sovay: (Viktor & Mordecai)
[personal profile] sovay
The status of the yontif this year is that my mother and I made honeycakes, but it is autumn and the head of the year and we are still here, the important thing. A sweet year, a safe. L'shanah tovah, all.
sovay: (Sydney Carton)
[personal profile] sovay
I did not post it last night because I was so tired, but [personal profile] spatch took a proof of life when I was finally home which does indeed look much more like a person than my fluorescently washed out self-portrait of a couple of nights ago and amazingly more so than the traditional tubes-and-wires effigy of earlier in the week. It's peculiar to look back on. Concentrating to talk to doctors during that period worked well enough that I was asked more than once if I had a medical background and had to answer only in the sense of having had a lot of medical to deal with, but otherwise much of what I remember of the first few days involved drifting in and out of weird half-overheard half-sleep acutely punctuated by conversations or procedures. It was amazing to go back to sleep this morning after my medications without having to discuss them extensively with anyone.



[personal profile] fleurdelis41 seasonally sent me some cases of piracy tried at the Old Bailey, of which my favorites are the prosecutor no-show, the punch line of the stolen hats, and the dudes whose defense was having been very drunk at the time.
sovay: (Sovay: David Owen)
[personal profile] sovay
Home from six days in hospital with a plan designed not to land me back there any time soon, I have been passed into the care of Dr. Hestia, who is already carrying out her duties with enthusiastic ministrations of purr. I have washed my hair for the first time in a week. I have eaten food prepared by my family. I napped like a stone in the late afternoon, which I will have needed since my regimen for the foreseeable involves a schedule of medications I cannot let slide even when some of them require me to be awake at hours I have preferred my entire life to spend unconscious. My calendar is inevitably full of further maintenance, but I am truly looking forward to an increase in conversations that have nothing to do with the monitoring of my vitals. Mostly I am marrow-tired and vague with new chemistry and glad to be home in my own clothes and drinking water I don't have to ring anyone to bring me in bed. I was not expecting and delight in the gift of a plush harpy eagle that arrived while I was away.
sovay: (Otachi: Pacific Rim)
[personal profile] sovay
In honor of International Talk Like a Pirate Day, I respectfully wish to submit that if I had just had scurvy, this whole week would have been much easier. Have a suspicious ghost crab, the Changelings' "Port Royale" (1998), and Tim Eriksen rocking out Bellamy's setting of Kipling's "Poor Honest Men" (2011). In keeping with the recent influx of Kevin McNally in the eighteenth century, when I get back to my stack of DVDs I could just rewatch Pirates of the Caribbean: Dead Man's Chest (2006). For all the varied and undeniable flaws of those second two films, their sea-iconography has clung to me like dream-wrack for nearly twenty years and I wouldn't have a cycle of stories without them.

podcast friday

Sep. 19th, 2025 07:09 am
sabotabby: (doom doom doom)
[personal profile] sabotabby
 You should stop whatever you're doing and listen to Wizards & Spaceships' latest, "The Science Bros Answer Your Science Questions Part 2." There's a lot of explaining physics (and the problems with time travel, but also how mutable the immutable laws of the universe might be), and more slagging off the idea of Mars colonization. But most importantly there's a bit about dragon evolution that is rad as hell. It will make your day.
sovay: (Renfield)
[personal profile] sovay
This afternoon I voted Miss Jessel from Jack Clayton's The Innocents (1961) one of my favorite ghosts on film, a tall order but a true one. A masterstroke of sound design and suggestion, she's not spectral, she's uncanny: as real as the reflection she casts on the sunlit shiver of the lake, as motionless in the heat as the bulrushes she stands so far out among, she could be walking on water, though we will learn she drowned herself in it instead. Her slight, dark-dressed figure in long shot gives no impression of a threat, nor even any particular emotion such as hunger or melancholy that would make her apparition easier to read. Her incongruity becomes its own eeriness, the noonday drabness of her presence more frightening than its disappearance between one look and the next, which is after all only characteristic of her kind, though part of the film's chill is that really it has no such rules by which a haunting may be mapped and governed, only the inexplicable facts of things that should not be. Once we have heard that she grieved sleeplessly for her rough, flaunting lover until she died of him, the governess played like a doorway of possession by Deborah Kerr can hear her sobbing, a desolate, gulping, wretchedly echoing sound that when finally traced to the schoolroom has nothing to do with the still-faced, dry-eyed imprint of Miss Jessel at her desk and yet when the governess rushes to the empty chair and touches the slate left by her own earlier lesson, it is wet with tears. Without a parapsychological conversation in sight, it gives the effect of a ghost that has stained through time in all its layers, desynched to perpetuity. The parallel sightings of Peter Wyngarde's Peter Quint with his cock-strut and his bestial snarl of a smile, always smeared through sun-mist, night-glass, steam-sweat until he can cast his unfiltered shadow from a crumbling ring of statues at last have their own rude potency, as malignantly charged as one of the more explicitly libidinous legends of Hell House, but it is his ruined lover who looks as though you could never scrape her off the air, so soaked into this patch of reality that trying to part her from the grounds of Bly would be about as efficacious as trying to exorcise an ice age. Their voices whisper like tape loops on the candlelit stairs. The children are watching. The children are watching. The children are watching. Like the uncredited radiophonics of Daphne Oram that accompany her first, summer-humming manifestation, Miss Jessel or whatever has been left of her belongs to the weirdness of time just really starting to flower in British film and TV, more Nigel Kneale than Henry James or even Truman Capote and yet she fits as exactly into the sensibilities of the Victorian Gothic as she would into the bright horror of that lakeside to this day. She was one of three images left on film by the artist and director Clytie Jessop and I doubt you could get her off the print, either. This excellence brought to you by my watching backers at Patreon.

Reading Wednesday

Sep. 17th, 2025 06:55 am
sabotabby: (books!)
[personal profile] sabotabby
 Just finished: Notes From a Regicide by Isaac Fellman. Goddamn this was good. It's one of those dreamy, elegiac works where I'm at a loss to tell you exactly why it affected me that strongly (but honestly, read the plot summary I mentioned two weeks ago) and that's a critical part of its strength, the degree to which Fellman inhabits the story. I've seen a lot of post-apocalyptic, we're back to a lower technology level settings, but very few where the social and cultural changes affect the style (the other one is Ada Palmer, who is writing semi-utopian, higher-technology settings but does a similar thing where the prose evokes a more historical style but is off slightly, because it's the future). He's also doing a lot of work with biography and memory; there is one part where Griffon, reflecting on Etoine, describes him as cold, admits we've seen almost nothing of this, and suggests that he only really talks about his moments of passion in disproportion to how he was in regular life. This is very much a throw-you-into-the-deep-end type of book in terms of its worldbuilding, and even to some degree its characters. We never really find out who Yair was beyond the cross-dressing Jewish guy who took Etoine and Zaffre in when they moved to New York, and that he's dead and they still mourn him, and it doesn't matter, because it's outside of Griffon's scope and his parents don't like to talk about the past.

Okay, I think that actually nails down why it resonated with me so deeply. It reminds me of my grandparents—who, for the record, were not trans, were not revolutionaries or leftists in any way, and were not artistic—in the way that when they told stories, they would evade a great deal. Like a Turner painting where most of it is an ethereal abstract and you get maybe one section of specific detail. It was frustrating as a child, of course, never really knowing your family's story, and I think this is a pretty common experience and why everyone is so obsessed with genealogy and connecting with fifth cousins these days. I imagine even more so if you find out your parents were artist-revolutionaries in a magical city frozen in time. Anyway. I loved this one quite a bit.

It's Okay, Just Set Me On Fire by Billions Against Billionaires. This is a 'zine, which I wouldn't normally log except it's really good and I wanted to draw your attention to it. It's about how fascist billionaires suck. All the writing is quite strong and it includes a single-player Basilisk simulation RPG and you should get it for the cover alone. It was quietly slipped to me by a member of the collective who put it out and now my goal is to write something worthy of the second issue. Here it is.

Currently reading: Antifa Lit Journal Vol. 1: What If We Kissed While Sinking a Billionaire's Yacht?, edited by Chrys Gorman. Well, the first story fuckin' whips. I mean, it's an anthology about how fascists suck. Maybe there's a broader rant I have about author/editor-led anthologies in general, because I keep having the same issues with them (see what I did there?) but it's a project worth doing anyway, and worth buying for the cover alone (so buy it).
sovay: (Rotwang)
[personal profile] sovay
I just had my first opportunity to shower in four nights, even without washing my hair, so I just had the same opportunity to free-associate in the shower.

I have no explanation for why I was singing the blessedly abridged setting of Kipling's "The Ladies" (1896) that I learned from the singing of John Clements in Ships with Wings (1941) except that it's been in my head ever since it displaced Cordelia's Dad's "Delia" (1992).

As a person who does think all the time about the Roman Empire, I am incapable of not associating Rosemary Sutcliff's "The Girl I Kissed at Clusium" (1954) with Sydney Carter's "Take Me Back to Byker" (1963)—as performed by Donald Swann, the only way I have ever heard it—even though Sutcliff was obviously drawing on Kipling's "On the Great Wall" (1906) with her long march and songs that run in and out of fashion with the Legions and the common ancestor of all of them anyway is almost certainly "The Girl I Left Behind Me" (17th-whatever).

Somehow I remain less over the fact that Donald Swann was the first person to record Carter's "Lord of the Dance" (1964) than the fact that he did a song cycle of Middle-Earth (1967) and an opera of Perelandra (1964).

Oh, shoot, Swann would have made a great Campion. You register the horn-rims and immediately tune out the face behind them.

Ignoring the appealingly transitive properties of Wimsey, Edward Petherbridge and Harriet Walter, I am not going to rewatch the episode of Granada Holmes starring Clive Francis, I am going to lie down before someone wakes me.

Afghanistan banana stand

Sep. 16th, 2025 10:59 pm
sovay: (Claude Rains)
[personal profile] sovay
When I heard tonight about Robert Redford, I did not think first of the immortal freeze-frame of Butch Cassidy and the Sundance Kid (1969) or the righteous paranoia of All the President's Men (1976) or even the perfectly anachronistic jazz of The Sting (1973) where I almost certainly first saw him, effortlessly beautiful even before he shines up from street-level short cons to the spectacular wire of the title grift. I thought of The Hot Rock (1972), a freewheelingly dumb-assed caper film of which I am deeply fond in no small part because of Redford. Specifically, his casting makes it look at first like the inevitable Hollywood misrepresentation of its 1970 Donald E. Westlake source novel, a cool jazz glow-up of the canonically, lankily nondescript Dortmunder whose heists always look completely reasonable on paper and in practice like a Rube Goldberg machine whose springs just sprang off. Only as the setbacks of the plot mount past aggravation into absurdity approaching Dada, of which the attempt to sneak into a precinct house via helicopter must rate highly even before the crew land on the wrong roof and the siege-minded lieutenant mistakes their break-in for the revolution, does the audience realize that this Dortmunder has the face of a screen idol and the flop sweat of a shlimazl, a man whose charisma is not an asset when it makes people think he knows what he's doing. "I've got no choice," he says doggedly of the eponymous diamond which he did at least once successfully steal, whence all their troubles began. "I'm not superstitious and I don't believe in jinxes, but that stone's jinxed me and it won't let go. I've been damn near bitten, shot at, peed on, and robbed, and worse is going to happen before it's done. So I'm taking my stand. I'm going all the way. Either I get it, or it gets me." When he acquires an incipient ulcer at the top of the second act, who's surprised? He glumly chews antacids as one of his meticulously premeditated schemes trips over its own shoelaces yet again. It may be the only time Redford played so far against his stardom, but he makes such a gorgeous loser with that tousle of coin-gold hair and an ever more disbelieving look in the matinée blue of his eyes, the Zeppo of his quartet of thieves who only looks like the normal one and no slouch in a stack of character actors from Moses Gunn and Zero Mostel through Lee Wallace and even a bit-part Christopher Guest, not to mention George Segal by whom he is characteristically almost run into a chain-link fence, trying to collect him from his latest stint upstate in a hot car with too many accessories. "Not that you're not the best, but a layman might wonder why you're all the time in jail." Harry Bellaver figured in so many noirs of the '40's and '50's, why should he not have retired to run a dive bar on Amsterdam Avenue patronized by exactly the kind of never-the-luck lowlifes he might once have played? The photography by Ed Brown goes on the list of great snapshots of New York, the screenplay by William Goldman is motor-mouthed quotable, the score by Quincy Jones never sounds cooler than when the characters it accompanies are failing their wisdom checks at land speed. Watching it as part of a Peter Yates crime trilogy between Bullitt (1968) and The Friends of Eddie Coyle (1973) may induce whiplash. It may not be major Redford, but it is beloved Redford of mine, and worthwhile weirdness to watch in his memory. This stand brought to you by my jinxed backers at Patreon.

poem at Strange Horizons!

Sep. 16th, 2025 11:29 am
gwynnega: (books poisoninjest)
[personal profile] gwynnega
My poem "the jacarandas are unimpressed by your show of force" is up at Strange Horizons. It isn't the first jacaranda poem I've written, and likely won't be the last. This one (with a nod to Dylan Thomas) was inspired by the confluence of jacaranda season and...everything else happening in Los Angeles and this country. I am so happy it found a home at Strange Horizons.

a blast from my past

Sep. 14th, 2025 02:50 pm
gwynnega: (books poisoninjest)
[personal profile] gwynnega
Some of my earliest publications (mostly poetry) were in feminist magazines that I subscribed to in the 1980s-'90s and read cover to cover every month--for example, Sojourner, off our backs, and Bridges. It was always a thrill to be included in these journals.

Another magazine I submitted to at that time was Heresies: A Feminist Publication of Art and Politics. It was a wonderful journal; I still have some back issues. I sent them a short fiction piece called "Women's Studies" for their Education issue; an excerpt from an unpublished novel, it was inspired by a life-changing women's studies class I took in my senior year of high school. I had a vague recollection that they had accepted it but for some reason didn't end up publishing it. To my surprise, last night I stumbled upon this page from Rutgers University; they hold Heresies' archives, which includes my unpublished story! The Scope and Contents note reads: "Fiction, 'Women's Studies.' Three versions of the manuscript, tracking sheet, and correspondence. The story was accepted for publication, but did not appear in the final issue." I'm weirdly delighted. (This reminds me that at some point I really should try and find a library to archive my papers.)

City Mapper

Sep. 14th, 2025 09:37 am
adrian_turtle: (Default)
[personal profile] adrian_turtle
There’s a transit app called City Mapper, that I used to use. (For values of “used to” ending very emphatically this morning.) It showed a variety of transit routes based on where you were, comparing them with each other and with biking and walking. It plans a route based on the schedule and then uses GPS to say how far away the next buses are coming. Useful for “this bus is crowded, I’ll take the next one in 5 minutes” or “the next one won’t be for half an hour.”

This morning I got up early to get to Somerville because there were things I wanted to do in the attic before meeting people at 11. Thanks to City Mapper, I just wasted an hour trying to make a bus connection that does not exist. The bus is not going through that neighborhood today. That’s fine, I hope it’s enjoying itself at the block party on the other end of town, but I want the transit app to know where it is. It is not fit for purpose.

On the edge and off the avenue

Sep. 13th, 2025 11:35 pm
sovay: (Rotwang)
[personal profile] sovay
I had not thought there were any meteor showers of consequence this month, but it seems that the swift pale streak between the telephone wires southwest of Cassiopeia belonged to the September Epsilon Perseids, so named despite their radiant in β Persei, the demon-star of Algol. I can hope it was not wildfire drift that accounted for the candle-tint of the half-moon, which was doing its autumnal trick of hanging like a lantern in the not yet leafless trees. The last of this summer's monarchs flew just before sunset, the twenty-second of her name.
sovay: (I Claudius)
[personal profile] sovay
I am glad to read that a classicist on Tumblr whom I do not know feels validated by a poem I wrote a dozen years ago, because she's right in turn about the linkage of ideas that led to its writing: the evocatio of Juno from Veii in 396 BCE, the evocatio of Tanit from Carthage in 146 BCE, the assimilation of Tanit to Juno Caelestis rather than Ištar-starred Venus, the self-fulfilling loop of enmity that a double-thefted goddess makes of the Aeneid and under it all the irony that Vergil even in his Renaissance aspect as magician could not foresee, that Carthage-haunted Rome was itself built on the needfire of the most famously sacked city of the ancient world, Troy whose gods Aeneas salvaged from the night of its destruction and now we remember Rome as the epitome of decadence, the eternally, contagiously falling city.

Also I had just been turned down by a housing situation that I had painfully wanted, but the classical stuff was all still bang on.

podcast friday

Sep. 12th, 2025 07:20 am
sabotabby: (doom doom doom)
[personal profile] sabotabby
My major podcast news is that I finally finished listening to Mike Duncan's French Revolution series. A phrase I remember from the foreword to the copy of Ulysses I read as a teenager always sticks in my head: "you put it down with the triumph of a general suppressing a revolt," or something like that. I commend the effort it took to make this podcast—it's nso much research and writing and analysis and it's an incredibly good history of the French Revolution.

But.

Nothing really sticks in my head. This is possibly because Mike is more interested in dates and names than I am, and more interested in military strategy than either he claims or I can understand. But it's also a factor of his voice, which he can't really help, but I'm quite allergic to what I call NPR Voice. I just kind of drift off. It's kind of like, "this happened, and then this person did this. How droll." I have the same problem with Conspirituality sometimes, and pretty much all the time with Democracy Now. It just slides off my brain. Nevertheless it's worth listening to if that is not a problem for you.

If one year's back on my shoulder

Sep. 12th, 2025 03:26 am
sovay: (Sydney Carton)
[personal profile] sovay
Not having read any of the source novels, approximately twenty minutes into the first series of Poldark (1975–77) as I lay on the couch self-medicating with the late eighteenth century, I remarked to [personal profile] spatch, "Is there any aspect of this homecoming that is not going to be a clusterfuck?" on which the answer turned out to be no, whence it seems the engine of the plot. Since I came to this show by having to wait for the third season of Turn: Washington's Spies (2014–17) to arrive at my local branch library, I was more than ordinarily entertained by the line pertaining to the hero's soldiering past, "Shocking business, eh? Losing the Colonies." The bomber leather frock coat is as impressive as advertised.
sovay: (Rotwang)
[personal profile] sovay
This afternoon my godchild's school was locked down because one of the students had a gun and the nineteenth and twentieth monarchs of the summer hatched. What am I supposed to say about the day itself? That I am reminded even without the martial canonization of a never-laid grief that nothing is easier to shovel under six feet of lime than memory? The last cousin of my grandparents' generation died earlier this week at nearly a century. The lines to the past snap fast enough, no one needs to hurry them along.

On that note, Andrew Kozma's "The Black Death" (2025). I like that Ulysses S. Grant is top of the list of historical characters Jared Harris wants to play, in part because of his civil rights commitments as president and as a counterweight to his negative figuration in the mythos of the Lost Cause. I need a door in the hall closet to BFI Southbank if they are going to keep doing inaccessibly tantalizing series like last year's complete Powell and Pressburger or, currently, Anna May Wong.

sovay: (Lord Peter Wimsey: passion)
[personal profile] sovay
It is my fifteenth anniversary with [personal profile] rushthatspeaks and I am spending it with various doctors instead of my husband and our traditional restaurant. We had a better wedding the first plague year.

Reading Wednesday

Sep. 10th, 2025 07:34 am
sabotabby: (books!)
[personal profile] sabotabby
 Just finished: Nothing.

Currently reading: Notes From a Regicide by Isaac Fellman. I'm getting near the end of this and it's so good. By the way, fantasy authors, this is how you do worldbuilding. Fellman isn't concerned with why things work as they do, the details of how the post-apocalyptic New York functions or why Stephensport is stuck in time; everything is character, narrowed to the focus of Griffon and Etoine. Even Zaffre's rebel activities are in soft focus—we know there are revolutionary trans nuns (hell yeah) but Etoine is so hyperfocused on her, and what she represents, that the scale and scope of their rebellion are outside the scope of his understanding. 

And it's just written so well. There's a subtle strangeness to all of the language that is just weird and offputting enough to feel like journal entries of two men across a gap of time and culture, not only from us, but from each other.

But is it

Sep. 9th, 2025 09:48 pm
valancy_jane: (Default)
[personal profile] valancy_jane
 Sometimes I worry that I am delusional about progress. I have come this far so many times, but no further. Is my pride over cleaning out the spice cabinet idiotic? Is my relief at a few words further on the page just proof of my narrow vision? Are my financial recovery plans just escapist dreaming?

Am I a fish in a fishbowl pleased over how clean my glass is?


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