her blurb and life are a work in progress

There is a likeability crisis in much contemporary queer sff. Authors are unwilling to make their characters look bad, and it compromises the integrity of the story. I don’t think this is the result of individual authors’ incompetence. The state of the publishing industry and the social media ecosystem around genre fiction has refigured the reader as, primarily, a customer, and the customer is always right. If Yamamoto had written a highly entertaining and optimistic crime novel with a cast of highly flawed marginalized people who the reader is expected to root for even as they hurt each other, themselves, and the people around them—if they took seriously the premise of the story they did in fact write—it may have been more difficult to market. It may have received more negative Goodreads reviews from the kind of people who don’t like Wuthering Heights because it’s just a bunch of terrible people treating each other terribly. But oh my god. Who cares. Those people can go read a book that isn’t about people who steal things for a living and send each other to jail.

tyrion for some fucking reason:

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

Full Moon , Backstreet ,Provincetown MA - John Dowd , 2020,

American , b. 1960 -

“My name is Hornblower” he quavered at length. “What an infernal piece of bad luck for you” said a second man at the table, with a complete absence of sympathy.

(source)

Die Mimik der Tethys (The Expressions of Tethys) is a high sea buoy (last was in Pinacoteca Agnelli, Turin, 2024), that is suspended in space and moves synchronously to another buoy in the Atlantic Ocean near Nantes. Continuously transmitting motion data via satellite to its relocated double, the information guides eight electric motors and cable winches, which precisely reproduce the buoy's movement in the ocean. The buoy functions as a hypnotising machine that inevitably leads to the idea of waves lapping around inside the exhibition space, creating an ocean in the minds of people.

Video source