The Flowers of Hell, Candy Claws, MMOSS, Wintercoats, The Claudia Quintet, Matthew Dear, Christopher Willits, James Blackshaw, Zonotope™, INEVERYROOM, No Age and Sufjan Stevens.
Mike Shatzkin, discussing the recent spate of authors who are sidestepping the traditional publishing model and going it alone, ponders the ‘unbundling of the publisher’s suite of services to the author’:
Publishers still pay advances although they’re doing their best to scale them back. Many don’t provide the same level of editing services that they used to; they often expect more books to be delivered by each of their editors and they also lean to agents they can trust to do a lot of the work of putting a book in shape.
There’s something charming about spam email prefixed with ‘Re:’. It’s as though the sender is being particularly sincere in responding to my queries about ‘raw power’ and ‘massive rods’.
Things I wish I’d known before disrobing for the shower: that the shower door was broken, and that it would take an extended period of grunting, swearing and bending over to get it back on its rollers again.
Daughter is having trouble getting sleep. “I want prince,” she sobs.
Halfway through my acapella version of ‘Sexy MF’ I realised she was referring to the prince in Sleeping Beauty.
As thorough an account as you are likely to find concerning nineteenth-century encounters between human beings and giant squid.
(via Pharyngula)
Get Lamp is a documentary that looks back at the era of text-based computer games. If you were born before, say, 1980, you might remember these. Basically, to get through the game, you had to type things like Go east, Take hammer, , etc.Touch lady
In the words of the documentary makers:
They presented puzzles, tricks and traps to be overcome. They were filled with suspense, humor and sadness. And they offered a unique type of joy as players discovered how to negotiate the obstacles and think their way to victory.
I remember playing a sort of ‘hardboiled crime’ text adventure on our old Amstrad CPC6128, and I surely must have played Zork at some point.
I later spent many hours playing Leisure Suit Larry, a more graphically advanced (and graphic!) incarnation of the adventure game, in which issuing instructions such as Touch lady were not only acceptable but encouraged.
(via Galleycat)
Our neighbours have had ‘Beat It’ on repeat for a number of hours. I am concerned they may have died in a spectacularly ill-engineered moonwalking attempt.
Oftentimes the phrase “Daddy, I’ve got something to show you” heralds a token of dubious prestige.
Like this, which my daughter pulled from the front pocket of the hoodie I’d just put on her.
Carbon dating puts its origin at sometime in the early part of 2010.

Music by Sleepy Sun, Here We Go Magic, Grizzly Bear, Viernes, Marco Benevento, Beige, Weed Diamond, Blondes, CEO, Fol Chen and Kenny Graham & His Satellites, among others.
Novelist David Mitchell, in an essay on historical fiction, coinciding with the release of The thousand autumns of Jacob de Zoet:
To a degree, the historical novelist must create a sort of dialect — I call it ‘Bygonese’ — which is inaccurate but plausible. Like a coat of antique-effect varnish on a pine new dresser, it is both synthetic and the least-worst solution.
Our shitty printer is a Brother MFC-425CN. I have just come up with some imaginative explanations of what ‘MFC’ and ‘CN’ stand for.
As one of my Twitter friends noted, “Grandad looks as though he has just been handed a glass of post-war existential despair.”
(ryan k)
Apparently this kind of doll is called a ‘dunny toy’. But I imagine you can play with them in whichever room you wish.
Was alarmed by our daughter asking if we like ‘big bum fun’.
It turns out there is a children’s TV program called Big Barn Farm.
Our TV reception only works if I unplug the antenna and thump the set-top box. Could Logie Baird have dared imagine such a wonderful future?
At the park. A couple of old guys are chatting, in Greek, on the seat behind me. Occasionally I hear one of them say the words ‘George Negus’.
The name ‘Paul’ doesn’t quite seem right for a psychic octopus. I’ve never known a Paul with psychic abilities, or more than two arms.

Music by Cate Le Bon, Kurt Vile, Michael Yonkers, Meursault, Frankie Rose and the Outs, Nina Nastasia, Wavves, Prince Rama, Wolf Parade and Arcade Fire, among others.

Music by Active Child, Wovenhand, Wild Beasts, Dead Meadow, Cate Le Bon, Horse Feathers, The Chap, The Super Vacations, Thick Shakes, Wild Nothing, Here We Go Magic and Blind Man’s Colour, among others.
Incredible collection of typographic treasures. The artistic printing specimens are particularly impressive.
…it is not the furniture — the dragons, ogres, elves and wizards, the magical swords, cups and corkscrews — that make a work fantasy but that hopeless yearning vision of life as it cannot be that burns green and eternal at its heart.
From the essay ‘In the tradition’ by Michael Swanwick. Emphasis mine.
I have reached that awesome carnivalesque, hall-of-mirrors, ‘nothing in the world can stop me now’ part of having been awake too long.
Researcher Bruce Rosen on the “eatables and drinkables” sold on the streets of London during the Victorian era. (And not just the Victorian era, as this rather candid 1920s photo demonstrates.)

Music by Wild Beasts, Holy Fuck, Trans Am, The Dead Weather, Young Jazz Rebels, Horse Feathers, The New Pornographers, Yukon Blonde, The Black Keys and Janelle Monáe, among others.
Someone’s child just lobbed a handful of breadcrumbs at my feet, summoning a flock of seagulls to harass me, then promptly buggered off.

Even Ian Fleming would have baulked at using this title. Though surely he would’ve been within his rights to sue: the strapline even refers to an ‘Agent 0008’ (“Yeah, chuck an extra zero on. Oh, and change the ‘7’ to an ‘8’ while you’re at it. What? Well, no. Not a lawyer exactly.”)

“Because she now favoured women for love, each arrow she shot at her male assistant seemed to be aimed closer to castrate him.”
From the ‘Rejected White Stripes album covers’ file.

“He made a fantastic bargain with creatures from another world — the loan of his brain in exchange for an unearthly legacy.”
I wonder if this Frank Frazetta illustration was the inspiration for Tom Cho’s ‘Cock Rock’?

A sequel was planned, but for reasons never adequately explained, Signet declined to publish the tantalisingly-titled Who Rogered Professor Murder?
(Uilke)

Music by Baby Birds Don’t Drink Milk, Flying Lotus, Inlets, Avi Buffalo, Tobacco, Plants and Animals, Horse Feathers, Phosphorescent, The Apples in Stereo, The Books and Gauntlet Hair, among others.

Music by MGMT, Here We Go Magic, Coconuts, Race Horses, Deastro, Blind Man’s Colour, Maps & Atlases, FLIGHT, Zeus, Black Eyes, DOM and Phantom Family Halo, among others.
Music by Society of Rockets, Moon Duo, Megafaun, Broken Water, White Hills and Gauntlet Hair, among others.
Bronwyn van der Merwe from the BBC online and technology team runs through some of the choices involved in creating a new ‘global visual language’ for the corporation’s digital services. (Also worth a look is the BBC internet team’s post on regenerating the Doctor Who section of the site for the launch of the new series. If only the video content was available outside of the UK.)

Music by Zeus, Field Music, The Fresh & Onlys, Fang Island, The Besnard Lakes, Pikelet, Love Is All, Pillars & Tongues, Human Resources and The National, among others.
Penguins claimed that the wreck of the Gratitude in 1911 — and the resulting toxic oil spill — was “the best thing that ever happened to Antarctica”. (‘Wreck of the Gratitude, Macquarie Island, 1911’, held at the State Library of New South Wales)
When social and political historians come to write the definitive history of the climate change debate, a chapter will surely have to be set aside to document the rise of one of the most cunning and media-savvy interest groups this country has ever seen. That chapter — assuming the authors strive for transparency of meaning and don’t adopt a naming scheme that is wilfully obnubilatory — will surely have to be entitled “The Penguins”.
Scientists have suggested that for the species Eudyptula minor (the so-called ‘little’ or ‘fairy’ penguin) inhabiting northern Tasmania, Victoria and the Bass Strait islands, rising sea temperatures may in fact prove to be procreatively advantageous. The theory is that warmer seas will encourage penguins to breed earlier, and breed better.
Before we consider the science (and we will*), a few items of historical record. Penguins, you will recall, were one of the the first major lobby groups to spread misinformation about the damage being done to the environment. In the eighties, penguins ran a cynical, pro-cholorofluorocarbon campaign in a desperate attempt to forestall the collapse of the aerosol industry in which, as a species, they had massively over-invested. The penguins later changed tack, claiming that a hole in the ozone layer was in the best interests of human- and animal-kind in general. The ozone layer, according to the penguins, was simply an artificial, psychological barrier preventing the creatures of Earth from claiming their destiny among the stars — or, as the penguin-funded billboards proclaimed, a “no-go-zone layer”.
In these enlightened days, of course, we know that the ozone layer and its accompanying hole is in fact an elaborate costume devised for Lady Gaga’s 2010 southern hemisphere tour. In any case, the focus of the environmental cause has shifted. And when it comes to climate change, penguins have been gallingly obstinate. First, they denied the very existence of global warming. Now, embarrassed at having to acknowledge that the climate really is changing, the penguin lobby is trying to tell us that an increase in ocean temperature is actually a positive development because it allow them to reproduce quicker, and more often.
But is this something we want to encourage? Just what are the evil forces that lurk behind behind this heedless rush to breed? Every cloaca is precious, and no penguin should have to sacrifice its urogenital integrity at the altar of fluctuating global temperatures. Sadly, penguins already have enough excuses for indulging in hasty, ill-planned sex. How many times have we seen grainy images of penguins huddled in their shelters, caught in the act, filmed in that tell-tale “sex-o-chrome” night vision that speaks of a thousand Sphenisciforme sins? Some females even submit themselves to performing flipper-jobs and other profoundly humiliating acts simply to obtain a few nice pebbles with which to decorate their homes. Do we really need to be engineering those very circumstances which will propel these lascivious creatures to ever more depraved sexual activities?
Penguins already find it difficult to contain their sexual urges until mating season. Here, two adelie penguins treat each other to mutual cloacal frottage. (From Antarctic penguins: a study of their social habits by Dr G. Murray Levick, McBride, Nast & Company, New York, 1914)
Another question we might ask is whether we really need more penguins. A quick survey reveals that penguins are in major positions of power in nearly 0.0000001% of the companies currently listed in the Dow 30. You don’t have to be a mathematician to figure out that this works out to a total of 0.0000003 penguins. In fact, all you need to be is a person who has a general functional intelligence, a calculator, and fingers.
Of course, it’s extremely difficult to argue with a penguin. And it’s not just the language barrier. Once could almost go as far as to call these creatures recalcitrant — if one was reasonably confident that they knew what that word meant, and was not concerned about exposing one’s ignorance and misunderstanding on that most far-reaching of media, aka. the world wide ethernet.
But it’s true that penguins are known for their immovable opinions and fierce politicking. An example picked at random: the negotiation of the Antarctic Treaty during the 1950s, when the penguin plenipotentiary insisted that 80% of the continent be set aside for ‘cultural festivities’ — or, as it turned, a decade-long rock-and-roll concert headlined by The Grateful Dead. We are still seeing the lamentable results of those ‘negotiations’ today.
Now, most climate change deniers are as laughable as an author of an article on climate change stooping to a pun about the environmental debate “heating up”. But as the environmental debate heats up, the penguins have adopted sophisticated tactics, twisting science to their own ends and fashioning themselves into several 40cm tall forces to be reckoned with. “Stressing the positives of climate change is a clever move,” says one public relations expert, who can’t be named due to having only just been invented by me for the purposes of this blog post, and whose ten word contribution to this piece scarcely warrants direct quotation in any case.
One wonders what is to be the next line of attack against the environmental movement — and from which quarter such an attack might arise. A number of leading giraffes, pointing (though not literally) to the growing obesity epidemic among long-necked ruminants, have already come out in favour of deforestation because it encourages young giraffes to consider a more varied and balanced diet.
There is only one place all this can end. By which, I mean this article. And, because this article has in fact ended, that place is here.
* Actually, no, it looks like we won’t. (↑)

Music by Fang Island, Zeus, The Morning Benders, Tunng, Viernes, Peter Wolf Crier, Starless & Bible Black, Twin Tigers, Pillars & Tongues, Times New Viking and Forest Swords, among others.
A pair of ladies just came to the door to talk to me about Jesus. They were very nicely dressed. I, however, was not. As in, not dressed.

Music by The Besnard Lakes, The Morning Benders, Cults, Gonjasufi, Here We Go Magic, The Ruby Suns, The Fresh & Onlys, Low Sea, Liars, Ooga Boogas, She & Him and Neko Case, among others.
Novelist Joe Hill talking to Rick Kleffel about his new book, Horns:
People turn to fiction to approach questions that they’re almost a little afraid to look at in everyday life. They want stories to ask big questions. I think that we use fiction to approach big scary questions in the same way people will wear lead-lined gloves to handle a radioactive substance.
At the end of his first draft for Horns, Hill realised he was asking questions about the true root of all evil: “We like to blame the Devil for everything that’s wrong in the world… but really we’re bad enough without him. We don’t really need the Devil. The Devil’s more of a spectator laughing at us, and humanity’s pretty good at generating evil on its own.”
That said, Hill talks about the book being a story of redemption, forgiveness and goodness as well. Nevertheless, his reading at the start of the interview is pretty fiery stuff.
Australian dark fantasy author Deborah Biancotti, guest blogging at Poe’s Deadly Daughters, confesses to something she suspects “will never be fashionable”: hating the Australian landscape.
I stopped pretending I found the landscape anything but creepy and revolting. The sweaty, swollen rainforests that threaten, in my memory, to tip into the thin wedge of playgrounds. The vast brownness of some places, the spindly silver trees, the ungenerous scrub by the sides of roads, wild grasses that whip the edges of beaches. Strange powers control those spaces. Indifferent powers.
And later, an emphatic condemnation of Dorothea Mackellar’s famous poem, ‘My Country’:
Man. Has anyone ever written a more banal poem about a more fatal place?
Marcus Clarke famously expressed a sort of pre-Lovecraftian counterpoint to the kinds of empty platitudes that would later lodge themselves in the Australian consciousness:
The Australian mountain forests are funereal, secret, stern. Their solitude is desolation. They seem to stifle, in their black gorges, a story of sullen despair. No tender sentiment is nourished in their shade. In other lands the dying year is mourned, the falling leaves drop lightly on his bier. In the Australian forests no leaves fall. The savage winds shout among the rock clefts. From the melancholy gums strips of white bark hang and rustle. The very animal life of these frowning hills is either grotesque or ghostly. Great grey kangaroos hop noiselessly over the coarse grass. Flights of white cockatoos stream out, shrieking like evil souls. The sun suddenly sinks, and the mopokes burst out into horrible peals of semi-human laughter. The natives aver that, when night comes, from out the bottomless depth of some lagoon the Bunyip rises, and, in form like monstrous sea-calf, drags his loathsome length from out the ooze.
With literary precedents like this, it’s not surprising that Australia has lately produced such excellent writers of dark fiction — what’s surprising is that it hasn’t happened sooner.
A scene from the British House of Lords. Women were not admitted as peers until 1958, when it was finally decided that someone needed to be employed to pick up all the paper. (From The rise of the democracy by Joseph Clayton, Cassell & Company Ltd., London, 1911.)
Britain may soon hold a referendum to move from a “first-past-the-post” voting system to the kind of preferential system currently used in Australia and other democracies throughout the Commonwealth.
The Australian colonies adopted Britain’s Westminster system of parliamentary democracy when they achieved responsible government in the middle of the nineteenth century, but the system was tweaked somewhat when, in 1901, the colonies federated and Australia became a nation in its own right. It’s tempting to consider that this youthful willingness to experiment has now, in turn, inspired Britain to consider alternative methods of electing its political representatives. Indeed, it could even be seen as just the latest example in a relatively short but immensely rich history of mutual exchange between the British Isles and the Australian continent.
Take, for example, the arrival in Australia of the first fleet of convicts, marines and officers from Britain in 1788. It was immediately apparent to the British that what the indigenous inhabitants of the continent coveted more than anything else was blankets. They seemed, noted Captain John Hunter, “to go frigging mental for the things”. Striped woollen blankets, though they had not hitherto existed on the continent of Australia, were correctly judged by the new settlers to form the entire basis for the Aboriginal systems of kinship, thought and spirituality. In order to placate the Aborigines and satisfy their incredible appetite for perfectly rectangular sections of Dorset wool, the British grudgingly handed over all the blankets they could retrieve from their ships, and in exchange were granted the opportunity, over the next three-quarters of a century or so, to indulge their tendency toward wholesale extermination. We can see here the germ of that generous spirit of give and take which aptly characterises the relationship between our two nations to this day.
Likewise, while Britain may have based its entire imperial enterprise on slavery, it took Australian ingenuity to informally resurrect the practice three-quarters of a century after Britain had abolished it — and not just to resurrect it, but to finesse it. It’s true to say that the colony of Queensland was merely aping the tactics of the mother country when it began kidnapping Pacific Islanders to work as cheap labourers in its sugar fields toward the end of the nineteenth century — but what set Australia apart was enacting legislation, a year after the formation of the national parliament, to deport the kidnapped islanders back to the societies from which they had, by now, become entirely estranged. It is doubtful that this new and invigorating form of cruelty could have arisen naturally in the British Isles without the additional spark of brilliance that fired in the brain of the Australian body politic.
It could be argued that Australia has rescued cricket from its modest and overly effeminate beginnings. (From Cricket by Horace G. Hutchinson, Country Life, London, 1903.)
But politics is not the only sphere in which the Australian people have applied their unique style to improve upon the achievements of their Anglo-Saxon ancestors. For instance, it took a distinctively colonial genius to add a dash of anarchy to the English boarding school game of rugby, thus forming the bedrock for institutional violence, both on and off the field, that is proudly the preserve of the modern Australian football codes. Likewise, it was an arguably Australian impetus that transformed the cricketer — the emblem of British grace and sportsmanship — from a somewhat staid figure into the boozing, rutting and entirely admirable specimen that adorns the cricket pitches of the world today.
While the earliest British settlers in Australia may have arrived somewhat under duress, by the middle of the twentieth century there was a marked increase in British emigration to Australia. These so-called ‘ten pound poms’ were encouraged by an assisted passage scheme, whereby the Australian government subsidised the cost of their fare from Britain. The accepted view is that the scheme was attractive to the Australian government as a means of rapidly populating the continent with white people. While this wholly creditable motive was indeed a factor, it was not the primary one. Recently uncovered Cabinet papers from the 1940s reveal that the scheme was principally designed to ensure that Australia, having accepted large numbers of migrants from Britain and elsewhere, could, in exchange, export its unwanted supplies of Rolf Harrises, Peter Andres and Pauline Hansons.
But getting back to where we began — politics — we might now turn our attention to some of Australia’s more recent parliamentary innovations, which Britain, in her wisdom, may choose to adopt in any forthcoming review of its political processes. One example is the appropriately egalitarian practice, pioneered by the Honourable Charles Wilson ‘Ironbar’ Tuckey and embraced in recent months by Senator Bill Heffernan, of providing comments to the media in the form of a ‘doorstop’ interview. The political observer will be quick to point out that this is nothing new. What distinguishes the approach adopted by Messrs Tuckey and Heffernan is that they offer their contributions in the background of doorstop interviews convened by other ministers of parliament entirely.
It is only by advances such as these that democracy can remain relevant in a rapidly changing world.
Clowns International, whose headquarters are at Wookey Hole in Somerset, England, claims to be the oldest clown society in the world. Whether or not this is true, Clowns International can certainly claim the most unusual approach to copyrighting a clown’s image. Each new member can register their individual make-up with the society, whereupon (according to Wikipedia) an eggshell is decorated as a miniature version of the clown’s head and added to the ‘Egg Gallery’
.
Artist Luke Stephenson was given the opportunity to photograph a representative selection from the famous Egg Gallery (properly known as The Clown Egg Register), including the eggs belonging to such well-known names as Joseph Grimaldi, the Fratellinis, and Pimpo The Clown.
Okay, so ‘Pimpo’ mightn’t exactly be “well-known”, but neither am I making it up. Would I yolk about something as serious as clowning?
Joe Clark on web standards and workflows for e-books in the latest A List Apart:
The canonical format of a book should be HTML. Authors should write in HTML, making a manuscript immediately transformable to an E-book [sic]. A manuscript could then be imported into that fossil the publishing industry refuses to leave behind, Microsoft Word.
Yes yes yes, a thousand times yes. This should have started happening about five years ago. (The section from which this quote is taken is about halfway through the article.)
HTML is a pretty good language for describing the contents of a book (it would be even better if it had a decent way of captioning images) — and in my opinion it’s easy enough to learn that authors (or the editor, or production manager) could render the first draft as a machine-readable document at the beginning of the production process, rather than at the end.
I also learned something new reading this piece: namely, that Unicode has a specification for different width spaces. Colour me the colour of a person who has just found out something they didn’t previously know.
Kevin Rabelais uncovers an interesting feature of novelist Don DeLillo’s writing process in a recent interview for The Australian. A decade into his career, DeLillo began the practice, when he came to write a new paragraph, of loading a fresh page into his typewriter.
“It helped me see more clearly what was on the page … Instead of being confronted with a page of 350 words, it might have 50 words, or 100, and I could focus more clearly on words and sentences.”
Apparently DeLillo continues to use the technique. Entire forests tremble with fear every time he begins a new book. (Luckily the new one is a novella.)
Music by Local Natives, Joanna Newsom, Ortolan, Tape Deck Mountain, Gonjasufi, Javelin, Tobacco, Pantha du Prince, Portugal. The Man and Mackaper, among others.

Music by Citay, Fruit Bats, Man/Miracle, Adam Lore, The Art Museums, Mum Smokes, Michael Yonkers Band, Quasi, Bonnie ‘Prince’ Billy & The Cairo Gang, Black Moth Super Rainbow, Denim Owl and Aphex Twin, among others.
I suspect this is probably a well-worn meme among bloggers, but in any case I thought I’d share a few of the eyebrow-raising search phrases that have somehow resulted in visits to this domain.
I trust you are now perfectly at ease, dear reader, that by viewing this blog post you are among the very finest company the internet has to offer.
I’ve been trying to tell people this for years.
Music by Home, The Paradise Motel, Local Natives, Citay, Frog Eyes, Wolf People, Love Connection, Yeasayer, Mum Smokes, Goldfrapp and The Art Museums, among others.

Either the photo on the cover is genuine documentary evidence or the art director has an uncanny eye for verisimilitude, because those dudes look exactly right.
An enormous homegrown zucchini, excess quantities of cherry tomato and a chance bocconcini acquisition have collided in pancake excellence.

Music by Pikelet, Joanna Newsom, Home, Basia Bulat, Spoon, Lemonade, Wolf People, Maus Haus, Michael Yonkers, Monster Movie, James Husband and Four Tet, among others.
Lucrezia Borgia, who is said to have killed at least fifty of her contemporaries with a very large ham and arsenic and pineapple pizza. (Illustration from Poison mysteries in history, romance and crime by C.J.S. Thompson, The Scientific Press Ltd, London, 1923.)
I’m the first to admit that murder is no laughing matter, but the normal standards of propriety seem a little inadequate when the murder weapon turns out to be a curry.
A number of news sites have reported this week that a London woman has been jailed for 23 years for fatally poisoning an ex-boyfriend via the medium of that most ubiquitous of spicy Indian dishes. Her motive: jealousy at her former lover becoming engaged to another woman. The poison: aconite, also known as wolfsbane. The curry: vegetable.
Details are vague as to how the poisoned curry was administered. I’m choosing to picture an elaborate plan involving a cunning disguise and a fabricated story about a misplaced takeaway order. I’m choosing to picture it this way, because if historical precedent is anything to go by, the alternative methods of application are fairly grim. I need hardly remind the learned reader that there are a number of theories as to how Agrippina, prime suspect in the poisoning of Claudius, was supposed to have delivered the fatal agent of that weak-kneed, runny-nosed emperor’s doom. One theory is that she pushed a poison-dipped feather down his throat. Another is that she delivered the poison by means of an enema. (There is even a controversial and little spoken-about theory which suggests a combination of the two.)
And on the topic of bottom-related ingress and egress, my research into the matter has revealed that one of the symptoms of aconite poisoning is diarrhoea. Which is rather clever on the part of the murderer, since it’s often also one of the symptoms of eating a bad curry. Almost inconceivably, this doesn’t seem to have formed part of the defence team’s weaponry in their attempt to acquit their client — nor has the fact that aconite, when prepared correctly, has traditionally been used in Asian countries as a medicine. Rather than being a premeditated killing, it’s entirely possible that this was an extremely poorly-executed attempt to restore the groom-to-be’s virility in time for the wedding.
One film studio, recognising the double-whammy appeal of a subcontinentally-spiced story of true crime, is apparently already hard at work on a script entitled The Bollywood Borgia. It’s a brave move, though, considering the surprisingly poor box office takings of There’s A Slug Pellet In My Saag Paneer and Sonobe Sayonara.
I mentioned Agrippina above, and it’s worth pointing out that some recent historians believe she may have been judged too harshly by history. It’s probable that the dim light in which she is viewed is due to chauvinism on the part of historians past. Perhaps the London curry poisoner will enjoy a similar attempt at rehabilitation in the not too distant future.
In the final analysis, however, I’m most concerned about history’s ultimate verdict vis-à-viz the vegetable curry, which is clearly the loser in all this.
“Of course I’d love to dance the quadrille, Miss Dorothy. Unfortunately, my scrotum is stuck to the inside of my thighs.” (Illustration from Summer of 1889: routes, rates, hotels, game laws and other valuable information, published by the Wisconsin Central Railroad Company, 1889.)
The seasons have provided inspiration for countless singers and songwriters. As we here in Australia approach the tail end of another soul-melting summer, it occurs to me that none of the popular music artistes of the twentieth and twenty-first centuries have really captured my own feelings on that very season which terrorises me like no other.
A quick survey of summer-related songs reveals that Ace of Base once recorded a version of an old Bananarama number called ‘Cruel Summer’. At first glance, this seemed germane. Unfortunately, much of the Ace of Base version is in French — a language I don’t speak, and one which seems poorly suited to enumerating the ills of summer. (If the French were cursed with the sorts of summers we endure this far down in the southern hemisphere, they wouldn’t have had the inclination to invent a language as attractive as French, for a start.) Add to that the fact that Ace of Base are Swedish, and that the Bananarama version featured on the soundtrack to the movie The Karate Kid (a film which seriously expects us to believe that a teenager would go to a costume party dressed as a shower), and it starts to look like we’re taking an excursion deep into Total Bullshitsville.
Or take Daryl Braithwaite’s ‘One Summer’, whose chorus exhorts us to “Remember the way-ay”, while conveniently failing to provide further specifics. I can only assume he means “remember the way in which your naked arse flesh got stuck to the vinyl of your desk chair while you mindlessly surfed the internet late into night”.
And you can stop smirking, Sir Cliff Richard, with your “fun and laughter” and “no more worries for a week or two”. Which is it, one week or two? Irrelevant, since the skin is still peeling from my knees a fortnight since the conclusion of my own summer holiday. Where’s the fun and laughter in that, I ask. (And while you’re puzzling over that one, think how screwed you would have been if you’d been knighted during the Crusades. I’m just saying.)
No survey of wildly disingenuous summer-themed songs could ignore ‘Summer Lovin” from the movie Grease. Consider this tragically flawed poetic image, if you will: “Summer days drifting away / To, uh oh, those summer nights”. In other words, “isn’t it nice how in summer the temperature usually drops once the sun has gone down, because then we can engage in pleasant activities such as under-age sex and/or sleep” . Sure, except when the temperature remains at 34°C for most of the freaking night.
‘Uh oh’ indeed, Ms Olivia Hyphenated-Surname.
The nearest a song about summer has come to expressing my own feelings is ‘Summer in the City’ by one of my favourite musical acts of yesteryear, The Lovin’ Spoonful. Its verses speak of “people looking half dead” (check), the city being “hotter than a matchhead” (hmm, the ignition temperature of sulphur is roughly 230 degrees Celsius, but let’s call it artistic licence — I’m willing to let gross negative hyperbole slip by where summer is concerned), and the back of one’s neck getting “dirty and gritty” (not sure why they’ve specifically mentioned the back of the neck there — the creases in the belly flesh, groin and arse areas would have been my go-to points of anatomy for that one, but anyway). Where songwriter John Sebastian comes undone, like Sir Cliff, is his promise, in the chorus, that “despite the heat it’ll be alright”.
No it won’t, John. No it arsing well won’t. Not until it’s the middle of June, and I’m wearing slippers.

“Impress your guests with telekinetic tricks”. Sure, because I’d be massively impressed if my host rendered my spoon useless before I’d even got to the fucking soup.

Music by Ghosts of Television, The Besnard Lakes, Spoon, Starless & Bible Black, Maus Haus, Beach House, Slow Six, James Husband, Home, Roj, Wolf People and White Rainbow, among others.
Today I unwittingly took both glass and alcohol to a glass- and alcohol-free event.
Singing ‘Poulet poulet poulet pour moi’ to the tune of ‘Lady Marmalade’. In my defence I am actually preparing chicken for dinner.
That’s just one of the claims Tim Howard imagines encountering at the Guardian books blog. This Machine Kills Purists is a new blog, but check out previous effort Sterne for a treasury of postings both erudite and lewd. And there’s nothing finer than the marriage of lewdness and erudition. Mr Howard’s a celebrant all over that shit.
…is the title of a post by Mat Larkin, who is the author of a funny, brilliantly written but sadly moribund blog. There’s a wealth of great stuff in the archive, though. A good place to start is the ‘complete mortification’ section. Embarrassment, as they say, is the purest source of comic riches. (I just made that up.)
Mr Larkin, I like your trousers.
Blog. I mean blog.
To some questions there are no easy answers. For instance, I have no idea why an octopus – let’s call him Henry – would need to wear a hat.

Music by James Husband, The Advisory Circle, Slow Six, Belbury Poly, Ben + Vesper, Nurses, White Hinterland, Roj, Steve Claydon, Paper Airplanes and Plants and Animals, among others.

Norman Hetherington’s copyright registration application for Mr Squiggle.
I really have no idea why I posted this.
“Hi, I am sad and dreary one.”
Least enticing opening line of a spam email ever.
The City of Westminster website is serialising the diary of a mid-nineteenth century wharf clerk named Nathaniel Bryceson.
Highlights include visits to the gallows to watch executions, the purchasing of cheese, and Bryceson’s meetings with his romantic interest Ann Fox (it is noted in the introduction that some of these episodes are written in “surprisingly explicit language”, though the nearest I’ve found so far is an entry from 2 January 1846 in which he ‘tastes her puddings’).

This graph, recently released by the good people at OpenLibrary.org, suggests that the publication of books relating to fondue reached its apex in the period from 1970 to 1971.
Few sensible people will be surprised by this. But something else this graph shows is that people were still publishing books about fondue as late as 2005, which beggars both belief and good sense.
In 1969, the vice chancellor of the University of New South Wales made an unusual appointment, granting London-born sociology PhD candidate Ian Channell a position as the university’s first (and probably only) official wizard.
Yeah, the sixties were kind of weird.

A decade on from the fabled year 1999, and the public transport in my town has yet to achieve anything close to this kind of splendour. Here in Melbourne the ‘El’ would be shorthand for “extremely late”.
That last stretch between Neptune and Pluto is a real “three cans of Red Bull” kind of situation.
Given that the central character of this book is a stage magician, it’s probably not surprising that the reviewers quoted on the jacket, in seeking to praise the book, have borrowed so many phrases from the world of illusion and prestidigitation. It’s certainly an elegant read, full of charm, misdirection and the occasional pyrotechnic.
I was surprised that this book seemed to have been so well received when it was published in 2001. Not because it isn’t good, but because it seems in many ways unfashionable. Gold doesn’t come across as a showy writer, but his precise, effortless descriptions of action and motive are always economical and often beautiful. And he’s brilliant at constructing scenes, particularly in the second half, giving the book all the qualities of a great thriller.
Gold’s finest achievement, though, is his hero, Charles Carter: based on a real magician, but brought to life with all the character and complexity that fiction can supply.
Apparently the optimum number of times for a melody-playing child’s potty to repeat the tune ‘It’s A Small World’ is forty-nine.

This is an intriguing, curious, eccentric book. The story is driven by a series of near-future cataclysms, yet Amsterdam eschews any sense of doom or apocalypse; instead we have an unnamed narrator adapting and surviving and finding ways to live in an unpredictable, highly mutable world within view of our own.
Like David Mitchell’s Cloud atlas, Things we didn’t see coming is told in a series of disconnected vignettes, each one requiring the reader to reorient themselves in a new world. Amsterdam handles the exposition well (though less so in the later sections, I felt), largely because his character doesn’t ruminate on the disasters and what has caused them (Y2K looms in the first section, and there has clearly been a melting of the ice caps at some point, and a future war appears to leave parts of the population irradiated and riddled with cancers), and because Amsterdam is shrewd about placing his character in revealing, telling and cleverly intersected situations.
In the end, it’s not about disaster, it’s about the before and after. It opens with prophecy, a plea to open our eyes to impending chaos, and it ends with a transcendant acceptance, with eyes literally closed. It’s about our worries — how we worry about the wrong things, how worrying about anything at all is a burden we needn’t carry, provided we have the courage to change who we are, and perhaps even to forget who we are.
Amsterdam’s narrator has no answers; he survives by coming to a way of living that works for him in the moment, and by being prepared to change that way of living as soon as it becomes unsustainable or proves maladaptive. There’s a line toward the end about “good choices for the apocalypse”; I wouldn’t be surprised if that was a working title for the book.

My resolution for 2010 is to end the year looking like this. Shouldn’t be too difficult, provided I can find somewhere that sells monocles.