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74 pages 2 hours read

An Echo in the Bone

Fiction | Novel | Adult | Published in 2009

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Symbols & Motifs

Lallybroch

Gabaldon portrays the ancestral Fraser home, Lallybroch, as a symbol of connection across generations and a physical totem of familial identity. Bree and Roger purchase Lallybroch when they return to the 20th century as a means of staying connected to Jamie and Claire and to their Scottish ancestry. Soon after moving in, Roger senses the “echoes of generations murmuring in its walls” (72), and Gabaldon implies that the ancient stone house contains the metaphysical presence of Bree and Roger’s ancestors. Physical proximity to the places their family inhabited inspires an emotional sense of intimacy, comparable to a benevolent haunting. Gabaldon complicates this portrayal by noting that Lallybroch “was a place that had its secrets, too” (72), suggesting the discoveries Bree and Roger will make there about themselves and their history. After living in the house for a time, Bree begins to see “not the albatross of a big, semi-decayed house, but the living organism that was Lallybroch, and all those of her blood who had been a part of it–and still were” (303). As she becomes more established in her life in Scotland, Bree perceives herself in continuity with her ancestors, some part of whom still inhabit her home.

Roger also connects to his sense of self by restoring the ancient chapel on the Lallybroch grounds. Although Roger grew up in nearby Inverness, he comes to Lallybroch with new context for the landmarks and features of the estate. Passing a boulder on the Lallybroch grounds, Roger realizes it is the site where Fergus lost his hand. Roger senses that the boulder bears “silent, stolid witness to horror and despair—and to the sudden grip of the past that took him by the throat” (379). As with Bree, Lallybroch enables Roger to simultaneously exist in the past and present via the memories the estate inspires. Immediately following this moment, Roger finds Jem hiding in the same cave Jamie used as a hideout centuries earlier, emphasizing an alternate, metaphorical form of time travel.

In the 18th century, Jamie and Ian experience a similar emotional connection to Lallybroch. Jamie’s return to his childhood home reconnects him with his past and empowers him to make amends with Laoghaire and Jenny, and to address his complex emotions about his father’s death. Young Ian’s return to Lallybroch, which he left as a teenager, allows him to assuage his guilt over Murdina Bug and to receive the acknowledgement he needs from his parents to fully embrace his manhood and commit to his life in America. Ian’s transition to independent adulthood is completed when he sees the gravestones at Lallybroch that Jenny placed for his stillborn daughter. By integrating Ian’s life in America into the physical landscape of Lallybroch, Ian’s Scottish and American selves are reconciled. As Jenny tells him and Bree later feels, Ian will “always be here wi’ us” (999).

Supplication Prayer (“God Help Me”)

Throughout the novel, many of Gabaldon’s characters think or speak a nearly identical prayer of supplication. In the first instance, Claire teases Jamie about knowing the appropriate Catholic prayer for every occasion. Jamie tells her, “There’s always a prayer […] even if it’s only […] Oh God, help me” (134). This sentiment is repeated in German by Lizzie’s mother during her difficult birth, “Mein Gott, hilf mir” (164), in Gaelic by Ian when facing the dilemma of “Herman” and “Vermin,” “A Dhia […] cuidich mi” (225), and by Roger while he looks for Jem, “God Preserve me!” (1021), among several other instances. Claire herself uses this prayer, albeit more humorously, in the final pages of the book, remarking on William’s emotional departure, “Like father like son, I see [...] God help us all” (1146).

In addition to functioning as a kind of literal “echo” in the novel, the supplication prayer emphasizes the limits of each character’s agency, and their ultimate submission to fate. Jamie’s presentation of the supplication prayer as universally applicable hints at his understanding of the limits of his ability to influence his destiny, an idea nearly all characters in the novel confront. By using a motif with religious connotations, Gabaldon emphasizes the significance of religion in her characters’ lives, and how characters either embrace or struggle with existence of supernatural forces. 

Historical Cameos and Allusions

Gabaldon populates the novel with many historical figures and allusions to other texts, both contemporary and historical. Characters encounter iconic figures of the American war for independence, including Benedict Arnold, Benjamin Franklin, Nathan Hale, Daniel Morgan, John André, Thayendanagea, and the British Generals Burgoyne, Howe, and Clinton. In France, Jamie also meets Vergennes and Voltaire. The motif of Gabaldon’s characters meeting historical figures establishes setting, placing them against a backdrop of history the reader may recognize. This is a common narrative strategy of historical fiction, as it lends legitimacy and significance to the actions of fictional characters. It creates a sense of familiarity for readers as the author re-contextualizes past events.

By contrast, Gabaldon’s allusions to and excerpts of real songs, poems, and fictional works indicate reference points for her time traveling characters. Early in the novel, Claire compares the white sow at Fraser’s Ridge to the white whale in Herman Melville’s Moby Dick. Often, Claire remembers phrases from songs or poems that do not yet exist in the 18th century. These elements of pop culture illustrate how Claire’s perspective is fundamentally different from those around her and provide moments of comic relief. Roger’s scholarly interest in Scottish folksongs shows his comfort with cultural artifacts from different centuries, and his embodied dedication to preserving tradition and the past.

Modern Medicine Versus Folklore

Claire’s presence as a 20th-century doctor in the 18th century creates the opportunity for many conflicts between modern medical knowledge and folkloric superstition about health. This tension includes Claire’s unusual status as a woman doctor—something uncommon when she achieves her medical license in the 1960s, and even less common in the 18th century. Other medical practitioners and many of Claire’s patients distrust her because of her anachronistic suggestions and gender identity. Claire’s modification of 18th-century medicine—such as treating Captain Stebbing’s sucking chest wound with a quill in lieu of a surgical valve—emphasizes the reader’s sense of time and contemporary culture in the late 1700s. Roger engages Claire directly on the issue of modern medicine versus folklore when Claire discusses his father’s disappearance with him. Roger finds Claire gathering medicinal herbs at midnight and asks why she participates in superstitions that modern medicine would refute. Claire explains that many superstitions have scientific basis. For example, some plants bloom at night, so an herbalist may suggest gathering them in moonlight because that is legitimately when the plant is most potent. Claire cautions Roger: “When you’ve lived as long as I, you may begin to regard superstitions yourself” (319). Claire’s compassion for the beliefs of her 18th-century contemporaries allows her to apply her knowledge effectively, thus reducing friction between her knowledge and the cultural mores of the century she chooses to live in. Additionally, the often gory details of 18th-century medicine enhance the reader’s understanding of the physical dangers of life in the 1700s.

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