1. This afternoon's mail brought my contributor's copy of Not One of Us #51. (We were on our way out the door, so I took it with me and read excerpts on the subway.) To my delight, ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
ashlyme and I appear in the same issue with stories dedicated to each other: his is the autumnal, fairy-fruiting "A Portrait in Rust" and mine is "The True Alchemist," which takes its title from him. I wrote it in December after dreaming that I had. Also included is my poem "Similes," which I wrote in February about the recognition of being happy. I do not assume it was the last time. It's a powerhouse issue; there's even a fantastic, Grant Wood-like photo at the centerfold. The theme is not dead yet: a good reminder for spring.
2. Yesterday being simultaneously Easter, a deadline, and the first MIT Swapfest of the season (I bought an antique advertisement for hair tonic featuring a shoal of mermaids who wrecked a ship to get it), I forgot to mention that my poem "The Etruscan Prince" is now available in the latest issue of The Cascadia Subduction Zone. It was written last October after the discovery of the seventh-century tomb in Tarquinia whose occupants were identified by the grave goods buried with them—a spear for the husband, a jewelry box for the wife—before further analysis of the remains demonstrated that the objects in fact belonged the other way round. Print and electronic copies are inexpensively available here; otherwise you can wait six months and it all goes online for free. I am especially pleased to be sharing a table of contents withprezzey.
3. I spent the evening at a double feature of The Muppet Movie (1979) and The Great Muppet Caper (1981). It is impossible for me to overstate the degree to which these films wired themselves into my brain as a child. I watched them repeatedly on video. I had particular lines that stuck with me and actors I would recognize before I knew the pop culture they belonged to and I especially loved Brigham's pistachio ice cream because it was the closest in color to Kermit's dragonfly ripple. (Sadly, the ice cream really closest in color turns out to be green tea, which I can't eat. If anyone ever finds a way of decaffeinating it sufficiently to avert the migraine, I'm there.) I hadn't seen either one in at least fifteen years and never on a big screen. I'd estimate that about eighty-five percent of the script for The Muppet Movie and a solid half-to-sixty of The Great Muppet Caper is just there in my memory. Who knew?derspatchel came with me; rushthatspeaks joined us for the second film. It wasn't a nostalgic experience, just a great one. The Muppet Movie is such an incredible handmade thing. The two of them back-to-back are a primer in metafiction. Even if the Brattle's print of The Great Muppet Caper seemed to miss a few seconds here and there (RENOIR!), it was probably the best use I could have made of my night.
ashlyme and I appear in the same issue with stories dedicated to each other: his is the autumnal, fairy-fruiting "A Portrait in Rust" and mine is "The True Alchemist," which takes its title from him. I wrote it in December after dreaming that I had. Also included is my poem "Similes," which I wrote in February about the recognition of being happy. I do not assume it was the last time. It's a powerhouse issue; there's even a fantastic, Grant Wood-like photo at the centerfold. The theme is not dead yet: a good reminder for spring.2. Yesterday being simultaneously Easter, a deadline, and the first MIT Swapfest of the season (I bought an antique advertisement for hair tonic featuring a shoal of mermaids who wrecked a ship to get it), I forgot to mention that my poem "The Etruscan Prince" is now available in the latest issue of The Cascadia Subduction Zone. It was written last October after the discovery of the seventh-century tomb in Tarquinia whose occupants were identified by the grave goods buried with them—a spear for the husband, a jewelry box for the wife—before further analysis of the remains demonstrated that the objects in fact belonged the other way round. Print and electronic copies are inexpensively available here; otherwise you can wait six months and it all goes online for free. I am especially pleased to be sharing a table of contents with
prezzey.3. I spent the evening at a double feature of The Muppet Movie (1979) and The Great Muppet Caper (1981). It is impossible for me to overstate the degree to which these films wired themselves into my brain as a child. I watched them repeatedly on video. I had particular lines that stuck with me and actors I would recognize before I knew the pop culture they belonged to and I especially loved Brigham's pistachio ice cream because it was the closest in color to Kermit's dragonfly ripple. (Sadly, the ice cream really closest in color turns out to be green tea, which I can't eat. If anyone ever finds a way of decaffeinating it sufficiently to avert the migraine, I'm there.) I hadn't seen either one in at least fifteen years and never on a big screen. I'd estimate that about eighty-five percent of the script for The Muppet Movie and a solid half-to-sixty of The Great Muppet Caper is just there in my memory. Who knew?
derspatchel came with me; rushthatspeaks joined us for the second film. It wasn't a nostalgic experience, just a great one. The Muppet Movie is such an incredible handmade thing. The two of them back-to-back are a primer in metafiction. Even if the Brattle's print of The Great Muppet Caper seemed to miss a few seconds here and there (RENOIR!), it was probably the best use I could have made of my night.
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