY OUT IN FRONT OF THEM FOR THEIR WHOLE LIVES INSTEAD OF JUST THINKING ABOUT IT IN PURELY PROFESSIONAL TERMS THAT CANNOT – BE – PROVEN?! Your personal experiences provide you with an excellent idea of what philosophy is!

I had never heard of Neitzsche before I read this, but he was clearly a very intelligent man. Lexie Mollison is anything but. She read this quote somewhere, memorized it, and decided to bring it up here in blind defense of her parents in the blind belief that it would deconstruct their argument perfectly so that she would look intelligent. I’ve talked about how Rowling’s characters are well done, and even this random one who we only meet for five paragraphs at the beginning of a page is, as well. I don’t know if this was Rowling’s intention or not, but if so, she did a masterful job of creating a character. We get a good idea of who she is in her opening sentence, and she only needs to be developed further in the next three sentences. And after we have read those four sentences, the reader and every psychologist knows exactly who this girl is. She is an arrogant, pathetic psuedo-intellectual idiot, and I want to punch her in the face every second I read about her.

Kay, on the other hand, is clearly a very intelligent woman, and she would no doubt have had many excellent retorts to that if she had not been shocked and taken off guard by the suddenness and randomness of it, and how quickly Lexie left.

But once she has made no response, once Lexie has left, the argument is over. Kay won, but the Mollisons childishly threw together idiotic reasons why she didn’t, and now they are happy in the belief that they won. Which demonstrates why arguments are futile in the first place. You cannot win an argument with idiots because idiots are too stupid to understand when they have lost the argument.

Now that I’m done with that no doubt annoying rant, I just have one more thing left to say about this section: I like how Gavin does exactly what Kay is telling him off for practically while she does it. I don’t know whether it’s as an expression of defiance or because he simply can’t help himself. Either one is consistent for him.


I really liked the intriguing way the last section ended. Is Gavin attracted to Mary? Is he going to leave Kay for Mary and in that case, is he going to repeat this horrible relationship with her at the same time he hasn’t ended his one with Kay and thus make things a zillion times worse? And I really like how naturally this section flows into the next. As far as I remember, Rowling has never done that until this point, and she does a very good job of it here.

As well as being a good lead-in and starter, it gives us a good insight into Colin’s character, but at the same time we wonder if he’s right.

Rowling also did a good job developing the political plot in Colin’s case. It’s in character for him, and it’s interesting to see how the political intrigue is being developed.

I liked that he went down to talk to Tessa as I thought he had decided against it. The following conversation is done well and it is in-character. And then we get a 2nd-person POV of Tessa. It gives us a little more insight as to Mary’s relationship with Gavin and furthers the details of her dislike of Colin. I thought that was interesting when it was first mentioned at Barry Fairbrother’s funeral, and I thought it was equally interesting here. (Again, I think that it is a good way of giving us this information when there is no immediate situation that it is interrupting. We get only a brief 3-paragraph return to Colin and Mary from the “omniscient narrator” perspective.

But Colin’s only understanding of love was of limitless loyalty, boundless tolerance: Mary had fallen, irreparably, in his estimation.

Not only is this beautiful writing, but it develops Colin’s character and his conflict with his wife (“wives at war with their husbands“) and Mary. This may have solved Tessa’s problem now, too. Colin doesn’t seem to like Mary very much any more, either.


I’ve said Rowling spends a lot of time telling us about the characters that distracts from the situation, but here I think she does it well. We’re given a situation that furthers Simon as a control freak and Andrew as hating him but doing everything to avoid offending him. And I know this is far from the first time she’s done it, but I felt it deserved mentioning.

And we’re kept in the situation without any distractions except for a brief sentence giving us insight to Ruth, which we can read quickly, absorb, without being taken out.

Also, Andrew’s anxiety is done very well. He has a piece of paper in his pocket that he is going to use to bring down Simon somehow. It’s so exciting. I love that the plot is really beginning to take off.

I know that this insight disrupts the plot and there should have been a better place for mentioning it, but at least here no real situation has begun. And I found it very interesting:
Andrew accepted the convention that Fats’ parents were laughable. Tessa was plump and plain, her hairstyle was odd and her dress sense embarrassing, while Cubby was comically uptight; yet Andrew could not help but suspect that if the Walls had been his parents, he might have been tempted to like them. They were so civilized, so courteous. You never had the feeling, in their house, that the floor might suddenly give way and plunge you into chaos.

The page-long flashback sequence to illustrate why Tessa dislikes Simon is very annoying, but I don’t see where the better place for it is. Maybe it will become essential later if Tessa discovers Andrew’s scheme.

Also, this seems out-of-character for Fats:

Fats courted Simon these days. Whenever he came up to Hilltop House, he went out of his way to make Simon laugh; and in return, Simon welcomed Fats’ visits, enjoyed his crudest jokes, liked hearing about his antics. Still, when alone with Andrew, Fats concurred wholeheartedly that Simon was a Grade-A, 24-karat cunt.

But that’s so disgustingly inauthentic. Maybe that’s the point of giving us the flashback, though. Fats is so frightened by Simon he can’t help but be inauthentic?

The build-up to what Andrew is planning is done  very well, and it is only interrupted by insight into Simon’s campaign, which is interesting to know to compare how he is doing with Colin. The answer is: a lot better, but that may be about to change. And then we get conversation about the campaign. This campaign is beginning, and I’m glad to see this.

Also, I thought this was funny:

“Miles Mollison’s wife got gigantic tits,” said Fats.
An elderly woman sitting in front of them turned her head to glare at Fats. Andrew began to laugh again.
“Humongous bouncing jubblies,” Fats said loudly, into the scowling, crumpled face. “Great big juicy double-F mams.”
She turned her red face slowly to face the front of the bus again. Andrew could barely breathe.

This reminds me of Fred and George in the Harry Potter series. In fact, I have a suspicion that Andrew and Fats do all the things that Rowling considered too adult for Fred and George to do.

And then…. I got very invested in this. I was on the edge of my seat. And thankfully none of it is interrupted by flashbacks or insights. This is the political drama right here, that I expected from this book. And it is excellent. I love it all. Andrew hacks into the city council website in an Internet café and creates this post on the board under the name of “The_Ghost_of_Barry_Fairbrother”:

Aspiring Parish Councillor Simon Price hopes to stand on a platform of cutting wastful council spending. Mr. Price is certainly no stranger to keeping down costs, and should be able to give the council the benefit of his many useful contacts. He saves money at home by furnishing it with stolen goods – most recently a PC – and he is the go-to man for any cut-price printing jobs that may need doing for cash, after senior management has gone home, at the Hartcourt-Walsh Printworks.

This is as exciting to me as it is to the characters, because this situation is done so well and realistically and believable. I can’t wait to see how everyone reacts to the post, especially Simon.


As was done in the previous two sections, the last section leads right into this one. I like that method a lot and how Rowling does it. In fact, I wish she would do it for all of them, but I suppose that’s hardly possible.

I like that the last section was from Andrew’s POV following him, now Andrew leaves and we get Fats’s POV following him.

It was a good decision to begin by showing us Fats’s inner thoughts about the situation. They’re thoroughly in-character and interesting, which is essential to making us care about the story, and which Rowling has done a good job at both here and in the four Harry Potter books that I have read.

Yes, Simon was a shit, but he was undoubtedly an authentic shit; he did what he wanted, when he wanted, without submitting to societal constraints or conventional morality. Fats asked himself whether his sympathies ought not to lie with Simon, whom he liked entertaining with crude, crass humoe focused mainly on people making tits of themselves or suffering slapstick injuries.

YES, EXACTLY. Fats should highly respect Simon. I don’t understand why he would mock him or dislike him at all. He’s probably the only other person in the story who is “authentic“, as Fats is.

And I really like how both Fats and Andrew wish they had the other’s parents. Maybe it’s just that you want what you don’t have, but they do appear to be mixed up for their children’s personalities:

Fats often told himself that he would rather have Simon, with his volatility, his unpredictable picking of fights – a worthy opponent, an engaged adversary – than Cubby.

And the ending of Fats’s second-person inner monologue leaves me with a strong feeling that Fats is going to post an attack against Colin on the council forum, which he already tried to do.

The following scene between Fats and Krystal’s friends is done well and in-character, and it is not interrupted by anything. Unfortunately, once Krystal leaves with Fats, it is nothing but interruptions. For crying out loud, Rowling, just write a companion book where you explain all these things! This is enough to drive any human being insane!

Granted the first one does touch on an issue that is very important to touch on in this situation. I could not understand why Krystal didn’t realize that Fats was just using her, and it’s still difficult to figure out because it’s so obvious that he is. I guess the reason that Krystal just wants to experience this. She wants to have a relationship. And Fats did a fairly good job here to make her believe that’s not the case. Before he takes her off with no idea where they’re going just to find some place to have sex. But he does attempt with conversation with her, and their conversations are good and in-character.

Unfortunately, they keeps getting interrupted by these annoying, intolerable flashback sequences, so we keep being jerked from one plane of consciousness to another. Insight about Krystal’s school life (where she learned a false fact about Vikings; they did not have horned helmets. Seriously, why would they? It’s a lot of weight and it looks silly), Krystal’s home life, her social life, Fats’s opinion on weapons, his random imagining how it would feel to have a glass bottle broken on you. A lot of it is interesting, but I highly doubt that all of it is necessary. I have to agree with the critics who have said that this book needed an editor who wasn’t afraid to make drastic editing suggestions just because it was written by J.K. Rowling.

But soon comes a very shocking revelation:
“I’m adopted,” [Fats] said, after a while.

I love how this comes so naturally and that this shocking piece of information is delivered with practically no build-up at all. I had assumed that Colin had been accidentally rendered infertile after Fats was born, but no, Fats was adopted, probably as a result of Colin being rendered infertile. And this bit of information does a lot to justify his dissatisfaction with his parents, as well.

I think the point of this section is just to give us more insights into Krystal and Fats’s families. That’s all they talk about and think about, so I guess she’s giving us this information the right way here, because it’s all we have to focus on.

I read an article that was just listing the top 10 most profane parts of this novel. It turned at least one of the commenters off of the book entirely, thanking the author for letting them know not to spend their money on it. But all of those parts were taken completely out of context. The reason I say this now is because we have a sex scene that, if it was quoted there, would make the novel come off as being nothing but forcefully vulgar. But that’s who these characters are. Fats and Krystal are teenagers obsessed with having sex, and that’s what they came there to do. Of course the novel comes off as nothing but vulgar when these are the only parts of it you quote!
What’s more, this sex scene isn’t graphic. She graphically describes the preparations for it and Fats’s feelings during it, but the sex itself only gets one sentence. “She was drier than before; he forced his way inside her, determined to accomplish what he had come for.” That’s it. The focus is more on how Fats feels than the sex itself.

And I liked that we got a solemn part at Fairbrother’s grave. Their emotions facing it were done well. The final sentence makes it clear what the point is: Teenagers want to be cool and treat everything like a joke and mock those who would get affected by such a thing, yet they are human beings and have emotions. These characters are not cardboard cut-outs. They have depth.

This section did a good job beginning the political drama, and I am really looking forward to seeing how the town reacts to the post on the town hall forum. The rest of this section focused on the characters’ lives and relationships, and it did a good job on that, too. I have a feeling that this is all building up to something, though, and I can’t really judge it until I see what it is.

(NOTICE: You might have assumed that the reason there were no posts last week was because I had planned on waiting a week before I started the second part. However, that would be false. It just took me that long to read this chapter and finish writing about it.

The following three parts are very long, as well, so I can no longer promise daily posts. However, once I have got those three parts written and uploaded, I feel confident I will be able to upload the final two two days in a row, though I make no promises.

I will attempt to write and publish the third part as soon as reasonable. For now, this is where I leave you.)