An Echo in the Bone

The brief prologue between Claire and Jamie frames the narrative within the key themes of the novel: fate, family, love, and memory. Gabaldon uses the conversation between husband and wife to suggest elements of identity that endure, and therefore metaphorically echo throughout time. By following the prologue with a chapter focused on Bree and William—Jamie’s two biological children—Gabaldon suggests that what is “in a man that is never destroyed” is some quality of kinship and memory (1).

Gabaldon then begins the ninth entry in the Outlander series by re-establishing the completed story arc from the earlier book A Breath of Snow and Ashes: Bree and Roger MacKenzie’s defeat of Stephen Bonnet and their return to the 20th century. Gabaldon re-contextualizes the scene by writing it primarily from William’s perspective, creating a sense of continuity between the two novels while establishing new point-of-view characters. This strategy helps to introduce new readers to the world of the story while reminding readers who are already familiar with the Outlander series of important characters and events. The Part 1 title, “A Troubling of the Waters” refers both literally to the corpse of Stephen Bonnet in the harbor and metaphorically to the inciting incidents of the novel’s four major plotlines. These plotlines include: 1) Claire and Jamie’s continuing adventures and exploration of fate, 2) Ian Murray’s personal redemption and romance with Rachel Hunter, 3) William Ransom’s coming-of-age against the backdrop of Lord John Grey’s investigations, and 4) Bree and Roger’s struggle to reconcile their 18th- and 20th-century identities. The narration unfolds in multiple third-person perspectives, moving between the various protagonists and time periods. These perspective shifts occur both within chapters, or more often, change between chapters. Claire’s perspective is narrated through first-person point of view, establishing her as series’ primary protagonist.

Claire, 60, and Jamie, 54, are considered well past middle age in the 1700s, and both characters are preoccupied by evaluating the meaning of their past decisions and wondering what else life has in store for them. Claire’s thoughts about “something larger” while praying with Ian evince her interior conflict over the purpose and meaning of her actions, and her struggle to reconcile herself to uncertainty. With Claire’s daughter Bree now returned to the 20th century, Claire’s relationship with Jamie has become even more significant to her sense of purpose. Claire is determined to remain with Jamie at all costs, preferring a dangerous journey across the Atlantic to separation from the husband she once thought lost forever. Jamie, meanwhile, tries to reconcile his duty to family with his desire to meaningfully contribute to the American Revolution. Rather than risking his life and the reputation of his family, Jamie decides to print revolutionary pamphlets. In this way, Jamie also hopes to avoid ever facing his secret son, William, in battle. Gabaldon lays the foundation for the novel’s exploration of fate in this decision, as Jamie will later be forced to confront William in battle before he manages to travel to Scotland.

The murder of Murdina Bug forms the inciting incident in Ian Murray’s character arc toward self-acceptance and love. In earlier novels, Ian’s coming of age in America was facilitated by his time living with the Mohawk and his marriage to the Mohawk woman Emily. Ian’s marriage and life among the Mohawk ended after the stillbirth of his daughter, and Ian has struggled to overcome his guilt and define himself ever since. Killing Murdina exacerbates Ian’s feelings of guilt, and the only path to redemption Ian sees for himself is death at Arch Bug’s hands. However, Arch’s insistence on waiting until Ian has “something worth taking” foreshadows how Ian will gain exactly that over the course of the novel (64). He will gain a new love, foreshadowed by his preoccupation with his lost children and Arch being Murdina’s husband.

William Ransom’s introduction to the novel focuses on his youthful ambition and secret, true parentage. His companion’s observation that Bree is “long-nosed as—as—as Willie!” shows that the truth is hiding in plain sight (7). William’s sense of self and desire to claim his presumed birthright as an Earl are too strong to allow him to consider such observations as anything beyond coincidence. William’s ambition is well established, and his never having killed a man emphasizes the innocence of his youth. Gabaldon establishes a clear coming of age arc for William that will eventually culminate in his discovery that Jamie is his true father. Lord John Grey’s musings on family ties reference the prologue and highlight the thematic resonance of John’s investigation of Richardson and Percy. John undertakes these investigations out of service to those he loves, and what he discovers will emphasize the significance of kinship, whether known or unknown.

Bree and Roger’s storyline in 1980 begins with another kind of echo, as they discover that Claire and Jamie’s letters survived two centuries at Lallybroch. The letters help to integrate Claire and Jamie’s unfolding story with Bree and Roger’s, establishing both a literal and metaphorical dialogue between generations and allowing for alternate modes of exposition. Bree and Roger’s arc also covers a significantly shorter period than the 18th-century portions of the novel. Claire and Jamie’s letters help the narration feel more balanced across the novel’s two timelines. Roger’s identity crisis echoes both Ian and Jamie’s struggles to reconcile duty and love, while Bree’s sense of safety and self-possession in the 20th century ironically foreshadows the dangers to come. Similarly, Gabaldon’s focus on the Jacobite gold and the “Spaniard’s Cave” early in the novel helps the reader sense their significance and foreshadows Rob Cameron’s abduction of Jem.