millefiori

What I've recently finished reading:

Emily Wilde's Compendium of Lost Tales by Heather Fawcett, which, it's the third book in the series, so if you like this series you will probably like this book. I particularly enjoyed the trope (which is not uncommon - it's also an element of the Invisible Library series, for example) that the Fae are governed by tales and stories, so the things that happen in their kingdoms generally follow the well-known structures of fairy tales. I also appreciated that the story wrapped around to include elements of the first book.

What I'm reading now:

My hold on Empire of Silence by Christopher Ruocchio came in, and - I can't remember why I put a hold on this book? Did one of you recommend it? I've started it but I am not finding the style particularly engaging. I'll stick with it for a while, though.

What I've recently finished watching:

Untamed, about which I must agree with

treewishes's assessment: "Excellent scenery and interesting characters, the plot, um." The drone shots of Yosemite are spectacular! The action taking place in meadows with cliffs in the background is beautiful! The very beginning has some really fingernail-biting rock climbing (both B and I, who used to climb, muttered at the total sketchiness of one of the placements...) and overall the scenery is just gorgeous. The characters and the way they interact, their backstories and their drama and trauma, are definitely interesting. The plot, um. I have a lot of niggling criticisms, like, there is no way an LA cop would be able to easily transfer to a park ranger job! There is no way an experienced law enforcement officer would go confront a dangerous person without backup! I am side-eyeing the idea of a hippie encampment being on park land and not cleared the hell out of there immediately they found it! I can't imagine a park far from major cities being a hub for [spoilers redacted]! But mostly it's just a ridiculously convoluted plot for the sake of ridiculous convolutions.

Apparently there will be a second season, but I have no idea what they are going to keep constant from the first - the people, the setting, ???

What I'm still playing:

I'm still playing Dragon Age: The Veilguard, and it's still entertaining.

pauraque

Set in a future where the galaxy is dominated by a massive colonialist corporation called Umbai, this complex space opera novel centers on Nia Imani, the captain of a commercial freighter. Nia is an emotionally guarded woman who has trouble making and keeping connections, but when she meets a mysterious boy whose escape pod crashed on a farming colony planet, she finds herself drawn to him. But he also captures the attention of a powerful figure within Umbai who believes the boy may unknowingly hold the secret to instant teleportation without relativistic effects, which could revolutionize space travel and further consolidate corporate control.

Time distortion is a theme running through every level of the book—literal, figurative, structural. Relativistic time dilation heightens social disconnectedness, as a space traveler who leaves a planet for mere months of their own time will find friends are decades older when they return. A person may live for hundreds of years and remember ancient ways now lost, yet find the spectre of their past mistakes still painfully present. The book's narrative style reflects this warping of time's fabric, lingering in detail over certain moments but at other times fast-forwarding through years in a paragraph. All this underpins the exploration of connection and loss, as well as questions of how many times you can start over, what you bring with you, and what you leave behind.

I found the first third or so of the book to be the strongest. Like Jimenez's second book The Spear Cuts Through Water, it paints a clear picture of the universe as made up of diverse and interconnected lives, where the camera could turn and follow anyone and find a story just as rich as the main protagonists'. I also appreciated the deeply anticapitalist and anticolonialist themes, which reminded me of Ann Leckie in the way the human costs of imperialism are built into the story.

The book is extremely ambitious for a first novel, and in the end I think it reaches a little beyond its grasp. After a while the epic scope, large cast, and unconventional pacing began to make me feel that some aspects were rushed and underexplained. Sometimes we don't see a character for a long time, and by the time we rejoined them I'd lost the thread of what they were doing and why. There are also some characters whose motivations are never revealed and some plot questions that are never answered, which made the last section feel like a shaky landing. When I noticed there were only thirty pages to go I was like, "How the hell is he going to wrap all this up?" and the answer is he kind of didn't.

I found The Spear Cuts Through Water more fully realized and satisfying, but he wrote that after this, so if trends continue I'd say he's on the right track. I'll keep an eye out for what he does next.

(Content notes include child abuse, torture, climate change apocalypse, and the fact that the title is literal—the worldbuilding involves the extinction of all Earth's birds. 😭)

bethbethbeth

Helpful hint if you're becoming more disabled as you age or as a condition progresses (i.e., if you're new to seeking travel assistance): figure out what sorts of thing are challenges for you in your day to day life, and see how the airports you'll be using can help.

In my case: I have relatively bad arthritis (some weeks worse than others), use a cane, have balance issues and intermittent vertigo.

The two airports I used (O'Hare in Chicago and Sea-Tac in Seattle) are usually both on the lists of reasonably accessible airports (guides, braille elevator signs, etc), and both had free wheelchairs. This would have been great given the extremely long terminal hallways without moving sidewalks, but unfortunately, it was too late by the time I found out.

Knowing about the free wheelchairs would have been especially useful when I was heading home. The TSA lines were wildly long at Sea-Tac and even though I explained my difficulty with standing in lines to SeaTac staff, I was told I had to go to the regular line (note: a roving TSA agent ended up - unprompted (although I probably looked bedraggled :D) - moving me to a faster line, but once you invoke a disability, accommodations should be made as a matter of course.

My return trip from Sea-Tac (after 5 days of hobbling around WorldCon) was also problematic given the inclines between each gate in Terminal D. Why do you have to trudge uphill with teenagers sitting on the side ledges, hanging their legs over the banisters? I shall probably never know.

Plus, there was no seating accessible to me at SeaTac. All the chairs would have been perfectly comfortable for me to sit in, but my cartilage-light knees & my vertigo won't usually allow me to get up facing forward without something to touch for balance in front of me once I'm up. I usually need to turn sideways to get up from a chair (unless it's a relatively tall chair) and touch the back for balance (unless I'm sitting next to a wall), which isn't possible with rows of freestanding chairs that all have armrests and all face each other. In my case, I found a lovely guy at the gate next to my departure gate (my gate personnel weren't there yet) who basically stole a wheelchair (the basic airport wheelchairs are just hard chairs on wheels with movable armrests, i.e., my favorites) and brought me to my departure gate, leaving me to sit in the stolen - and oddly comfortable - chair next to something I could use for balance later for the next hour. This was great, but it took me 25 minutes finding somebody to help)

Note: when I was heading to Seattle, O'Hare's departure gate did have chairs without armrests which made it easy for me to stand up without tipping over onto my face. I don't know whether having some chairs without armrests are part of ADA compliance, but even the lobby for O'Hare's car rental and bus pickup facility had a few of those. Thank you, O'Hare.

On the plus side, there were gender free bathrooms at O'Hare (single user) and at SeaTac (including multi user). I only used the one at SeaTac and the stalls all had full-length doors, which - let's be real - all public restrooms should have. I did overhear a youngish girl - maybe 12? - expressing shock to her slightly older sister about that, but then her parents said "Go in and pee. Our flight's going to be boarding soon." Good work, parents,

pauraque

In this casual strategy game the goal is to accumulate points by placing buildings in a model town. Each type of building earns points according to what other buildings and resources are nearby, suggesting the city planning process—houses want to be placed near the town center and other houses, but not near noisy industry, etc. It's less a city builder than it is an abstraction of what you do in a city builder, reduced to its most basic elements.

player places a lumberjack hut showing points gained and lost from nearby buildings and trees

player places a lumberjack hut showing points gained and lost from nearby buildings and trees

This game didn't do it for me. I love city builders, but for me just placing buildings isn't enough to hold my interest, at least not as it's presented here. I can do object placement puzzles that are completely abstract and arbitrary like Tetris or something. But if we're calling it a town, then I want people in it! I want to manage traffic and resources! I can see from the positive reviews that many players enjoy the simplicity and find it relaxing, but for me it's so impersonal that it feels sterile, and I found myself getting bored quickly. It has good reviews so I guess I'm just the wrong audience for it. It did make me think about how I don't respond just to the mechanics of a game, but also to the setting where those mechanics exist and what I want to see in that setting, so at least there's that.

Islanders is on Steam, GOG, and consoles for $4.99 USD.

delphi

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cereta

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delphi

Fandom 50 #25

Long Live by

llintrek
Fandom: Star Trek (TOS through to AOS)
Characters: Ensemble from TOS, TNG, DS9, VOY, ENT, and movies
Medium: Vid
Length: 5:19
Rating: SFW
My Bookmark Tags: drama, slice of life, happy ending, established relationship, celebration, legacy, nostalgia, friendship, family
Song: "Long Live" by Taylor Swift

Excerpt:

You held your head like a hero on a history book page / It was the end of a decade, but the start of an age

This vid is a warm bowl of good soup, nostalgic and comforting. I love the conceit of starting out following one character who shares a scene with a second, and then following that character, and so on, through the crossovers between the different series, and then across the themes that unite them. This is one I go back to often when I need a smile.

Watch on YouTube

isis

What I've recently finished reading:

1984 by George Orwell (reread, but first read nearly 40 years ago, so.) This book requires a great deal of suspension of disbelief; it's more of an allegory of fascism, an exaggerated cartoon version, than it is actual fascism. But that's the point, I think. It's the authoritarian nightmare writ very very large, and I hope that enough people are reading it now to be scared into fighting the authoritarian nightmare which is slowly establishing its tentacles across the US. (And that they don't get so chilled by the downer ending that they believe that it's impossible to fight...)

A few things stood out to me about this book written in 1949. First, it's interesting that ideology isn't actually important here; the object is to amass and retain power, and I think that's true of our current regime. Second is the importance of stamping out every bit of creativity and independent thought, even getting rid of words describing creativity and independence, such that even the books and songs produced by the government are created by computers (cough AI cough) and lightly edited by humans. Very prescient and chilling! And of course the thing that brings this book to mind and has put it on so many contemporary reading lists is the idea of editing information about the past to bring it in line with what the government wants people to believe - which is what the regime is attempting now.

I mostly enjoyed it (if "enjoyed" is the correct word) though the protagonist's view of women was a bit madonna/whoreish, kind of weird, and I wondered how much it reflected the author's feelings. (However, it's obvious to me that the in-universe view of Jews is very clearly intended to be part of the throughline connecting to Nazism, so I am not sure why I feel more uncomfortable about the portrayal of women.) Also there's a whole section in the middle which is a lengthy quote from a purported book by Goldstein, the leader of the Resistance, and that's just ugh boring clunky exposition in the middle of what is for the most part powerful prose. But otherwise, I'm glad I read it again, in these times, where we are led by small men who want to amass power for power's sake, and be cruel for cruelty's sake, and put their boots on everybody's faces.

What I'm reading now:

My hold on the third Emily Wilde book by Heather Fawcett came in at the library, so I'm reading Emily Wilde's Compendium of Lost Tales. The beginning was terribly confusing but I'm starting to get into it.

What I recently finished watching:

We finished Arcane, which - I have mixed feelings about. Actually, it kind of reminds me of Andor - no, not the downtrodden rising up against the elite (though okay, there are some elements of that) but the plot veering off sideways and jumping around and things that seem like they're important getting dropped and things coming suddenly out of nowhere. (So maybe it was supposed to be a longer series that got canceled so they had to cram everything into the second season?) I am still not sure what Viktor's whole deal was, or what exactly the "arcane" is, or the invasion at the end, or...and then I looked up the game it's based on and it's a battle arena game, so I am not sure where this plot came from! Anyway, I loved the art, liked a lot of the characters and their relationships, didn't really care for the way the story evolved in S2.

What I'm watching now:

Untamed, which is the Netflix murder mystery miniseries set in Yosemite, not the Chinese drama - that one has a The in front of it. Eric Bana and Sam Neill are in it but we're really watching for the lavish scenery porn, which is definitely amazing. (Also some of it takes place in Mariposa, so it makes me think of

rachelmanija, though I don't know if it's actually filmed there or if it even makes sense to be taking place there.)

cesperanza

I am still here! <3. I'm just so seriously middle-aged, I've got everything on the boil rn. But I'm here if anyone needs me and still contributing to fandom in all the ways I can. You can also reach me at all the places you've always reached me--or other me, or any of the mes you may need.

Things I have enjoyed/am enjoying lately include:

* Killing Eve - I know, I'm super late to Killing Eve, but my sister loves loves loves it and so she asked me to watch it and so I'm watching. First two seasons obviously the best IMO, but she's asked me to see it through so I'm seeing it through.

* Strange New Worlds - its like 100% actual Star Trek! Also it's so fannish - like, look, there are episodes where I can tell the entire reason for the plot is to make sense of one weird moment in ST; TOS and you know what: I RESPECT YOU!! I SALUTE YOU!! YES, GO AHEAD AND FIX THAT ONE MINOR PLOT POINT in TOS, I AM YOUR AUDIENCE, I TOTALLY SEE WHAT YOU DID THERE, GET DOWN WITH YOUR BAD SELF. Also, honestly, I will never be tired of Pike cooking, which is a bizarre characterization that I didn't see coming and which nobody I'm trying to pimp to this show ever believes until they see it. Also I would die for Number 1 and La'an. Also Pike cooks with cast iron and open flame in a spaceship. Really: I salute you, show. I am glad you are back! (Especially since no more Disco.)

* Bridgerton/Queen Charlotte - late to QC also, after watching Bridgerton, and thought it was actually really a notch above Bridgerton. (Which I did enjoy - I mean, I respect their commitment to the pleasure principle.) Glad to be caught up there.

* House - yes, yes, I know, I'm really kicking it like it's 2004 around here, but Tiberius, now a teen, had seen bits of it on the interwebs and was like, "Mom, do you know anything about this show House?" and I was like YESSSSS. YESSS I DOOOOO, and your aunt made a great vid of it! Whereupon I showed him astolat's "Bukowski" and we settled in for a watch/rewatch: we like to have a show we're watching together. He's into Trek also so we watched Discovery and Lower Decks and we'll watch SNW as a family now its back, but there's a lot of House to go through and that's a nice option too.

(Side note to those of you who don't have teens: what I did not expect is that Gen Z basically is getting culture in bursts of 10 seconds or less. He's seen literally BITS of House. He will tell me "I know that song--or well, I know 7 seconds of that song." Remember how there would be kids who wouldn't read a novel, they'd just watch the movie? My students now are like--THAT MOVIE IS TWO WHOLE HOURS? I seriously fear for the future, it makes previous claims of attention span deterioriation look PREPOSTEROUS. Holy shit. I swear, I spend so much energy trying not to be too judgy! But I am very judgy! Then again: this moment, this decade, really provokes judginess!! )

(Additional side note: Tiberius is super eye rolly because since middle school all the girls he knows are like "Wow, your mom is SO COOL," --because of course I am! I am really fucking cool, plus I helped to found the AO3 and all of that, so I am a high school rock star, and Tiberius is like, "please God save me from this hell" lol. Cause honestly there really is nothing worse than having a cool mom, I do get that, but I tell him he'll appreciate it later, when I'm dead.)

pauraque

This novel is structured as a woman's reminiscences of her life, beginning in the 1990s at an elite boarding school she attended in England. The students are told that they are special and important, and that it is an extreme privilege to attend this school, but they aren't given a clear understanding of why this is or what makes the school so different from others. Throughout the first few chapters, it becomes increasingly apparent that something strange and ominous is going on. The students have close friendships with each other, but nobody ever mentions family or going home for holidays. The teachers are cagey about the nature of the situation, and some seem distressed by it, as if their hands are tied.

What is really going on is stated outright a quarter of the way into the book. The rest of the book is spent exploring that premise and looking at how the characters are shaped by and respond to their circumstances. I don't know whether the author intended to present the premise as a secret or not, but the book has been marketed as though it's a secret, and whether it's a spoiler is subjective. (Thank you all for your input on the poll!)

The premise and my thoughts on treating it as a spoiler

The premise is that the students are clones who are being raised to serve as organ donors. They have limited rights compared to non-clones, and the expectation is that they will die from having their organs harvested sometime in young adulthood.

I knew the premise going in because I saw it discussed years ago, and I suspect it wouldn't be that hard to figure it out even before it's made explicit. But I'm sure it also depends on what your expectations are going into the book, if you're looking for a "twist" and how broad you think the scope of possible twists is. Personally, I think it does the book a disservice to coyly market it as literary fiction, if that's the reason the premise has been treated as a secret. For people who like both litfic and specfic equally maybe it's fine, but that's not everyone, so you're asking for people who only want litfic to be annoyed by the bait-and-switch, and for some proportion of people who would like the book to never pick it up because they think it's not for them (or to be aggravated by the implication that we're not calling it specfic because it's "serious literature" instead). I knew it was speculative fiction and I enjoyed it as speculative fiction, and I think dancing around the genre is unnecessary. So that's where I sit with it.

My thoughts which assume you know the premise but don't necessarily assume you've read the book

Anyway! I really liked the book! Based on the three Ishiguro books I have now read, (this, Klara and the Sun, and The Remains of the Day, I've come to appreciate his skill in writing characters who have a perspective on the world that could be considered "limited" in that the reader and the other characters understand things the POV characters don't, but it's very clear that their lived experience has validity and their inner emotional landscape is as rich as anyone's. No matter how small a person's world may look from the outside, to them it is everything.

Kathy and the other clones see things from a certain angle because of the way they've been raised and what they've been taught to believe. They don't automatically perceive the horror of their existence the way we do because they aren't us, they don't know what we know about how things ought to be. But within their own frame of reference, they live their lives and make choices according to their own understanding of who has authority and what the inevitable facts of life are. Their experiences, memories, feelings, insights, and relationships matter even if we can see how constrained they are by their circumstances. After all, we are also bounded by what we perceive as inevitable facts of life, and we also don't know whether we perceive that correctly.

I think the book reflects how we are socialized not to talk about (let alone question) uncomfortable societal truths. I was struck by Kathy's observation that as the students were growing up, the teachers drip-fed them bits of information that they were not quite old enough to understand. She realizes this may not even have been consciously planned, but it had the effect of making them feel they had "always known" what they were and the life that had been chosen for them, even though they had no specific memories of being told. I think this is a bullseye description of what it feels like to be socialized to accept injustice.

Children don't just learn from what is directly stated to them, they learn from what isn't said, from adults' discomfited grimaces, annoyed dismissals, vague contextless remarks, and awkward changes of subject. The school setting (which was a choice on the part of the characters, to structure the clones' residence as a school—it's not like these kids know what schools are really like in the outside world) to me drives this point home. The adults are trying to educate the students for reasons of their own that we learn later, but the primary lesson they're teaching isn't on the curriculum.

Some specific thoughts that reveal details from the end of the book

Once we got the full explanation of what the school really was, that they were trying to "prove" the clones had souls, I found it just as disturbing as the concept of organ donor clones in itself. Miss Emily's goal wasn't to prove the clones' humanity so they could be liberated and the hideous practice of organ harvest put to an end, it was to prove their humanity so they could be treated a little bit better before the slaughter.

The fact that she is able to tolerate this cognitive dissonance speaks volumes about what she has been indoctrinated to accept, and points to the modes of thought underpinning the broader dystopian world. This, for me, was the true horrifying reveal, and it's all the more horrifying because it is entirely mundane: The belief that a class of people is subhuman can withstand knowledge that disproves the belief, provided that abandoning the belief is inconvenient enough.

By the same token, Miss Emily's description of how public opinion turned against her ideas and led to the closure of Hailsham is so deeply unsettling because it is so familiar and plausible. A push for expanded rights for a marginalized group, even an incremental push, is a precarious thing that can be derailed by a poorly-timed scandal or a negative association, even if the connection is tenuous. As in our own world, many people's beliefs are not based on reason, on consistent principles, or even on a blunt assessment that saving some people justifies sacrificing others. They're based on how much of the truth you can convince yourself to dismiss. If you're looking for an excuse to discredit calls for justice, you'll always find one, and you'll find plenty of people happy to validate your conclusion.

Emily's story doesn't spell this out. As always, it's between the lines as she skips over assumed context that Kathy and Tommy don't share. And they're not even looking for justice, only a temporary reprieve from the fate they've already accepted. But they can't get that, not even when they ask nicely. (Does it ever work to ask nicely?)

My biggest takeaway from the book is how difficult it is to independently invent the idea of a just world when that concept has been denied to you. And how much harder when even the people who come the closest to being your allies don't actually want justice—they want injustice with the sharpest of its vulgar edges politely sanded off.

delphi

Boys, Beasts & Men by Sam J. Miller is a 2022 speculative fiction short story collection themed around male coming-of-age and queer male sexuality*.

* Okay, can I still use an asterisk if I'm just going to immediately elaborate on that?

The thing is, I went through this book twice under two different apprehensions. When I read it the first time, I assumed this was written as a collection. It has a framing device that does a lot of heavy lifting to create thematic meaning and an overt narrative through line. So, while my initial disappointment was that all these stories with different protagonists from different time periods and walks of life felt so similar, I thought: "All right, that's deliberate. It's not really working for me, but I can appreciate the idea of all of these stories belonging metaphorically to one person who's been boy, beast, and man. The 'man' part is a bit of a letdown, since that's almost entirely external straight counterpoints to a queerness that is perpetually young and modern for its day. But 'YA with a higher rating' aside, I can dig what it's trying to do."

Then I realized all the stories were written separately for different publications, and I went back through with that in mind. The knowledge made me a little less forgiving of the samey-ness (and the awkwardness of the few times we did get other voices), but it also made me much more forgiving of the fact that the stories don't actually come together into something coherent beyond their basic shared worldview.

This was a "less than the sum of its parts" collection for me, where the individual entries didn't rise to the framing device, and even the framing device felt more...sanitized and self-conscious than I was expecting. It's the type of dark queer speculative fic that feels like it kept walking me up to the edge of an interesting premise and then carefully staying behind a guardrail that showed me the sights but didn't let me take the plunge. To the point that in aggregate some of those steps back and framing of mundane horror added up to something more conservative than I think was intended, and wasn't what I was hoping for from a collection with this title and a framing device about an anonymous hookup.

There are plenty of good ideas, executed very competently (albeit with a share of clumsiness around handling the diversity it's aiming for). Stories include a boy reckoning with his mother's fallibility through an encounter with a dinosaur on exhibition, a teenager developing mind control powers that he turns against his bullies, a father failing to meet his son in the time and place the son inhabits, and an oral history of events around the Stonewall riots. But none of them really grabbed me, or at least none of them kept their teeth sunk in. I think I felt primed for something a little more visceral, messy, and transgressive in a way I definitely wouldn't have been if I'd just encountered these stories separately in different magazines.

That said, there is a specificity to the viewpoints and language, so I think this is a situation where if you like Miller's use of language, his message, and his ways of conveying that message, you'll probably get a lot of enjoyment out of the collection. I'm aware that this is one of those situations where I'm much harder on a book that starts running in the direction I want but is ultimately heading somewhere else than I am on something that starts and stays miles off. I feel like the book overall expresses what the author is looking to express with a high level of technical ability on most fronts, but it just wasn't for me.

In lieu of an excerpt, here's the entirety of one of the stories up on Lightspeed Magazine's website: "We Are the Cloud" by Sam J. Miller

delphi

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pauraque

I have a running list of games I remember from my childhood that I add to whenever I think of one. I always think there can't possibly be any more game memories to unearth, and I'm always wrong. For this one I blame/credit

zorealis, who brought it up during one of our regular nostalgia rambles.

Wheel of Fortune is a letter-guessing game based on the long-running US game show. It's like Hangman, or if the kids don't play Hangman anymore then it's like Wordle. The added strategy element is that before you guess a letter you have to spin the wheel to determine how many points your guess will be worth if it's right. The wheel also features bad outcomes like skipping your turn or losing all your points.

vanna white gestures to an unfinished puzzle TH_ P___T_D D_S_RT

vanna white gestures to an unfinished puzzle TH_ P___T_D D_S_RT

This DOS version of the game is very easy and probably aimed at children. You can play hotseat multiplayer, otherwise the game provides NPC opponents who don't exactly pass the Turing Test; I found it difficult to lose to them even when I tried. They'd cheerfully guess Q or Z for no reason, even while R and T were still sitting there like so many low-hanging consonant fruits. Poor pixel Vanna White always kept a professional smile on her face as she clapped encouragingly for each spin of the wheel, but I know she was secretly judging us, languishing in her pixel heels as she waited for someone to guess a right letter so she could awkwardly shuffle over there and turn it already, for God's sake.

The reason I was trying to let them win was that I was curious what would happen. When a human player wins, they get to do a solo bonus round. Would it make me sit through the computer doing it too?

( Let's find out )

I don't think I played this game very much as a kid. Even in 1987 there were more engaging options. But if you're like me and have been holding onto memories of it in some dusty disused corner of your hippocampus, you can play Wheel of Fortune in your browser.

delphi

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millefiori

August 2025

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Reading

wednesday reads and things

The Vanished Birds by Simon Jimenez (2020)

Even with ADA, you still have to work to make airports accessible for you

Islanders (2019)

Six Sentence Sunday

Aliens and Lost Boys (and Girls)

REC: Long Live by Llin (Star Trek, Ensemble)

wednesday reads and things

Where the fuck is my life going?

Never Let Me Go by Kazuo Ishiguro (2005)

What I'm Reading: Boys, Beasts & Men by Sam J. Miller (2022)

Six Sentence Sunday

Wheel of Fortune (1987)

REC: Until It Doesn't Hurt by CATastrophy (Our Flag Means Death, Izzy Hands)

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August 2025

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