gaudior | Reading

I hope you're not tired of first contact stories, because I've gone and written another one. Apparently this is what's on my mind lately? Anyway here's Waiting for Them in Nature Futures, go, read, enjoy!

conuly

and her excuse is "Your father and I both agreed that it was best to raise you away from my wealthy-but-toxic family, whom I was returning to". And having met the protagonist's half-siblings, I can't say that this was wrong - but what, she just loved him so much more than her younger two that she had with her new, richer, more socially acceptable husband? No matter how you look at it, she's not exactly winning the mother of the year award.

**********************************

( Read more... )

osprey_archer

I know I’ve read Mikhail Zygar’s The Empire Must Die: Russia’s Revolutionary Collapse, 1900-1917 before, because my ebook is spattered with my own highlights all the way to the very end. However, I have no memory of the book, and also apparently never posted about it, both of which are baffling because it’s an enjoyable and fascinating read.

The Empire Must Die is telling the intertwined stories of many different prominent figures in late tsarist Russia: not just the prominent political figures (both in the government and in the varyingly legal levels of opposition), but also figures in the arts, Chekov, Diaghilev, Tolstoy, Nijinsky. It is both painting a picture of Russian high society and exploring the events that led to the downfall of that society.

Zygar is telling a story more than he is advancing a thesis, so he doesn’t advance the idea that this or that thing is the root cause of the ultimate Bolshevik takeover. And obviously any complex historical phenomenon has many causes: autocracy, the Russian orthodox church, a highly class-stratified society with huge income inequality, etc. etc.

However, it ultimately seemed to me that any of these problems might have been overcome were it not for Nicholas II, Russia’s weak-willed, vacillating, but also stunningly pigheaded final tsar. He’s like the guy in the parable who is sitting on top of a house roof in a flood, turning away a neighbor in a boat and a helicopter and what have you because he’s convinced that God will save him, except in Nicholas’s case he’s ignoring warning signs like “we just lost a war with Japan because of our antiquated military, so perhaps we should modernize before we get embroiled in a larger war?”

Or, rather, he repeatedly sees the warning signs, he agrees to direly needed reforms, and then he backtracks the next day after he’s had a chance to talk to his wife. Absolutely a case where both halves of an adoring couple made each other exponentially worse. Nicholas believed that any attempt to amend the autocracy was a violation of the oath he made to God at his coronation, and his wife Alix not only agreed wholeheartedly but remained steadfast in this belief when the weak-willed Nicholas wavered.

So much for the collapse of autocracy. After Nicholas abdicates, why do the Bolsheviks end up in power? Well, you’ve got three main parties vying for it.

The Kadets: the liberal democratic party. In favor of a republic or a constitutional monarchy. Popular among Russia’s middle class, which is not very large. Just can’t pull the numbers they need. Ideologically opposed to shooting people for political reasons.

The Socialist Revolutionaries (also known as SRs): in favor of peasants and the political assassinations of tsarist officials. Despite this history of violence, excited to work non-violently within the new state system that everyone is trying to patch together after the revolution of February 1917. Unfortunately, their two most charismatic leaders recently died, and also they discovered that Azef, the guy who organized most of their high profile political assassinations, was actually a police agent. Awkward. The SRs fail to kill him.

The Social Democrats (also known as the SDs; split between the Bolsheviks and the Mensheviks): Marxists, in favor of the industrial proletariat; hate peasants, but canny enough to promise to distribute land to the peasants anyway. The Bolsheviks are ideologically in favor of shooting people for political reasons, which gives them a decisive edge while their opponents are fretting about whether it will fatally undermine their attempt to build democracy if they shoot political opponents who threaten to violently overthrow democracy. As it turns out, the answer is “probably yes, but do you know what will undermine democracy even more decisively? Being violently overthrown.”

julian

A friend of mine died last week. He was, all in all, much more a friend of friends of mine, plus he was one of Calluna's sort-of-exes, but he *was* also one of my local friends, though I hadn't seen him in eons. Quiet, political, slid funny into everything like a very friendly dagger. African American, aware of it, aware of the political implications. Fannish.

He was

telepresence over on LJ, though I don't think he ever came over here.

Calluna (who is White) tells the story of how they were walking along somewhere or other in Boston, in the early 2000s, (or possibly late 90s) and she suddenly noticed them getting odd looks and she stopped in the middle of a crosswalk and said, "...Wait..." and then loudly burst out, "Are you telling me I'm dating a man and I'm *still* not socially acceptable?"

I don't know if COVID-19 had anything to do with this -- he was having heart failure for a few years, apparently -- but I will take the opportunity to link to

werpiper's memorial talk at Ny's Online Thing anyway, because it *might* have. As she notes, there is a lot of Not Talking About It.

sovay

It was cold enough in the intermittent late sun that I should have worn gloves, but I walked out and photographed the flowering things of my neighborhood.

( I'll salt circle your brain if I have to. )

It was a delight to run into Elana Lev Friedland on North Street. We talked cosmic horror and capitalism until my hands stiffened up. I dove for the bag of bagels as soon as I got home and made myself one with cream cheese and lox, the latter eagerly shared by Hestia. She has taken to leaping onto the top of the washing machine at the slightest rustle that might suggest deli meats. I fell asleep in the evening, but

spatch cooked me scrambled eggs and afterward

rushthatspeaks and I talked over our days. I am fascinated by the blue-based earthtongue.

Current Music: Eliza McLamb, "Salt Circle"

conuly

About their fight against the racist War on Drugs.

It includes what looks like a tea leaf emoji? Whatever sort of leaf this is, it’s not marijuana, even I know that. Maybe no emoji at all would’ve been the better call….

conuly

OMG, but ignore the dipshit in the comments.

*************************

( Read more... )

sovay

It was very nice to be told by the ophthalmologist this afternoon that I do not need surgery on my eye. I had been given some reason for concern. It was aggravating to be told that I should persist in spending hours of my time with a warm sheep, i.e. the cereal-filled microwaveable hot pack that lives in our freezer applied to my face, but at least it's working.

I read like a medical diary. Yesterday had social interludes in the form of

rushthatspeaks and

selkie and

genarti who dropped unexpectedly by with a lifetime supply of bagels and other heymishe staples from Mamaleh's. I paused Samurai III: Duel at Ganryu Island (宮本武蔵完結篇決闘巌流島, 1956) in order to show

spatch that Kōji Tsuruta lived up to his character's billing of looking more like an actor than a swordsman, which had sounded self-referential until he stepped onscreen as if exactly out of an ukiyo-e print. This evening I felt so set on fire that I curled up in bed for an hour and Hestia snuggled herself under the covers and pushed her head kitten-fashion against my knee. I made myself a sesame bagel with chopped liver and watched another of the Warners B-pictures written by Raymond L. Schrock that TCM has been running to more than fast-cheap effect so long as they do not contain Ronald Reagan. I feel as though I measure my time by what I can do in between managing my health.

I cannot manage the state of the world and it remains exhausting. Nearly a decade of my life seems to have folded itself like a tesseract of the Echthroi and it is hard at the moment not to feel that all that happened in the interval is that people died.

Current Music: Snail Mail, "Dead End"

conuly

I didn't get a good look, seeing it as I did out a bus window, but did I have to? They're not that hard to identify.

************************

( Read more... )

skygiants

I've been meaning for months to write up Knight Flower, the Joseon-era kdrama about a RESPECTABLE WIDOW BY DAY, VIGILANTE BY NIGHT who spends her days dutifully kneeling by her husband's portrait and serving her mother-in-law and her nights running around town in a black mask dispensing justice by the sword.

I enjoyed this drama very much, but it's kind of an odd beast -- it's genuinely interested in the awful constraints on Joseon's women's worlds and widow's worlds in particular and wants to explore that seriously, and it also wants have our heroine be extremely cool and fight off five guys in an alley every episode and toss off a one-liner about it, and it also wants our [middle-aged! widow!] heroine to be a charming sitcom naif who gets comically overcome by the sight of a man's midriff and is shocked! shocked! to learn about some of the various injustices going on in Joseon despite the fact that she's been wandering the streets dispensing vigilante justice for ten years. (They attempt to square some of this circle by virtue of the fact that our heroine's arranged husband was killed! by bandits! on his very wedding day! and so she has spent ten years dutifully mourning a man she never actually met, let alone slept with.)

And because Lee Hanee is a talented actress, she can almost more or less pull all of that off and make RESPECTABLE WIDOW SECRET VIGILANTE JO YEO-HWA a coherent character -- helped in large part by the various interesting women around her, including:

- Yeo-hwa's hard-nosed and cynical maid, whom Yeo-hwa rescued off the streets as a teenager, and who has spent her years since then in the single-minded pursuit of enough money for An Independent Place, which she is going to move into JUST as soon as her chaotic mistress to whom she is unfortunately absolutely loyal is Out Of This Fucking House and No Longer Doing This Stupid Vigilante Shit
- Yeo-hwa's mother-in-law, who holds Yeo-hwa harshly to the extremely narrow line of conduct allowed for widows [go nowhere; speak to no one; serve your husband's family; accept that it's an embarrassment for you to be alive when your husband is dead] and sees her largely as a walking reputational vector for the family -- but hey, at least she would never pressure Yeo-hwa to commit honorable suicide, like some other mother-in-laws-of-widows of their acquaintance, so that's something! In any other drama this character would be a cruel stereotype but in this drama she's played by Kim Mi-kyung with sympathy and complexity; she's the immediate bane of Yeo-hwa's life, and nonetheless she and Yeo-hwa have spent a decade bound together as family with a kind of affection, and Yeo-hwa understands perfectly well that her mother-in-law is also trapped by the only rules she knows
- Yeo-hwa's business partner and accomplice, a merchant whom Yeo-hwa also rescued on the streets and who has also spent the time since then like You Could Just Leave This Fucking House, I will prepare a fake identity for you, it won't be hard
- the main female villain, ( who is somewhat of a spoiler though this all starts to come out pretty early on )

Obviously Jo Yeo-hwa also has a love interest. He's an honorable baby cop who wants to fight corruption and also has a backstory tied up in the ten-years-ago political plot. He's completely fine. His older brother, an upright schemer who's been helping the virtuous king lay long-term plots to take back control from his evil ministers,* has an very cute B-plot bookstore romance with the cynical maid that I frankly found much more compelling in the glimpses of it that we got. More compelling yet ( is spoilers again! )

*there's nothing kdramas love more than a virtuous king who's trying to take back control from his evil ministers

conuly

The important thing is they have to be accessible, beginner-level poems for people who don't "get" poetry in English (or, perhaps, in any language).

Though I will say now what I only sort of suggested then, which is that I've never thought the point of reading anything is to understand it all. Sometimes it's enough to enjoy it, even if you miss a thing or ten. (This may be why I know so many Shakespeare quotes - from the age of six onwards I made repeated dives into our big copy of his collected works, and you know for sure I did not understand Elizabethan English at that age!)

conuly

I think that I shall never know
Why I am thus, and I am so.
Around me, other girls inspire
In men the rush and roar of fire.
The sweet transparency of glass,
The tenderness of April grass,
The durability of granite;
But me—I don't know how to plan it.
The lads I've met in Cupid's deadlock
Were—shall we say?—born out of wedlock.
They broke my heart, they stilled my song,
And said they had to run along,
Explaining, so to sop my tears,
First came their parents or careers.
But ever does experience
Deny me wisdom, calm, and sense!
Though she's a fool who seeks to capture
The twenty-first fine, careless rapture,
I must go on, till ends my rope,
Who from my birth was cursed with hope.
A heart in half is chaste, archaic;
But mine resembles a mosaic—
The thing's become ridiculous!
Why am I so? Why am I thus?

********

Link

conuly

Poll #34495 Ideal calendar behavior

Open to: Registered Users, detailed results viewable to: All, participants: 47

View Respondents

When should one cross dates off the calendar?

View Answers

You cross off the current date at the start of the day
2 (4.3%)

You cross off the current date at the end of the day
29 (61.7%)

You cross off tomorrow's date at the end of the day
1 (2.1%)

You never cross anything off, ever
15 (31.9%)

***************

( Read more... )

skygiants

I have often read single-person biographies where the biographer is very obviously in love with their subject; I have also occasionally read have also read Couple Biographies where the biographer is really invested in the romance between their subjects plural. Ilyon Woo's Master Slave Husband Wife is a really great, thoughtful, thorough exploration of a particular moment in the history of American slavery around the passage of the Fugitive Slave Act of 1850 and the defiant abolitionist movement. It is also very definitively a love story that Woo believes in with her whole heart and is ready to champion all the way to the end, which I honestly think is quite charming even when I myself looking at the evidence was sometimes like "well, I too would like to believe that all through their many years together William and Ellen Craft were indeed fully and romantically on the same page and had each other's backs about everything, but I think it's possible there are other interpretations of some of these events and that in many cases we simply can't know for sure --"

The Big Headline about Ellen and William Craft, the story that made them famous and that the first part of this book recounts in detail, is their daring escape North from slavery in 1848: Ellen disguised herself as an extremely sickly white gentleman who needed her loyal slave with her at all times, and in this guise they managed to navigate 19th-century public transit all the way from Georgia to Philadelphia. They themselves wrote a book about this, which I do plan to read, because it sounds extremely cool and romantic and indeed everyone they met as they made their way from Philadelphia to Massachusetts was like "that's extremely cool and romantic!" and promptly pulled them onto the abolitionist lecture circuit to general wild applause. Ellen, in particular, had major abolitionist propaganda value for forcing empathy out of white people. She was often billed as the White Slave (a label that she did not enjoy.)

Being an escaped slave on the abolitionist lecture circuit was obviously pretty dangerous in 1848 but not as dangerous as it was about to become. In 1848, the Fugitive Slave Laws up north were pretty toothless and unenforceable. In 1850, in an attempt to staple the rapidly-fracturing country back together, significantly stronger laws were passed that essentially forced abolitionist states to cooperate with returning escaped slaves to their masters. Ellen and William Craft, who had so publicly escaped in a way that was very cool and also very embarrassing for the slave states through which they passed, inevitably became one of the first major test cases as to whether Massachusetts would indeed fulfill its Obligations to the South.

Woo writes a compelling narrative, but more importantly she does a really wonderful job balancing that narrative with the complexity of the broader context; from the opening chapter, where she ties the Craft's escape in 1848 with the 1848 revolutionary movement in Europe, I already knew I was in good hands. She does occasionally I think overuse the Ominous Foreshadowing Chapter Ending, but as nonfiction author sins go that's a minor one. She says that at one point in the text that as part of telling their full story she wants to complicate the idea of a happy ending, but it's very clear that in her heart she wants the Crafts to have been very in love and very married all throughout their long and interesting lives, and who can blame her for that?

conuly

is that none of this was made up. Truly, I hate this timeline.

rachelmanija

This sequel to Annihilation takes an unusual approach. Rather than returning to Area X, almost the entire book takes place outside of it, focusing on the scientific/government agency, the Southern Reach, which has been sending expeditions into it.

Most of the book is bureaucratic shenanigans with creeping horror undertones. The main character, unsubtly nicknamed Control, is slowly losing his mind trying to figure out what the hell happened to his predecessor and why she kept a live plant feeding off a dead mouse in her desk drawer, what is up with the bizarre incantatory literal writings on the wall, and what's up with the biologist, who has seemingly returned from Area X but says she's not the biologist and asks to be called Ghost Bird. There's parts that are interesting but also a lot of office satire which is not really what I was looking for in this series.

About 80% in, the book took a turn that got me suddenly very interested.

( Read more... )

I kind of want to know what happens next but I'm not sure Vandermeer is interested in giving readers what they want.

sovay

Long story tired, within a week of recovering from last month's double ear infection I was exposed to some other viral crud and now I have a double ear infection all over again. Next I return to the ophthalmologist. I am rethinking the entire concept of having a head. In the meantime I lay on the couch and watched Hiroshi Inagaki's Musashi Miyamoto (宮本武蔵, 1954) while Hestia basked in the cat tree. WHRB introduced me to Pansy's "Woman of Ur Dreams" (2021) and Nia Nadurata's "i think i like your girlfriend" (2023). I like this color study which feels a levitation away from being a surrealist painting. If it played vaguely near me, I would watch a film about Mark Fisher.

Current Music: Mazzy Star, "Fade Into Me"

rachelmanija

One day every adult on Earth gets a box that contains a string that measures out the length of their life.

This premise seems designed in a lab to create a book to be read for book clubs, where everyone gets to discuss whether or not they'd open their box and how they'd react to a long or short string. It worked, too. And it is absolutely about the premise. Unfortunately, the book is bad: flat, dull, sappy, American in the worst possible way, and emotionally manipulative.

It follows multiple characters, all American, most New Yorkers, and all middle or upper class. Some get long strings. Some get short strings. The ones with short strings agonize over their short strings. The ones with long strings who are in relationships with people with short strings agonize over that.

One of them is black, a fact mentioned exactly once in the entire book, and one has a Hispanic name. One set is an old right-wing politician and his wife. But all of them have identical-sounding narrative voices. Other than the Hispanic-named dude, who is mostly concerned about job discrimination, and the politician, who just wants to exploit the issue, everyone is worried about having a relationship and children with someone who will die young/worried that they'll get dumped and not be able to have children because they'll die young.

Ultimately, isn't everything really about baaaaaabies? Shouldn't everyone have baaaaaaabies no matter what?

The book is so bland and flat. The strings are a metaphor for discrimination, as short stringers are discriminated against. It explores some other social issues, all extremely American like health insurance discrimination and mass shootings, but only peeks outside America for brief and stereotypical moments: North Korea mandates not opening the boxes, China mandates opening them, and in Italy hardly anyone opens their box because they already know what really matters: family. BARF FOREVER.

It was obvious going in that the origin of the boxes would never be explained, but no one even seemed curious about that. Once all adults have received them, they appear on your doorstep the night you turn 22. Video of this is fuzzy. No one parks themselves on the doorstep to see if they teleport in or what. No one has a paradigm-upending crisis over this absolute proof of God/aliens/time travel/magic/etc that the boxes represent. No one comes up with inventive ways to take advantage of the situation a la Death Note. No one is concerned that this proves predestination. No one wonders why they appeared now and what the motive of whoever put them there is.

The point that life is precious regardless of length is hammered in with a thousand sledgehammers, to the point where it felt like a bad self-help book in the form of a novel. The romances are flat and sappy. In the truly vomitous climax, someone pedals around on a bicycle with the stereo playing "Que Sera Sera" and it quotes the entire song.

It's only April but this will be hard to top as the worst book I read all year.

osprey_archer

I watched the Alec Guinness Tinker Tailor Soldier Spy with

skygiants and

genarti when I visited Massachusetts (a month ago now; where does the time go?), and I’ve been procrastinating writing about it, because how does one review perfection?

It’s so good. Quite possibly the perfect adaptation. Alec Guinness makes an amazing Smiley. Possibly not as plain and tubby as Smiley ought to be, but he’s projecting that as hard as he can nonetheless. And he’s just so good at Smiley’s style of sympathetic understatement where he might not actually be sympathetic to whatever line of bull his horrible loser interlocutor is trying to feed him, but it would take an awfully attentive listener to realize that, and most of the people around him never seem to listen at all.

Much is made in the books of Smiley’s amazing spy skills, and I have accepted this without ever exactly being able to put my finger on what those skills are, except maybe the patience to deep-dive in the files. But the miniseries suggests that Smiley’s other secret weapon is the ability to listen, and not only listen but radiate the aura of attentive, thoughtful, sympathetic listening that makes people want to keep talking.

His not-at-all secret weakness is his adored wife Anne, who is sleeping with a Who’s Who of all the important men in London. Just about everyone Smiley meets taunts him with this in not-very-veiled terms. (“Give my love to Anne,” says an obnoxious acquaintance in the first episode. “Give everybody’s love to Anne!”) Amazing example of a character who is hugely present despite not actually showing up till the final episode, during one of the rare sunny moments of a show that takes place mostly in clouds and rain and darkness. Anne actually is one of the bright spots of Smiley’s life despite also being the bane of his existence.

But it would be a mistake to focus too closely on Smiley, because the whole ensemble cast is excellent, and the production really gives the characterization room to breathe. The first scene simply consists of four men assembling one by one around a table, smoking cigarettes, sipping coffee, flipping through folders of papers, clearing their throats… until at last the final man arrives and the meeting gets started and you see, “Ah, that’s the one in charge.”

That’s Bill Haydon. You don’t learn his name yet, and you also don’t learn for a while that he’s not technically the boss, but also you already know most of what you need to know about him.

The adaptation hews quite close to the book, but not slavishly so; clearly the product of people who love and admire Le Carre’s work but also recognize that the challenges of adapting a written work to a visual medium can require some tweaks.

They did make one change I absolutely loved, which was ( spoilers )

Just gorgeous. Absolutely amazing. I want to watch the sequel Smiley’s People, which has a reprise cast, but I’m also not sure that I’m strong enough to watch two Smiley adaptations in one year, especially since this is the one adapting the book with the most Karla (played by Patrick Stewart) (did not write about the scene in this series where Smiley and Karla face off and Karla just sits there, absolutely silent, and dominating the room in that silence) and I feel they may add a Karla bit that will bring me to my knees like the part under the spoiler cut above.

Clearly I’ll simply have to wait until I visit Boston again to watch Smiley’s People.