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And now I got a dragon in my mind and I'm still here in this space
It is the tenth birthday of Hestia Hermia Linsky-Noyes; lhude sing meaw. I took her official birthday picture by afternoon sunlight and the enticing rustle beyond the window of bird theater. She has one small paw now braced in the blinds, her ears hunter-swiveled.
Shortly after midnight she snuggled unexpectedly onto my lap; we sang to her and I told her the story of her mother who carried all her kittens bravely until she could give birth to them in safety and licked them all over and purred to them and taught them how to be cats. She meered up to me. I wish we were celebrating a decade of both our cats. We make much of the cat who lives with us—tonight she will receive her meal of festive ham—and we remember the cat who does not.
Otherwise I had an appointment which permitted me to walk around Fort Point in the brilliant not quite spring winds and a welcomely supportive interaction with the Traffic & Parking Department of the City of Somerville. I was told I didn't look my age by the same person who addressed me as "my dear," briefly suggesting I had slipped through one of the less stressful portions of a Mary Renault novel. The sun when I had walked for long enough to take my coat off felt like a hand laid against my back.
I was sorry to learn that in the three years since my last encounter with The Sea Shall Not Have Them (1954), my favorite actor in it had—at a sensible near-centenarian age—died, but it was from his obituary I discovered to my immeasurable delight that Ian Whittaker was much better known as a set decorator and art director for productions as varied as The Devils (1971), Tommy (1975), The Rocky Horror Picture Show (1975), Alien (1979), Dragonslayer (1981), Highlander (1986), Howards End (1992), Sense and Sensibility (1995), and The Importance of Being Earnest (2002), just to select a handful I have seen. As A.C.2. Milliken, the seasick and slightly flammable medical orderly of Launch 2561, he reminded me oddly around the eyebrows of Denholm Elliott and I am charmed that the resemblance persisted into later life.
Shortly after midnight she snuggled unexpectedly onto my lap; we sang to her and I told her the story of her mother who carried all her kittens bravely until she could give birth to them in safety and licked them all over and purred to them and taught them how to be cats. She meered up to me. I wish we were celebrating a decade of both our cats. We make much of the cat who lives with us—tonight she will receive her meal of festive ham—and we remember the cat who does not.
Otherwise I had an appointment which permitted me to walk around Fort Point in the brilliant not quite spring winds and a welcomely supportive interaction with the Traffic & Parking Department of the City of Somerville. I was told I didn't look my age by the same person who addressed me as "my dear," briefly suggesting I had slipped through one of the less stressful portions of a Mary Renault novel. The sun when I had walked for long enough to take my coat off felt like a hand laid against my back.
I was sorry to learn that in the three years since my last encounter with The Sea Shall Not Have Them (1954), my favorite actor in it had—at a sensible near-centenarian age—died, but it was from his obituary I discovered to my immeasurable delight that Ian Whittaker was much better known as a set decorator and art director for productions as varied as The Devils (1971), Tommy (1975), The Rocky Horror Picture Show (1975), Alien (1979), Dragonslayer (1981), Highlander (1986), Howards End (1992), Sense and Sensibility (1995), and The Importance of Being Earnest (2002), just to select a handful I have seen. As A.C.2. Milliken, the seasick and slightly flammable medical orderly of Launch 2561, he reminded me oddly around the eyebrows of Denholm Elliott and I am charmed that the resemblance persisted into later life.
no subject
*hugs*
no subject
*hugs*