We all live in a Yellow Submarine. A Yellow Submarine. Yellow Submarine. Oh, the fleeting joys of the 1960s! Beetles for a decade, and then, by the turn of a new decade, such wonder is, ultimately, disbanded. But oh, for that single decade. Music! Such sweet music! Oh, the joys of Beetlemania! And now the Yellow Submarine will be submerged in my head for a good deal of the night…

And I see that such wonder is simply driving poor Jane to distraction. I am sure, if her parents were still counted among the living—especially her father—he would have a word or two to say concerning his granddaughter’s choice in music, as ‘tis certainly ‘far’ from the lilting strains of a harpsichord. I am rather sad to see—or rather, surmise—that most of the original family are gone. But then, we all most grow up, age, and die. It is the way of things, I suppose, as Jane should, by now, know very well. And it seems that, Jane married Charlie Parkinson, after all. Perhaps her father found a touch of good form in the young man; he surely must have approved of the marriage! ;)

I can only imagine how Moira will turn out, as she is thus part of a new generation—perhaps a little different from the ‘Bright Young Things’ that her mother and aunt were once part of—in which change—the only real thing to remain constant in life—is reflective of her own time.

And now a shadow yet lingers by the windowsill…This cannot bode well for Jane’s rebellious, teenage daughter. Not well at all. Perhaps Peter has forgotten his promise, after all. Or perhaps it is simply that dastard shadow of his attempting to cause trouble again. Oh, who can say for certain? All I know is that, Jane had best be on her guard, and keep the window barred.

But truly, I cannot say how much I have enjoyed reading this; it has been a real pleasure to spend time, and thus reacquaint myself with this intriguing family. I can only hope that you write more about them in the future. Really, Kate, this was utterly fascinating, if not a marvellously fantastic read! I can only thank you for furthering the story from where Mr. J.M. Barrie left off. It has really been quite an incredible journey—a veritable roller-coaster of antics and drama. Really, it has been quite a thrill, if not one hell of a ride! ;)

Thank you, again, for sharing this story with us readers!

— Kittie

And again, Peter is a tad slow on the uptake, when it comes to the understanding of women and their feelings. Especially Jane’s. Honestly, I feel that she is worse than her mother, with her love of parties and entertainment. I honestly believe that Wendy, if in some respect, is a little less materialistic, as compared to her daughter’s need to herself—through cosmetics and bawdy clothes. Perhaps that is why Peter understands Wendy—if only a little better—as I daresay he would probably have an apoplexy, if he were to stay in Jane’s company for any good length of time. Well, that is, given the fact of his discovering whose daughter Jane really is, and all because Hook’s harpsichord just ‘had’ to be mentioned. But really, Peter seemed to take it better—with Jane being the daughter of his nemesis, one dread Captain Hook—rather well. I had honestly imagined him to have an apoplectic fit of epic proportions. Well, at least he called her ‘Miss Codfish’, and simply refuses to now take her to the Neverland. How ironic. And curious. Peter even used an expletive! Now ‘that’ is something I had not expected of him. With Hook, yes, and perhaps an even softer curse from Wendy, but Peter? That did surprise me!

And I did so enjoy Jane betraying him to her father! Indeed, Peter should well learn the old adage of a woman scorned, and the consequences derived from it.

Jane would perhaps be considered the first lost girl, had she not made that little omission of her paternity. But really, I cannot imagine Jane finding any sense of contentment living in the Neverland, let alone finding any happiness with those dreaded ‘grown-up feelings’ and all. Her presence there would surely drive Peter to distraction.

Though even more, I could not help but enjoy myself when the entire family burst into the nursery, and Jane makes her account—albeit a rather exaggerated one—against Peter. I can imagine the red in Hook’s eyes being a veritable scarlet, as that dark mind of his processed just exactly what his daughter was implying. I honestly feel a bit of sympathy for Peter in this circumstance, as I cannot help but feel that he may never return to No. 14 after this—especially after his promise to Wendy. If he had stayed, though, I do believe Hook would have taken great pleasure in educating him, and seeing such a proud and insolent youth, finally, grow up. As Peter also had to come to realise that, indeed, ‘another’ had taken his place in Wendy’s heart. There is very little doubt in my mind that Hook took certain pleasure in Peter’s knowledge of that implacable fact, as well as finally having a chance to injure the boy with the knowledge of it. For thus indeed, perished Peter Pan! (Grins.)

But of course, I am sure John’s input in having an office job did not help matters, either. For even thoroughly intoxicated, the eldest Darling son appears to have a firm take on business, and what it is to be an adult. But he does need to watch where he is walking. Poor Brimstone. Or Gall. Those poor creatures never have their end of misfortunes, at the hands—or rather, feet in this circumstance—of their masters’ acquaintances. But then, a plastered John ‘is’ rather entertaining to watch! Glad that he has vowed to make a better man of himself. Let us hope that he follows through with this miraculous Dickensian change, come 2nd January.

Also again, loved seeing The Phantom of the Opera being mentioned! One must simply love dark, brooding figures of questionable morality! And Nell Gwynn…who can ‘ever’ forget about the Merry Monarch’s favourite orange girl? I am sure Hook knows a few things concerning his father and Nell that the historians of such subject matter do not! (Winks.)

Overall, however, I really must say that I love how this chapter ended. It seems that, not only does Aunt Millicent finally get her own happy thoughts and calls Hook ‘James’ for the first time in nineteen years, but everyone has stopped their quibbling over the trivial things in life, and realised how inconsequential such is, compared to what really matters: family. I love how you ended Act Two, with Jane being proud of being the Captain’s Daughter, and how her father, finally, attempts to try to understand his daughter a little better. I can only wonder how his meeting a certain Charlie Parkinson will go, as I am sure that Wendy will also, has a few reservations, in seeing her daughter grow up and marry. Nevertheless, I am glad that Jane—as well as the rest of her siblings—has remained where they belong: home with their family. For really, as Hook so aptly placed it, that ‘flying tragedy’ could never bring any true joy to Jane’s life—or any child’s, for that matter. Perhaps he would, temporarily, but not forever.

Well, I believe that, with this final act, I shall continue on to the Epilogue, as we, the audience, must, come to the close of this marvellous tale!

This little heart-to-heart among Wendy, Aunt Millicent, and Gladys is really, quite touching. And I did so enjoy Aunt Millicent making the admission of her not leaving No. 14 for the night, strictly for the reason of something such as being accosted in a dark corner on her return home, and then being called down for it by Gladys for being so loose with her tongue to be quite amusing in its own, dark, morbid way. Ah, leave it to the old girl to be so blatantly careless in her remarks! She does have a tendency to throw caution to the wind, now that she is of an advanced age. I would not have expected such of her from her brief appearance in the film. Perhaps her reading H.G. Wells has done something to that mental periphery of hers, in retaining one’s tongue when considered most inappropriate. But I must say…that she would not be as lively then—and I do so rather enjoy her character now—if she remained the cold, bitter spinster aunt she was before the children flew off to the Neverland. She is truly entertaining. I can only imagine how Slightly fared with her for all of those years under her instruction. It is difficult to envision her as a mother—even if she was simply a surrogate. It no less stands that she was no Mrs. Darling, or a Wendy. Maybe a Gladys, though, as both seem to hark back to that Victorian view of being an angel bound in the home motif.

I did, however, find Gladys ‘and’ Aunt Millicent’s envying Wendy for the person she indubitably is, just as I never suspected how Wendy would react—and in such an emotional way, too! With everything she disclosed, she apparently ‘had’ to be strong; there was no other way for her family to have -endured unless she was strong.

As for the gentlemen in the room…John is certainly in his cups. Oh, what did Hook indulge his brother-in-law in this time? Of course, as I recall, he did single John out to be one of his cabin boys, claiming that John had ‘a little pluck’ in him, as John, apparently, never drinks…wine. He alluded to Dracula! Oh, good show! Good show! And he refers to his brother-in-law as Hook, when completely foxed. And Johnny-boy! (Laughs.) Their relationship is rather interesting, I shall certainly say that!

But all jesting aside, I was rather touched by their conversation, in how their lives turned out. Hook, by all appearances, is contented with his lot, as he even expresses as much. His explanation of how he exactly fell for Wendy was something I could imagine him saying. John never really understood how someone such as the black-hearted Captain James Hook could ever fall for someone such as his sister is equally as unfathomable in its reasoning as it is to Hook. I suppose love is that way: so utterly confusing in its meaning, and yet so equally wonderful for a person to succumb to it—in this case, our beloved former pirate captain. I daresay we shall really, never know the reasons for why Hook fell in love with Wendy, just as I doubt Hook will ever, really know himself. For like Gladys and Aunt Millicent are with Wendy, I can understand why John envies Hook so: for in spite of all appearances, social and otherwise, Hook and Wendy have everything that is really, ever wanted in life. They may not have the opulent balconies and foyers that accompany such illustrious mansions, nor the life of one with every luxury and comfort afforded in such a position, but they do something—and I know that I am waxing poetic, as this surely, sounds terribly clichéd but—money cannot buy everything—not the most important things, anyway. I do hope that, after this night, John and Gladys, as well as Aunt Millicent, will change for the better. That is what a New Year’s resolution is for, right? Perhaps they will find that the fancy cars and lavish dresses and gowns do not really matter ever so much—or perhaps, it is merely the drink talking. I hope not.

As for the crowing John heard…Hook already realises the meaning of such a sound, and to whom it must be voicing it. Indeed, John and his family had best leave, lest they hear some rather nefarious tickings and tockings going about. Hook and Peter. Under the same roof. Oh, this is not good. Not good in any way, shape, or fashion.

And I do hate to leave this on a cliffhanger, but I fear that I must for the moment. I shall continue in my reading when I have time—hopefully soon—as I hate to wonder what is going to happen. But truly, the wait will be tantilising for my thoughts; that much is certain!

Until next time!

Your ever-faithful admirer of the Stuarts,

— Kittie

Ah, I finally have a chance to sit down to read and review this properly! School and life can be such a bother at times. Anyway, I have to presently admit my intrigue of this opening scene, as we see Jane, sitting by that timeless nursery window of old, feeling sorry for herself. Now who does that remind me of? Her mother, perhaps? (Grins.) Truly, Jane does so remind me of a younger Wendy; though, as I also consider it, she has probably more of her father’s qualities—if not that erratic, and sometimes volatile, temperament of his. And all of this crying over some…boy. No matter her present anger, she is still, very much like her mother in this respect.

I also have to admit that I was rather surprised when I read that physical description of Peter. Having the body of a sixteen-year-old, and perhaps the mind of one considered much younger—what a very familiar combination that is!—he certainly is quite different from last we, the audience, have seen him. Loved the allusion to Poirot and Holmes—though even more, for her father’s notorious quote—by the way. And oh, yes, one must be sure not to split one’s infinitives. ‘Tis, as Hook would deem it, very simply bad form! Perhaps Jane’s little grey cells are working for her in this scene, after all! With all that crying over not seeing this Charlie Parkinson fellow, I cannot help but question her present mental state—if not her maturity in this instance.

And the discourse between Peter and Jane was wonderful—absolutely! I loved how you incorporated things said from the original novel/play/film, and placed them—rather intricately, I must say—in the dialogue. Jill Scott. I am surprised that Peter did not catch that particular namesake. Of course, Peter is really one ‘not’ to catch onto things, even if such is painfully obvious, is he? Ignoramus indeed! (Chortles.) And he lost his shadow again? How unsurprising. Leave it to Peter to lose it again at No. 14. He is fortunate that Hook has not found it yet. I can only imagine what his former nemesis might do to it, should he have the notion to do something rather dastardly. I also enjoyed that bit about Jane’s father’s profession as a school teacher as being worse than a pirate. If Peter only knew how ironic his statement really was! And now he is offering Jane the same as he offered Wendy…This cannot bode well—not for any party involved, in fact. And I did notice how Peter is slipping in his alleged belief of a girl’s worth. Just ‘twelve’ boys, Peter? What ever happened to those other eight? Surely you cannot be slipping in your maths! Oh, for shame! Such certainly begs to be excused! Perhaps Wendy’s father should give Peter a lesson, in the rudimentary arts of sums and differences. He really seems to need it in this circumstance.

But then, again, Jane is giving Peter some instruction of her own. She is a bold little chit, I shall give her that! I daresay Wendy was not so forward—perhaps innocent in her own gestures of affection—as in giving a boy a kiss. My word! Jane kissed Peter Pan! And gave him a second one at that! Oh, what will her mother say? And her father…It perhaps is a good thing she heard Brimstone and Gall coming when she did. But then, is it really Brimstone and Gall, or someone else? Of course, Peter’s surprise of Jane calling the turtles such. Priceless! He really is an oblivious boy, when the evidence of who Jane’s father is, pretty much is so glaringly obvious, that it stares at him in the face. But yet, I find it positively fantastic that Brimstone and Gall are, at least, mentioned, and in such a clever manner, too! I love those turtles! Poor Jane, believing it her family’s pets. They must have rather loud feet—to be heard out in the hallway and all! (Grins.) But really, it is not Brimstone and Gall, is it? It is a very a distraught Wendy.

And sadly, the storyteller has seen it all. Well, at least it was not Hook having come in as such an inopportune moment. I hesitate to envision such a scene between he and Peter if such were to transpire. Oh, this is getting interesting! I honestly cannot wait to see what is in store for Jane, as I suppose it is onto the next chapter!

Oh, my! This chapter was quite explosive in its content—and not merely in its diction, either! Truly, all I can say is: Jane Stuart, you are nothing short of amazing! I admire your artful tongue! Quite indeed so! Bravo! It is about time someone put Aunt Millicent in her place! Indeed, Jane is certainly her mother’s—‘and’ father’s—daughter. Though even more than her standing up to her elders, it is what Jane said, in ‘being young and having fun’ is what concerns me. I noticed that Wendy, and most especially Hook, grasped the implications in such a ominous declaration. Indeed, they know such all too well, I fear. As it is this fear, combined with Jane’s threat to remain a child forever, which may, in turn, come to haunt the Stuart family for years to come. A shadow has already been cast upon No. 14 once, and I daresay that it shall do so again. But at what cost?

Already events are being aligned—with a party and the parents away, if you will—for the perfect moment in which a star, perhaps the smallest in the heavens, shall sound out to one who will irrevocably change the course of the Stuart family’s lives once again. I do believe Wendy, in her own way, senses as much—as does her husband. And yet, perhaps history will not repeat itself in the same manner, and maybe, just maybe Hook will manage to prevent a dark shadow from his past from taking his daughter away from him. Ah, who can know what dread purpose all may entail with this mysterious ‘shadow’?
It is beyond a shadow of a doubt that Hook truly needs to come to terms that he cannot control his children forever—no matter how well his intentions may be for them. I believe that, by the end, however, he may learn something from Jane.

Oh, and lest I forget, I loved how Mary-Anne asked Wendy what a, ahem, ‘woman of pleasure’ was, as poor Hook had to define such in a delicate way for his daughter to accept—and hopefully not probe further into! And Michael’s word-play was certainly a pleasure to see—especially in confounding Aunt Millicent. I loved it, though, when Hook abruptly cut him off—for the mere mention of the crocodilian species. He actually warned his son with no more ticks and tocks! (Chortles.)

Again, I have to say that this instalment to the Stuart Family Values was absolutely marvellous! The allusions to being a Tab and even the notorious moniker of a bluestocking were a pleasure to see! I hazard to admit that I do not come across such very often. Thank you for the excellent execution of such, and it such a clever way, too. You truly make the Stuarts and Darlings fit in well within the intermediate period between the wars. Indeed, I greatly enjoy their many antics. They always seem to bring a smile to my face!
Thanks again for such an engaging part in this intriguing series!

— Kittie

plz update soon!

I have to presently confess that this is absolutely marvellous! Ah, so that was the discussion which was continued from the previous chapter. It certainly took on more of a sombre view of things. Indeed, I find that Hook has remained ever the forbidding captain of old: stern and unyielding and very demanding of those under him—even when it comes to his wife and children. It fits Hook’s character perfectly. Honestly, I would have expected no less of him, and the way he views Wendy’s family is also something in which I should not be surprised.

From what I understand, Hook does not seem to hold very much regard for Mr. Darling, at all. And even more, I do find that Hook parallels Mr. Darling’s mannerisms and overall attitude greatly—most specifically, in his approach towards the rearing of his children. I believe that Hook, in a way, understands Wendy’s position on the matter, of not being the way her father was, as both should know quite well of the outcome of such obstinate control. I am also glad that you pointed out the distant relationship that Wendy shared with her own father. In the novel, there seemed to have been a possibility in George Darling redeeming himself in his children’s eyes, but perhaps such is not the case here…

I have a feeling that Wendy’s speaking wistfully of her time in the Neverland is a bit of a forewarning of what is to come. I just hope that Hook does not make the same mistake as Mr. Darling, and completely disregard his daughter and her feelings entirely. It really would be something if he actually went after her, should Peter take Jane and the others to the Neverland. It would certainly be far nobler than staying in a doghouse, perhaps. But I am being too cruel on Mr. Darling, indeed I am. I really like the fellow; truly I do, though not so well in this light.

Nevertheless, I do love how the mood lightens when a certain pair of turtles makes their appearance! Hook may deem them ‘blasted animals,’ but I am sure he no less cares for the 'whole' of his odd little family. May was, indeed, a very pleasant surprise—both for me and her rather bemused parents. Loved the mention of Alice in Wonderland, by the way!

And Aunt Millicent knocked on the wrong door again? Oh, the poor woman. I have to feel some smidgen of sympathy for the Old Girl, as I did, rather like her in the film. She really does seem to enjoy her time with Wendy’s family. That, or she derives certain pleasure in driving her ‘nephew’ absolutely mad. And here I thought they enjoyed discussing the Lake Poets. Oh, well.

Anyway, lest I continue to mindlessly ramble on further, this is truly another marvellous part you have gifted us readers! I enjoyed every moment, and most especially the allusions! It seems that Wendy is a constant source of morality, in reminding her husband to refrain from reverting to that of his former ways. She really does seems to be that niggling, sweet little mocking voice of a conscience he is sure to both love and dread. Though even more, I really do hope that he sees that keeping up appearances, even when it is entirely based on one’s matter of ‘good form,’ stands next to nothing when it comes to truly having the greatest form of all. I do so believe that it may indeed take an unpleasant reminder from the past to kindly prompt Hook into becoming what he truly needs to be for his family: a patiently loving husband and understanding father.

Thanks again for another wonderful addition!

— Kittie

Aha, my suspicions proved correct! Part Two is just as engaging, if not just as entertaining as the first! I absolutely ‘loved’ the wit and humour presented in this marvellous little piece, as it is greatly reminiscent of Barrie’s original play. Indeed so! It is also very fitting that Part Two should open with the children in the classic nursery, as it shall undoubtedly circulate primarily around them. I cannot wait to see when their parents make an appearance, though! I do wonder how Wendy and Hook have fared in the bringing up of their three children, and Hook’s years in teaching at a boy’s school. And Davy Jones for a cat’s name! (Chortles.) It is all very suspenseful really!

Jane is certainly the image of her father—well, with her behaviour anyway. From what I have already seen, her spirit is just as wild and untamed as that of her father’s. She desires freedom from the fetters which shackle her to the social rules and strictures that both bind and imprison others in her world. Of course, Jane seems to have it easier than her mother, since 1930s London was not as, how shall I say, totalitarian in its bringing up decent members of society? Luckily for Jane, most of the social élite have vacated their expensive town homes, their influence and criticisms taken with them. Jazz bands at the Music Hall have certainly overrun the London scene. I must thank you for mentioning them, by the way! Jane’s glorification of them certainly does add a feeling of the time period in a post-war Britain.

Though even more, Jane’s brother Michael really reminds me of his Uncle John for some reason. His overall manner and that matter-of-fact intonation of his are greatly similar to John’s mannerisms. I also, greatly enjoyed the allusion to ‘Dracula,’ by the way! Lucy Harker! (Grins.) I wonder if a certain Mina is the young chit’s mother.

Marianne is also a delightful addition to the family, as I do find that I also have the feeling that her name—with or without the Eleanor—gives credence to two close sisters from a particular novel, which is, certainly, a personal favourite of mine! This play is loaded with literary allusions! Ah, so many goodies to be found here! And let us not forget Jane’s ‘Angel of Music,’ though I doubt her ‘beau’ was anything equal in appearance to Erik!

And her father! Trust me: I have ‘not’ forgotten Hook! Certainly not. Jane’s complaining of his ‘interfering’ in her private affairs is very much in line with the protective father I should imagine Hook to be. He appears to take a great interest in the young men—boys, really—who acquire his daughter’s attention, as I do have my suspicions in what Hook ‘said’—or rather, ‘did’—to this Fred fellow. Ah, but a father must be protective in the well-being of his children—particularly his daughters, when coming of an age. I doubt Hook will be willing to give Jane or Mary Anne up, when the time comes for them to marry. I can only speculate as to how he shall react if a certain ‘shadow from the past’ intrudes upon his daughters’ lives.

I doubt Wendy will take too kindly if Peter reappeared in her or her family’s lives either. The poor woman would probably have to make herself the buffer between two warring factions: the boy she once loved and a very irate husband. Heaven forbid, if one of her daughters falls for Peter! (Laughs.)

Oh, and I have to say that I loved Jane’s little summary, of how her parents met! I am sure such is an awfully ‘long’ story—one that I doubt Jane really knows the whole extent of. I am also, very glad that you made mention of Hook’s connection to the Stuarts. I know Mr. Barrie alluded to them in the prose edition, but never really went into Hook’s relationship with that particular line. We are really only left to assume, I suppose. Though I do, happen to agree; he is certainly ‘related’ to them somehow.

And Aunt Millicent shall make an appearance, as well! I really cannot wait to see the ‘Old Girl’ again! I am sure that her visit shall make for much entertainment! Will she be just as critical of Jane as she was of Wendy? I suppose I shall have to wait and find out!

Anyway, I have to say that this is a wonderful continuation to the first. It fits in quite perfectly, really. And I happen to agree with Purple Shamrock 17: even without Part One, the second seems to stand on its own quite well—especially with the way that you ended it. I have a feeling that this play shall very much be like its predecessor, in both storyline and diction, though adding many more plot twists and creative drama along the way!

I shall eagerly be awaiting the next instalment to this!

— Kittie

I know that this is the second part of your story so of course I'm curious to read the first. But by itself it is very good and stands alone on its own very well, in my opinion. The only thing that bothered me was that since Mary Anne is a toddler, I can't imagine her saying, "if you please" but she was still really cute.
Oh, and your English is really good, in case you were worried about that!