thunder rolled. it rolled a six.

Bringing out those tags because so, so interesting, perhaps one of my favourite things, to mess around with patterns of story*. When I sat down with Spock to transcribe his autobiography, we came up with a form for what Vulcan memoir might look like, which he subverts. (There’s some of Sarek’s poetry too.)

Meditations on a Crimson Shadow is described as being set during a future war, so is a Cardassian sf novel. I figured it would surely, at least superficially, tell the story of Cardassian supremacy and permanent conquest, like Orwell’s boot stamping on a human face forever. Except maybe if you were reading it in the basement of your father’s home as your whole civilization implodes around you. Then I thought it might read differently. Or at least you would start the previously unimaginable work of imagining differently.

If historical fiction tries to reconfigure what we think was possible for people in the past, sf tries to configure what we think can be possible to us in the future. They feel very close, in my mind. Can we find sources or traditions in the past that give us succour or hope? What visions of the future are available to us, or do we need to imagine, and how do we map our way there? I think about these things all the time.

Walter Benjamin, On the Concept of History, VI

I’ve done a piece before of rugal and ziyal and Jake discussing Star wars franchise as a piece of cardassian literature, with decades of one family either serving or destroying the state, with the filial obligations to the generation before as a repetitive epic, now I really want to revisit it with your incredible class lens of Patterns of Story.

I know there’s something on the bones of murder mystery thriller pulp that could be translated to Vulcan, something probably closer to the Detective kosuke kindaichi books, where it takes you through every single clue and a diagram of the house so you can see the logical leaps and make them yourself, as opposed to a Sherlock Holmes where you only really get the clues after they’ve amounted to a solution. The elements of murder mystery undertone of an empire in decline and a new era struggling to establish itself while ancient secrets come unburied that’s in both Agatha Christie and in Yokomizo is really the part that I cannot figure out how to change for Vulcan culture itself.

Edit:

Found this one hiking in Rocky Mountain National Park.

Worked on some outreach blocks with Mom yesterday!

Behold my Hercules beetle! I took a huge chunk of time away from piecing and sewing in general due to work insanity, but I finally got around to finishing this boy.

The fabric is all second hand: the background fabric came from a local craft thrift store, and the green/orange and brown/gold speckled fabrics are twice reused kimono silks. The kimono fabric was gifted to me by the wonderful Madame Button, who used the original garments to make these gorgeous corsets.

She got the kimono because they were either new dead stock, or in such bad condition that they couldn't be worn. She can't use the fabric once it's cut up smaller than a corset panel, so she's been chucking the scraps at me for a while, and I've finally gotten over my fear of cutting up such beautiful silks. Go check out The Bad Button on Instagram and Facebook and drool over her other gorgeous pieces.

I decided to forgo sandwiching and quilting this because I wanted the piecing lines to be the highlight. For now it's tacked to a plain cotton bed sheet until I can find a nicer frame for it.