sovay: (Sovay: David Owen)
sovay ([personal profile] sovay) wrote2025-07-04 11:32 pm

All of my ghosts are my home

On the normality front, our street is full of cracks and bangs and whooshes from fireworks set off around the neighborhood, none so far combustibly. Otherwise I spent this Fourth of July with my husbands and my parents and eleven leaves of milkweed on which the monarch seen fluttering around the yard this afternoon had left her progeny. My hair still smells like grill smoke. Due to the size of one of the hamburgers, I folded it over into a double-decker with cheese and avocado and chipotle mayo and regret nothing about the hipster Dagwood sandwich. A quantity of peach pie and strawberries and cream were highlights of the dessert after a walk into the Great Meadows where the black water had risen under the boardwalk and the water lilies were growing in profusion from the last, droughtier time we had passed that way. I do not know the species of bird that has built a nest in the rhododendron beside the summer kitchen, but the three eggs in it are dye-blue.

On the non-normality front, I meant it about the spite: watching my country stripped for parts for the cruelty of it, half remixed atrocities, half sprint into dystopia, however complicated the American definition has always been, right now it still means my family of queers and rootless cosmopolitans and as most of the holidays we observe assert, we are still here. It's peculiar. I was not raised to think of my nationality as an important part of myself so much as an accident of history, much like the chain of immigrations and migrations that led to my birth in Boston. I was raised to carry home with me, not locate it in geography. I've been asked my whole life where I really come from. This administration in both its nameless rounds has managed to make me territorial about my country beyond the mechanisms of its democracy whose guardrails turned out to be such movable goalposts. It enrages me to be expected not to care that I have seen the pendulum swing like a wrecking ball in my lifetime, as if the trajectory were so inevitable that it absolves the avarice to do harm or the cowardice to prevent it. It is nothing to do with statues. The door to the stranger is supposed to be open.

The wet meadows of the Great Meadows are peatlands. They were cut for fuel in the nineteenth century, the surrealism of fossil fuels: twelve thousand years after the glaciers, ashes in a night. The color of their smoke filled the air sixteen years ago when some of the dryer acres burned. If you ask me, there's room for bog bodies.

gwynnega: (books poisoninjest)
gwynnega ([personal profile] gwynnega) wrote2025-07-04 03:27 pm
Entry tags:

hey baby, it's the Fourth of July

I think this is the first 4th of July that I've gone to a protest. Today's Los Feliz protest was smaller than the No Kings one, but still sizable and raucous. Many motorists honked their support. (At one point there was an "ICE OUT! LET'S GO!" chant to the tune of "Blitzkrieg Bop.") I'm so glad I went. Afterwards I stopped in at Skylight Books, which had a signboard outside reading: "BRING THE HEAT. F*CK ICE."

Now I'm listening to X's See How We Are, as is my 4th of July tradition.
sabotabby: (doom doom doom)
sabotabby ([personal profile] sabotabby) wrote2025-07-04 08:58 am
Entry tags:

podcast friday

 Hi I am very tired.

Give a listen to Cool People Who Did Cool Stuff's entire last few weeks, which has been about the alter-globalization movement, but especially to this week's episodes, "Bread and Puppet: The Dawn of Giant Protest Puppets." (Part I | Part II). This is one of my special interests, stemming from how I used to teach at a puppetry camp, and I've actually been lucky enough to visit Bread and Puppet in Vermont on a road trip, albeit not quite lucky enough to see one of their shows. I am always in favour of more theatricality in activism and these episodes trace the evolution of one particular brand of theatricality that I'm especially a fan of.

I bet you will be surprised to learn that the personal stories of the two founders of the theatre are also especially interesting. Also, since Jamie Loftus is the guest, there is a tragic hot dog connection.
sovay: (Rotwang)
sovay ([personal profile] sovay) wrote2025-07-03 11:56 pm

Through crime and crusade, our labor it's been stolen

Because Hanscom hasn't held an air show in years, I have no idea what the hell passed over my parents' yard behind the unrelieved overcast except that it sounded like a heavy bomber, but not a modern one: an air-shaking piston-engined roar like who ordered the Flying Fortress, which were not to my knowledge even tested at the base. It suggested lost psychogeography and worried me.

Japanese Breakfast's "Picture Window" (2025) came around again on WERS as I was driving this afternoon. The line about ghosts and home keeps resonating beyond the pedal steel guitar.

I see we will be celebrating the Fourth of July out of spite this year. So go other holidays. Af tselokhes, John.
sovay: (PJ Harvey: crow)
sovay ([personal profile] sovay) wrote2025-07-02 04:55 pm

You think one plus seven seven seven makes two

I was so transfixed by the Bittersweets' "Hurtin' Kind" (1967) that I sat in the car in front of my house listening until it was done. The 1965 original is solid, stoner-flavored garage rock with its keyboard stomp and harmonica wail, but the all-female cover has that guitar line like a Shepard tone, the ghostly descant in the vocals, the singer's voice falling off at the end of every verse: it sounds like an out-of-body experience of heartbreak. The outro comes on like a prelude to Patti Smith.

If I had a nickel for every time I heard two songs about mental unwellness within the same couple of hours, actually I'd be swimming in nickels, but I appreciated the contrast of the slow-rolling dread-flashover of Doechii's "Anxiety" (2025) with Marmozets' "Major System Error" (2017) just crashing in at gale force panic attack. Hat-tip to [personal profile] rushthatspeaks for the former. I must say that I am missing my extinct music blogs much less now that I spend so much time in the car with college radio on.

"Who'll Stand with Us?" (2025) is the most Billy Bragg-like song I have heard from the Dropkick Murphys and a little horrifically timely.

Non-musically, I think I might explode. The curse tablets are not cutting it.
sabotabby: (books!)
sabotabby ([personal profile] sabotabby) wrote2025-07-02 08:25 am
Entry tags:

Reading Wednesday

 Just finished: Alien Clay by Adrian Tchaikovsky. Yeah, I think this is my Hugo best novel pick. It was really good, really timely, fucking gross, and gave me nightmares. It's very much a confluence all of Tchaikovsky's quirks—rather darkly funny narrator, alien minds, and the particular type of resolution he goes for. All of those things happen to work for me quite a bit. This one reminded me quite a bit of Jeff Vandermeer but less nihilistic and I liked the characters more.

Currently reading: The Tainted Cup by Robert Jackson Bennett. This was the only novel on the Hugo list where I'd never heard of the author or the book. I'm loving it so far though. It's a murder mystery set in a city where only engineered seawalls stop the things from Attack on Titan from demolishing the place every wet season. A noble is murdered in a mansion (not his mansion) via a tree growing through his body. The person charged with investigating the murder is an old autistic woman who doesn't leave her house so she gets a young man to be her eyes and ears. The murder mystery structure makes it rather different from not just this batch of nominees but the other award lists in general, which is also intriguing.
sovay: (Otachi: Pacific Rim)
sovay ([personal profile] sovay) wrote2025-07-01 03:58 pm

J'm'installe sur le rivage pour te voir mon gros gars t'éloigner vers le large

Rabbit, rabbit! I had to go for my annual physical this afternoon, but I stopped by Porter Square Books afterward to collect a book for my mother and look what was part of their summer sea-display:



I had wanted to write about so many queer films for June, but the month disappeared. Fortunately before we ran out of the formal observance of Pride, [personal profile] rushthatspeaks and I made it to Rainer Werner Fassbinder's Querelle (1982) at the Coolidge. It was adapted from the 1947 novel by Jean Genet, but I have never seen anything onscreen that more resembled the novels of Chip Delany. Meant in sincere compliment, it is one of the sweatiest films I have ever seen. It looks like it smells like a porno theater. Its antihero is straight out of Tom of Finland with his sailor's tight, tight white trousers and muscular cleavage revealed by the barest excuse for an A-shirt, his boyish, chiseled, louche face under his insolently cocked bachi in the sullen, enticing haze that never varies from the sodium-smoke of just after sunset or just before dawn, a perpetual cruising hour. The sea-wall of its fantasized Brest is studded with stone phalli, anatomically complete with slit and balls. All graffiti in town is dicks. The chanteuse of the dive bar sings Wilde like Dietrich, but some of the construction workers with their buff hard hats are playing video games while the naval lieutenant who pines for Querelle records his poetically criminal obsessions into a portable tape recorder. The bare-chested, leather-vested cop at the bar actually is a cop outside of it, where he looks just as fetishistic in his fedora and black leather trenchcoat. Every interaction between men looks like a negotiation or a seduction whether it is one or not, although on some level it always is, regardless of the no-homo excuses manufactured to allow their bodies to meet. Constantly, metaphysically, literally, this movie fucks. Its hothouse, bathhouse sexuality must have come in just under the cutting wire of AIDS. I have no idea what it would offer a viewer with no sexual or aesthetic interest in men except its philosophy, although as my husband notes the philosophy is actually quite good, deconstructing its hard masc signifiers as much as it gets off on them, dissolving in and out of the words and ultimately the life of Genet; the theatricality of its interlocked sets and swelteringly flamboyant lighting would look entirely natural on the stage. It quotes Plutarch and stages a hand job that without a glimpse of cock would have caused mass apoplexies in the Breen office. (Send it back in time, please.) It was my introduction to Fassbinder and if I had seen it as an adolescent, I imagine it would have had much the same effect as Tanith Lee. It was introduced by the series programmer wearing leather in its honor and a T-shirt for Kenneth Anger's Scorpio Rising (1963). It made a superb date movie.
sovay: (Sydney Carton)
sovay ([personal profile] sovay) wrote2025-06-29 09:52 pm

I don't change, I don't even notice the scene

As I hollered after the inapposite license plate of the SUV that had blown through the crosswalk without even thinking about stopping while we were in it, "Psalm 23? With that driving?" I am informed by [personal profile] spatch that the driver who actually had stopped for us like a normal person let out one of those whoaaa sounds as at a game of the dozens, which was extremely good recompense for almost being run over by an SUV whose Lord may have been a shepherd, but obviously not a crossing guard.

(The rest of this weekend has been different temperatures of garbage; I take my victories where I can. We were in West Medford to eat tamales on the bleachers of Playstead Park.)
adrian_turtle: (Default)
adrian_turtle ([personal profile] adrian_turtle) wrote2025-06-29 12:33 am

Boston and London

I noticed something when I used public toilets in London a couple of months ago. For years, I've been seeing UK TERFs absolutely freak out about the possibility that a transwoman might be in a stall next to a ciswoman. So I somehow thought they were less private than the stalls here. Or at least no more private. The standard I'm accustomed to is that the doors come down to about knee height, maybe a little lower. (Plenty of space to run a mop under them.) The public toilets I used in London had doors that almost touched the tops of my shoes! And the doors closed with proper hinges, without big gaps on the hinge side.

I've always known the TERFs were outrageous bullies, but it was so weird to see this particular wrongness. It's like they've been saying they hate people because it's raining outside, and then it turns out it wasn't even raining?
sovay: (Cho Hakkai: intelligence)
sovay ([personal profile] sovay) wrote2025-06-27 09:22 pm

Waiting for you to call me up and tell me I'm not alone

After many travails and an extra plague year in transit, the latest of the Paleozoic Pals has made landfall from the Carboniferous.





My father adores his Diplocaulus salamandroides. My niece has been sent a picture of hers with its accompanying book, to be held in trust until her next visit. My mother has been presented with its enamel pin form, which is done in bands of lighter and darker purple instead of newt-like red and black. I had forgotten entirely about the stretch bonus of Bandringa rayi, whose spoonbill suggests the Amazon river dolphin of the Pennsylvanian period. I really am invested in the continued existence of the Paleontological Research Institution, which is one of the reasons I have gladly thrown in to its Kickstarters for almost ten years. The present being so very full of horror and stupidity, it is important that it can also produce such snuggable plush of the past.
sabotabby: (doom doom doom)
sabotabby ([personal profile] sabotabby) wrote2025-06-27 07:07 am
Entry tags:

podcast friday

 Hmm, let's see. I really liked Conspirituality's "Dems Ask: What Is a Man?" episode. In general they've been doing a lot of coverage of Masculinity Crisis stuff lately and this episode, which focuses on quite pathetic attempts from the less-right wing of the American Party to re-capture the young male vote, via...studies and focus groups.

Well, fuck.

You can look to the wonderful example of New York to see a good counter-example of how to do it right, though this episode dropped before Zohran Mamdani's inspiring victory. If I were a more conspiratorial thinker, I'd say that the less-right wing of the American Party loses on purpose, and you need look no farther than their attempts to sabotage Mamdani's campaign for evidence. At any rate, the analysis in this episode lines up with what actually happened—we don't need a Joe Rogan of the left, we need people who can speak to frustrations and channel popular anger, not just for young men but for all genders.
sovay: (Rotwang)
sovay ([personal profile] sovay) wrote2025-06-27 02:06 am

It's two in the afternoon and thirty-four degrees

Actually the temperature crashed by a solid thirty degrees Fahrenheit and with any luck will stay this moderately cool and dampish until everyone has rehydrated. Or we could just skip the next heat dome entirely.

I had worked up an entire rant about the scaremongering of this article and especially its anti-intellectual characterization of Zohran Mamdani as automatically out of touch because his father teaches at Columbia and his mother has directed films in Hollywood as if he were a Cabot who talks only to God when both of these professions especially in these days of DEI demonization mean something very different without whiteness and then I discovered that the author's big shtick is that she "came out" as politically conservative while an undergraduate at Harvard, at which point her already tenuous right to slate anyone for attending Bowdoin fared poorly on the pot-to-kettle scale. Anyway, [personal profile] spatch liked Monsoon Wedding (2001).

The Europeans (1979) turns out to have been the first foray of Merchant Ivory into costume drama and its modest budget gives it a slight, wonderful ghost-look of New England, nineteenth-century carriages on twentieth-century streets, the tarmac dirt-roaded over, telephone poles discreetly out of shot, the dry stone walls tumbledown in the picturesque rather than practically maintained day. I got such déjà vu from the Federal style of its historic houses—and the occasionally more modern construction of their neighbors—that I was reassured to see it actually had shot in Waltham, Concord, and Salem which I recognized from the red-bricked back side of the Customs House. Its autumn is the sugar-red drift of maple leaves, the pale punctuation of birches. Its actors have an indie air with their precisely characterful period clothes doing half the worldbuilding. Robin Ellis sports a moss-bronze corduroy coat and a waistcoat in pheasant paisleys I should like to bid for and a creditably mid-Atlantic accent, cast ironically on the colonial side of the plot of two sets of American cousins and their entanglement with a third, European set. I have not read its particular source novel by Henry James, but it has the light, sharp, not overly mannered observations, a sweet-sour bite in the chocolate box. In light of the setting, variations on "Simple Gifts" and "Shall We Gather at the River?" may have been unavoidable contributions to the score.

Because I had showed [personal profile] spatch a clip of a trumpet played into Jell-O, my attempt to explain Chladni figures netted us a 1989 Christmas lecture by Charles Taylor, after which we went through Delia Derbyshire's "Ziwzih Ziwzih OO-OO-OO" (1967), Belbury Poly's "Caermaen" (2004), and finally thanks to what must have been a very confused sidebar landed on Les Luthiers' "Rhapsody in Balls" (2009). Today has been generally breaking-down-tired, but during the part of the evening where I was still working on implementing a bagel for dinner, WERS had the decency to play the Dead Milkmen's "Punk Rock Girl" (1988).
sovay: (Sovay: David Owen)
sovay ([personal profile] sovay) wrote2025-06-25 05:25 pm

Don't know me now, then you'll never know me later

Returned from the optometrist's, I have nocturnal eyes and mirrorshades. When [personal profile] spatch informed me that Zohran Mamdani is Mira Nair's kid, I remarked that it was a little like discovering that Madhur Jaffrey the author of cookbooks and children's books is the actor who introduced Ismail Merchant to James Ivory. I feel I really should have seen this video coming.
sabotabby: (books!)
sabotabby ([personal profile] sabotabby) wrote2025-06-25 07:04 am
Entry tags:

Reading Wednesday

Just finished: A Sorceress Comes To Call by T. Kingfisher. I ended up really loving this one. Reading all these award-nominated books has been a fascinating experience tbh, because (with a few notable exceptions) it's all pretty high-quality, but it's just off enough from what I'd normally read that I get to speculate about where my taste deviates from other people's. Also, because this has the worst book cover I've seen in awhile—to be clear, I've seen three covers for this and they all suck—but imo is much better than the other things I've read by her so far.

Anyway, as to the actual content. This is a dark retelling of the Grimm Brothers' "Goose Girl," which I had never heard of before, and which is already quite dark, seeing as it features the severed head of a murdered horse. It actually doesn't have much to do with the original story beyond involving a horse, a flock of geese, and some unfortunate marriage proposals. But the fairy tale frame and vaguely Regency setting is one of its strengths—Kingfisher is free to do a lot of interesting character work within that structure.

Case in point: Hester. I mentioned that the story was about Cordelia and her mother Evangeline, the aforementioned sorceress, but Cordelia is really a decoy protagonist, and the heroine of the story is Hester, the sister of the man that Evangeline intends to marry. Hester is 51 with a bad knee and a cane and has refused marriage to the man she's loved for years because she values her independence. She plays cards with a group of other badass middle-aged ladies and takes zero shit. I love her. The story is really the story of solidarity between women, from Hester and her friends, to Cordelia pushing back in any way she can against her mother's abuse and expectations of marriage for her, to the maids and servants of the household. Also it has the right level of darkness for something like this—there was a genuine sense of peril that I haven't seen in a lot of the horror-adjacent works I've read lately.

Currently reading: Alien Clay by Adrian Tchaikovsky. I think (unless the last book I have to read is amazing), this is going to end up being a Tchaikovsky-vs-Tchaikovsky decision for me with the Hugos. So far this one is edging out Service Model on concept alone, but I'm under halfway through, so we'll see. It's about a dissident scientist exiled to one of three newly discovered exoplanets, called Kiln. Earth is ruled by the Mandate, which believes in strict social control and scientific orthodoxy. Arton is an unreliable first-person narrator, so while he initially seems to have been exiled for following the scientific method to is logical conclusions, he quickly reveals that no, he was also a political revolutionary.

The journey from Earth to Kiln takes 30 years and is one-way for the prisoners sent to work there, which means that the Mandate is able to tightly control information about it—namely, that there are alien ruins on the planet, so not only does it have life, but it had at least at one point sentient life. Also, the life that they do find is Jeff Vandermeer-level fucked—each organism is made up of a bunch of other organisms that live in parasitic relationships, making taxonomy a nightmare. Arton occupies a difficult position where, as a biologist, he has a certain level of privilege amongst the prisoners and is exposed to less danger than most, but also he's linked up with the more revolutionary elements and has nothing to lose but a nasty death by rebelling.

Anyway, this is really cool and I'm into it.
sovay: (Otachi: Pacific Rim)
sovay ([personal profile] sovay) wrote2025-06-24 09:32 pm

Do you believe a person should be some kind of answer?

102 °F, said the forecast this afternoon. 106 °F, said the car when I got into it. I have no difficulty believing it felt like 109 °F. The sun clanged. The electric grid of the Boston metro area was not designed to run this many air conditioners at once.

I followed Ally Wilkes from her short fiction into her debut novel All the White Spaces (2022) and I mean it as a recommendation when I say that I came for the queer polar horror and stayed for the bildungsroman. Externally, it follows the disintegration of an ill-fated Antarctic expedition over the austral year of 1920 as it comes under the traditional strains of weather, misfortune, the supernatural, mistrust. Internally, it follows the discovery of its seventeen-year-old trans stowaway that masculinity comes in more flavors than the imperial ideal he has construed from war cemeteries and boy's own magazines, that he can even invent the kind of man he wants to be instead of fitting himself fossil-cast into a lost shape. No one in the novel describes their identity off the cutting edge of the twenty-first century; the narrative resists an obvious romantic pairing in favor of one of the less conventional nonsexual alliances I enjoy so much. I am predictably a partisan of the expedition's chief scientific officer, whose conscientious objection during the still-raw war casts him as a coward on a good day, a fifth columnist on a bad, and makes no effort to make himself liked either way. It has great ice and dark and queerness and since I deal with heat waves arctically, I am pleased to report that it holds up to re-read.

Kevin Adams' A Crossword War (2018) is a folk album about Bletchley Park, a thing I appreciate existing.
sovay: (Lord Peter Wimsey: passion)
sovay ([personal profile] sovay) wrote2025-06-23 11:29 pm

I know you're waiting for me in secret places

For the hundred and thirteenth birthday of Alan Turing, [personal profile] spatch and I drove to Gloucester to watch the sunset on the water, so, queer joy?





I have worn this T-shirt since his centenary in 2012: it is a word cloud derived from "Computing Machinery and Intelligence" (1950). The tide filled in around the barnacle-colored, seal-colored boulders we had climbed out onto, swirling the olivine shag of the rockweed in the late mirror of the sea. I had not been to Gloucester since before the last glaciation, in a warm autumn that was still cooler than this heat dome settled over Massachusetts like a fitted block of Death Valley. We saw the red-and-white blinks of buoys, the oil-slick necks of cormorants. We checked in on the ghost sign for Moxie at the top of Tablet Rock in Stage Fort Park. From our vantage point of one of the granite horns of Half Moon Beach, we saw three crewed boats practicing for what we realized later would be the races for St. Peter's Fiesta, the blessing of the fleet which had hung the streets with tricolor bunting and Italian flags and set up the Ferris wheel and concessions of a carnival as well as an open-air altar brilliantly painted with a seascape of Ten Pound Light, its foreground wheeling with gulls with their own successful fisher's catch in their beaks. The fisherman in his sunken-green bronze oilskins still holds the wheel against more than four centuries of the remembered drowned. Our designated clam shack had closed an hour before we expected it, so we drove down Route 1 in a sailor's delight of clouds like an electric fire and came to a bewildered halt in a retina-searing splatter of blue lights, because it turned out that half of Revere Beach was closed to traffic thanks to a hit-and-run on a state trooper. We managed nonetheless to salvage roast beef and fried clams from Kelly's at the cost of several miles' walk in the gelatinous night, which compensated at least with the white noise of waves at high tide. The cable-stays of the Christina and John Markey Memorial Pedestrian Bridge were lit up in rainbow neon. I admire Aimee Ogden's "Because I Held His Name Like a Key" (2025) for not being any of the things expected of a Turing fairy story. I look forward to whatever comes of these unshredded papers. We drove home covered in sea-salt and sweat-salt and an unavoidable admixture of strangers' weed smoke and I had a really nice time.

If telepathy is admitted it will be necessary to tighten our test up.
—Alan Turing, "Computing Machinery and Intelligence" (1950)
sabotabby: (furiosa)
sabotabby ([personal profile] sabotabby) wrote2025-06-22 08:05 am

Dear Americans

Always remember that if they had the money to bomb Iran, they had the money for universal healthcare, affordable housing, USAID, even egg subsidies if y'all* were so hell-bent on cheap eggs that you'd elect a fascist.

cut for some impolite thoughts )

* Not you, obviously. Or you wouldn't be reading my blog, which has beaten the "don't invade other countries" drum since the early 2000s when I started it.
sovay: (PJ Harvey: crow)
sovay ([personal profile] sovay) wrote2025-06-21 09:02 pm

How do we sleep while our beds are burning?

For whatever it is worth to history, I wish to register that I do not like finding out that we are suddenly at war with Iran. I do not need any more specters of annihilation, nuclear or otherwise. I get enough stress from my regular life.

(These Crusader fantasists. My entire lifetime. Their Armageddon wet dreams. Why will the sand not eat them alone.)