Thank you for this splendid edition of the Chronicle. It sparkles with ideas and revelations and that special Hookland sense of recognition and the half-remembered.
The Far Ends is so evocative of a time and a place. It takes me back to my childhood and the demolition site we were forbidden to play in, but did anyway. After half an hour of poking about in the empty, rubble strewn rooms, we were unaccountably filled with panic and a sense that we should not be there. We ran and never went back. Never talked of it afterwards.
I am very moved by Notes from the Wyrd Lab. There really is a need for working class voices to be heard when it comes to the writing of place and you do this with grace and tenderness.
For me Hookland certainly is “a pathway to revelatory joy”.
Thank you. Deeply appreciated. As you know Bob, Hookland has agendas and one of them is better representation of working class voices within its fictions. I'm fond of the Far Ends piece for personal reasons. Bomb site boys don't forget.
The gothic has always been a resistance against rigidity, always been a guerrilla action against the sort of dull conformity that secretly hates romance for the wild responses it may bring about. – Phoebe Wyn, singer in Emily's Wand Vs. the Skull of Alice, 1982
There's power in not explaining everything and letting your mystery live in people's head. Wyn knew this.
I bet there’s a better word for it, I always call what happened to the Nadspek over time plushifition. The tendency to turn the horrific into something more manageable and marketable.
The Far Ends story says so much. I can’t even begin to talk how much I like it.
I think the word you want and the one I would use as a folklorist is defanging or declawing. As much as it is about compartmentalisation and commodification, it is also about the contextualisation that occurs across the drift of time where monsters become a symbolic mapping of the current fears of a culture.
It is one of the few things I've written my wife likes. She would like to see me work it into a screenplay.
I think we'd all like to see that.
I doubt you would if I actually put my nose to it, but thank you.
Thank you for this splendid edition of the Chronicle. It sparkles with ideas and revelations and that special Hookland sense of recognition and the half-remembered.
The Far Ends is so evocative of a time and a place. It takes me back to my childhood and the demolition site we were forbidden to play in, but did anyway. After half an hour of poking about in the empty, rubble strewn rooms, we were unaccountably filled with panic and a sense that we should not be there. We ran and never went back. Never talked of it afterwards.
I am very moved by Notes from the Wyrd Lab. There really is a need for working class voices to be heard when it comes to the writing of place and you do this with grace and tenderness.
For me Hookland certainly is “a pathway to revelatory joy”.
Thank you again.
Thank you. Deeply appreciated. As you know Bob, Hookland has agendas and one of them is better representation of working class voices within its fictions. I'm fond of the Far Ends piece for personal reasons. Bomb site boys don't forget.
https://www.youtube.com/watch?v=JFkJmOwqQyI
My favourite punk band.
Really loved the Far Ends (and the rest, of course!)
Thank you Helen. I really appreciate you taking the time to say that.
A wonderful read. So much to ponder in a delightful way. Thank you as always for your words.
Hope you are feeling better and the despondency has alleviated.
Thank you.
Wait, DragonCon 2015? Damnit, I was at that one too. So irritating!
This was utterly brilliant, it would make a fantastic movie xx
Understood. Just checking if it referenced something I’m not familiar with.
Emily’s Wand vs. The Skull of Alice. What an unusual name. Is there info on how the band came up with it?
The gothic has always been a resistance against rigidity, always been a guerrilla action against the sort of dull conformity that secretly hates romance for the wild responses it may bring about. – Phoebe Wyn, singer in Emily's Wand Vs. the Skull of Alice, 1982
There's power in not explaining everything and letting your mystery live in people's head. Wyn knew this.
I bet there’s a better word for it, I always call what happened to the Nadspek over time plushifition. The tendency to turn the horrific into something more manageable and marketable.
The Far Ends story says so much. I can’t even begin to talk how much I like it.
I think the word you want and the one I would use as a folklorist is defanging or declawing. As much as it is about compartmentalisation and commodification, it is also about the contextualisation that occurs across the drift of time where monsters become a symbolic mapping of the current fears of a culture.
It is my wife's favourite thing I have wrote. She wants me to turn it into a screenplay.
You know, PseudoPod is open to submissions on August 11. Just saying
Due to ill-health and financial circumstance, the likelihood of me expanding The Far Ends by then is ridiculously small.