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About Karmarni

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  1. Karmarni

    Sansa's betrayal consequences partly overestimated?

    I don’t take GRRM’s comment to mean that she is unreliable as a narrator in many ways. GRRM specifically says “a touch.” It’s his little touch, that she’s unreliable when it comes to the Hound’s kiss. And of course, he’s not going to give anything away, but he’s said that it will mean something. So we can count on that. I don’t think she is convincing herself of Sandor being a good guy. I don’t think she’s “convincing” herself at all. She didn’t require that. She’s taking him as he presents himself and that is a person who is helpful to her. She asks him about Joff, she looks to him for help. She prays for him. She wishes he was there. Trust certainly can be built between people who are not family. In fact, growth for all the Starks as characters is learning whom to trust in the world. They may even have to learn that family and those closely associated with their family (think Robb and the Karstarks) may not be trustworthy. Sansa has yet to reach her dark moments, her ‘all is lost’ moments in this story. I’m assuming those will come with Littlefinger and hopefully will be in TWOW. So we’ll see what her takeaway is on the whom to trust issue. But if the Hound showed up in her life, she would trust him, I guarantee it.
  2. Karmarni

    Sansa's betrayal consequences partly overestimated?

    The point of Sandor saying he “should have fucked her bloody and ripped her heart out” is that he would have then SAVED her the pain and humiliation of being married to Tyrion. Yes, he desired her, but his reason for his emotional response is to save her from Tyrion, which to Sandor is a fate worse than death. This is an illogical yet typical thought of men, that they think women would rather be dead than be forced to put up with something the man thinks of as excruciatingly terrible. Men think of this angle (better dead) as being protective, never realizing women put up with terrible shit all the time. In his own way, this is Sandor saying he really cares for Sansa. It amazes me that so many do not get that. This is a hard man. He is not going to be going in for fluffiness. When he expresses himself, he’s always got it buried in euphemisms and double entendre. And, of course, it’s hyperbole. He wouldn’t have killed her. He wanted her to go with him. As for Arya and Sandor, I think she would have been alright (not happy, not sad, but relieved) with it if he had died. Just as long as it wasn’t by her own hand. She is still not happy with him, but she knows him well enough, has been protected by him and has protected him, that they have a relationship of sorts that has left her vulnerable to her emotions and to his here. She might have liked him if he had not killed her friend. But he did, he admits it here, has regret, is crying, and she has LONG been unable to kill him. That the opportunity now presents itself, he is well aware of. He jumps at the opportunity for them to end it this way, he is suffering, mightily, and he wants her to ease that suffering. If she had, she would have fulfilled both their wishes. Since she did not do that, it seems evident to me, from a story point of view, that this will be addressed upon a future meeting of Arya and Sandor. It leaves open the possibility of a nice segue into a future burying the hatchet meeting. Sansa is the one who discovered that Sandor’s bark is worse than his bite. That’s how we discovered it too, as readers. Yet for the story between them to work, for the anxiety and schism between them to be stretched out, we have to fear that he might harm Sansa. So GRRM keeps layering on Sandor as the killer, kills Mycah, has this terrible face, has this fearsome older brother. Yet the Hound is a bodyguard of Cersei’s who she has assigned to her son, the crown prince. His job is to protect. When he catches Sansa, “turning away all the way down the kingsroad” he is bothered. So bothered that when drunk, and asked by his little rat of a prince to escort her safely back to the Red Keep, Sandor can’t help it, he has to tell her, especially after she is able to literally tell him the TRUTH (something the Hound stands for), that “No one could withstand him (Gregor).” So Sandor tells her the truth, though he thinks perhaps she’s just an airhead (“a pretty little talking bird”). And the moment he frightens her, note, her “heart flutters in her chest.” Hmmm. He’s mocked her, and then she’s been honest, and now he’s stopped and she’s alone with him in a dark field. She’s told him he’s “unkind.” And she’s spoken up that he’s frightening her (at that moment). She wants to go back. She doesn’t want anymore of this, and yet ... he does. He’s drunk and he’s moved by this exchange with her. Moved enough that he wants her to look at him. And she does. He makes her look, and we get the full description from her. It is clear in the text that it is only when she takes a long, hard look at his face that she cries. She cries because of what she sees there, seeing his face. What has happened to him. It’s hard on a girl who likes her pretty dresses. She’s crying not because he’s mean to her, but because of the reality she sees in his face. She has to have fear, somewhat, she has to be the Sansa we know from the beginning, because she’s just met a character who is going to have quite an impact on her. He’s also fearful of her, now that she knows his big secret. Which might not be such a big secret, since Ned seemed to know more and at minimum suspected Gregor was responsible for Sandor’s burn scars. GRRM needs to build a sense of anxiety in the reader about Sandor and his responses to Sansa. Sansa, though, from this moment, is on board as a Sandor Clegane fan. And roots for him at the tourney the next day.
  3. Karmarni

    It is not a pale horse

    I think it was a unicorn. Without the horn.
  4. I think the Children thought initially that this was a good idea. They couldn’t beat the Andals back. But it didn’t work. An explanation for that, for Craster, for the drawings and body part designs, all that, would be VERY GOOD STORYTELLING. I believe that the Children now regret their decision. And in the books, they still are alive deep in the Isle of Faces near Harrenhal at the God’s Eye. While they are wrapping up the political drama, it would be good to see them turn to the religious aspects briefly. What about the Seven, are they dead and gone? How to deal with leftover Bran? What do the old gods say about this? Is R’hllor still active?
  5. And I actually believed that the CotF were needed to kill them too. And having them would have perhaps given the explanation to all the drawings and the reason the WW existed.
  6. Yes! We get drawings from S01E01 and then even this season in E01. And yet, what now? The whole idea of an explanation is up in smoke. Meaningless absurdity.
  7. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    He's definitely noble. Maybe not by thousands of years, but noble, had a maester, the whole deal.
  8. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    I meant to address the reason of age that I see people all over the place say that Sandor and Sansa are not possible because they chose an older actor. An actor who was the same age as the actor she 'married' on the show. Basically, so what? Tyrion was older too. It's a shame. The Hound and Sansa had a story in the books and it was compelling. And I liked it. Compared with all the other things we've seen on this show, from twincest to Ramsey and Myranda, we've had so many couples that were mismatched or unnatural (Mel and Stannis) that Sandor and Sansa seems tame.
  9. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    I don't understand the difference between Sansa on the show marrying Tyrion and actually starting to take her clothes off for him, and Sansa on the show and Sandor, who's character is similar age to Tyrion (books and show) and the actors who are similar age also. So we have for Sansa on the show: She wanted to marry a supreme asshole, incest-bred abuser. She wanted to marry a man who was gay. She married a dwarf, but didn't have sex with him. She agreed to a brothel owner's idea to marry a raised-up bastard psychopath. She said that same brothel owner loved her in his own way. (She doesn't have good love experience, obviously!) She has fans of her hooking up with her former half-brother, now cousin, who so obviously is in love with another woman. She has fans of her hooking up with a (in books prematurely aged, missing body parts) former ward of her family who is missing a penis. I vote for Sandor Clegane. And Sansa of the books seems to do so too. And I'm laughing that we got a Wham Bam Thank You hook up for Arya. But Sansa can't seem to have consensual sex!!
  10. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    It has become glaringly obvious. It seems to me also that he will come to Sansa’s rescue again.
  11. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    He’s not lowborn either. And was the bodyguard of Joff in KL and briefly a Kingsguard. I’m sure he didn’t sleep in the stables. And if he was assigned to or in the campsite, he would have been shown there. So yes, I think he’s got a bed in the castle or surrounding buildings. And yes, I think he’s been inside.
  12. Karmarni

    Why avoid a reunion between Sansa and Sandor?

    The Hound has no business inside? So he’s not potty-trained?
  13. Oh, I was looking at Byronic heroes just the other day! I definitely think that Sandor fits this character description. He is an anti-hero, it's practically spelled out from the beginning. When he first tells Sansa about his face, we see her reach out to him empathetically, and fear for him, and so do we in that moment. We begin to see more of the picture of who he is. The telepathy that Ceron mentions above, that seems very Beauty and the Beast to me. They just know, they are connected by a bond that can withstand distances. GRRM is doing this with Sandor when Sansa continues to think upon him. Keeping him alive, keeps her interested and connected to him. I like how both Jane in Brontë's work, and Sansa in GRRM's, both challenge Rochester/Sandor. It does put less emphasis on social distinctions, but it also adds tension and it furthers their relationship. By fighting, they get to know the other even better. They see how they argue and how they overcome arguing. Ceron "irrational and fiery soul" description - how true! And it's interesting that in this Gothic novel, published in 1847, the author has written this non-traditional, but yet traditional, female character. Sansa herself is currently a more traditional character, but I feel that she will make some changes in the forthcoming TWoW. It's utterly amazing to me how many similarities there are between Jane Eyre and Sansa and Sandor. -- "My little friend!" said he, "I wish I were in a quiet island with only you;" -- "Little bird," said he, "I was on the Quiet Island," I can completely see that second sentence uttered by Sandor sometime in the future.
  14. I love this! And this novel. Cannot count how many times I have been stimulated and irritated in love. At the same time. It’s these moments that keep it all interesting.
  15. I like what you’re saying here. I’ve often thought about “whether you will it or no”. I like the strong feelings idea. This was an early moment between them that seems to foreshadow what happened the night of Blackwater. It also begs the question, what about when she wills it? Because the story is progressing, in Sandor’s absence, with Sansa coming to realize that it is the Hound that she is willing to be with. She becomes accustomed to the idea of kissing him since she thinks about it often. She dreams about him, she wonders what happened to him; she obviously cares about him. She prayed for him. She wondered if she should have gone with him. It seems that the story is set up for her to recount these things to him when she sees him again. In classic romances, the two characters spend a chunk of time apart. In the beginning they are unsuitable or dislike each other. The non-POV is the character who is massaging the perpective (or plot) of the POV character. This change is at the heart of the story. The growth that happens, for better or worse, leads to the eventual dénouement showing how and why the POV character needed this growth. And that, in romances, leads to the reconciliation of the two characters and their love recognized by them. Without this massaging in the beginning, and the time apart, the characters, ironically, would not have grown ‘close’.