#i’m sure it’s a great book for introducing the concept of grief to a child but christ if i think if i tried to read it aloud i’d be a wreck

[uk-christmas-archives]

Sainsburys Christmas advert 2015

Airing date: 12th November 2015

I never read the Mog books as a child, so perhaps this does not strike me in the same way as it would for a person who grew up reading them, but even without that it is such a heartfelt advert. And you’ve got to applaud the actual animation work on the character, perfect balance between cartoony and realistic.

[snifflesthemouse]

Harry’s the Problem. His wife is the symptom. He is the real Diana 2.0 Wannabe...

         Since the Oprah interview aired, my whole perspective regarding the spare and his spouse has shifted. It would seem that I’m not alone in my thought process as more and more media outlets start reporting similar stances. Just recently, there was an article suggesting Harry didn’t change; but rather, he is only finally revealing his true self. The more I think about it all, the more I’ve come to the realization #6 is the real culprit behind everything.

         I’m not saying that his wife doesn’t have her own agenda or shares responsibility for her part in all this. Her hands are far from clean. What I am saying is it’s finally time for all of us to consider the cold, hard truth. Harry is his mother’s child. Harry is the bad egg, and his wife is only a side effect of the real problem here.

         Had it not been for the Oprah interview, I would have never put it all together. The problem with oversharing is too much information gets put out in the public. Most assume PR firms would worry about oversaturation in the press, but the real problem comes from personal interviews they cannot control in real-time. Puff pieces can be edited before publishing so facts and statements align; live interviews cannot. Over time, one of two patterns form from this oversaturation. Consistencies, repetitions, and similarities can be found in oversaturated truth-telling. Inconsistencies, changes, and huge differences result from those like Harry who prefer their trousers scorching hot from bursting into flames from deception. When you consistently lie, the only constant is the inconsistencies. 

         Now, those of us who have been following these two already know by now inconsistencies and changing stories should be expected. But the Oprah interview really highlighted some interesting things I had previously missed. The interview with Dax Shephard only solidifies my theories. Up until lately, those two have been together through most everything. Very seldom have we seen Harry alone in an interview or speech. There’s never a time where the missus isn’t popping up. James Corden proved that. Then we have the Oprah interview where she was supposed to be the star of the show. But, that was the moment it all changed. That interview was the moment she became the understudy. 

          Think about it. Who is the one being used in the media lately? Most people would suggest that the impending delivery of child number dos is why the missus is absent. One would then argue the Apple + special with Oprah started production well before the second child was a topic for discussion. The missus is being used less and less on camera or in the media. Everything is all about Harry. Forget about when Harry met Sally; Harry Met Hollywood! 

         Harry is the one doing the interviews, dropping projects, and talking with big Hollywood names. Even their announced Netflix projects are focused on one of Harry’s pre-married concepts. All the wife has going for her is a book that’s only number one in the “Books written by ex-Royals who couldn’t hack it” category. Seriously though, as of this posting the Bench is #2130 on the Amazon Books list, #12 in Children’s Black and African American Story Books, #73 in Children’s Emotions Books, and #167 in Children’s Family Life Books. Being pregnant isn’t a disqualifier for being interviewed. But, apparently being just the wife is.

         So, if it was his wife’s plan from the beginning to marry Harry, get him to abandon his family, move to California, and become a big star with a Prince for a husband, her plans have been ruined. And if you think about what she said in the interview with Oprah, you can actually see the moments she told us all exactly that. She clearly tells Oprah Harry was her direct link and source to the Royal Family and everything she needed to know. She didn’t misspeak or misunderstand a thing; she was telling us that Harry’s next to be markled. In every weird answer or revelation where she gave her versions for why their child(ren) were without title, saying they wed three days before the chapel, or having to cry out to HR since Harry failed to help her while she was so depressed she wanted to kill herself and her unborn child... all of it. It was all just the beginning. It may seem like she is attacking her husband’s family, but Harry’s the real target now.

          In just a couple sentences, she managed to reveal who Harry really was. Harry, of all people, should (and does) know how to navigate the press. Clearly, he failed to not only help her acclimate to Royal life, but it could also even be argued he set her up for failure for the get go. Let me give you an example. When my husband introduced me to his family for the first time, he told me little tidbits of information he found important for me to know. He essentially prepped me for the meeting so things went well. He wanted his family to like me because he loved me. I wanted them to like me because I loved him, too. So, I took to heart everything he told me. Yet, Harry’s wife shared with the world how little Harry cared about that. She credits Fergie with teaching her to curtsey, google for teaching her the National Anthem, and even said Her Majesty made her feel especially welcomed. So how did Harry not do more? If they started seeing one another in the early Summer of 2016, how is it Harry failed to teach or explain anything to her prior to meeting his grandmother, the Queen, when he had months and months of time to do so? How is it he failed his wife so miserably, she didn’t even understand basic UK custom, laws, or protocols? Why might you ask?

         Simply put, Harry is so much like his mother, all he knows is how to play the victim narrative while using the link to the Royal family as a nonstop ATM machine. Many people aren’t honest with themselves when it comes to Diana. She wasn’t the Mother Theresa everyone makes her out to be. Mother Theresa wasn’t a Mother Theresa either, though. Did Diana do some great things? Absolutely. Did she do them only because they were nice or great? Absolutely… not. Diana’s PR team would even have her switch up her charity causes whenever they felt it was getting to martyrdom level. They’d refer to her PR stunts as flavors. Does that sound like an innocent woman?

         Not to me. This whole time we all have seen his wife as the root of all issues, but she’s the side effect. It’s becoming more clear by the day that Harry searched out her. He wanted someone with the basic Hollywood connections that he could capitalize. Someone that seemed so controlling and ambitious it would be easy to believe they were controlling him, too. Of course he knew she would invite all the celebs she did. He probably inspired that guest list. Instead of guiding her in the press and in British society, he leads her to slaughter. He hides behind her repeated gaffes and wokeness to keep on his own mission.

         You see, Harry is obsessed with his brother eventually becoming king, being the “Second Son of Diana” and being the misfit. He is obsessed with his brother and father. They are all he talks about. When you obsess on something like that, it is more revealing than anything you say. Harry’s true motives aren’t protecting his wife and children. His real motive is making a name for himself like his mother did. If he can manage to get some revenge by making the Firm feel some backlash, hey that’s a bonus. 

         While his wife may think in her mind she will be the next Diana 2.0, the truth is we all missed who really will be. Harry is the one wanting to be Diana 2.0. If that’s the case, then that means the much older spouse for whom there are two children with, aka the wife, would be his Charles. Remember, Diana lost her HRH and titles. And we have Harry being very aggressive and pushy, to the point it seems he is trying to get ahead of a Palace announcement of them losing their titles. But it makes sense now.

         They aren’t trying to lose anything, but instead Harry keeps opening his mouth to create pressure in the media. He knows his wife does not want to give those titles back. But if he himself keeps saying outrageous things, then it would put everyone in ultimatum mode. Either Harry will push hard enough that Parliament and the Queen will have enough, or the press will get so critical of the two, Harry will push his wife to agree to returning the titles.

         Harry is following the Diana business model. While in the Royal Family, they both were seen as rock stars who had more star power the the Sovereign, which was an issue. Then, they couldn’t take all the abuse, coldness, and inhumanity, so they bolted for freedom. Instead of putting the past behind them, they use the past to monetize grief and trauma in such a way, they become their own brand. Right now, the trauma being monetized comes from the past, but the problem will soon come when that trauma is tapped out. He will need a source of new pain or victimhood. Enters the wife stage left.

          The wife is a tool. She of course has her own plans and thinks she is the one in control or the genius. She thinks she is the one everyone wants to work with. But it’s becoming clear to her that isn’t the case and she’s been played by her elite buddies. They all want him, not her. They all duped her for him. If I can see it, and I can see her already finger pointing that Harry is the failure here, then she can see it. And that means paradise will soon be lost in those Montecito hills. His wife won’t go down without a serious fight here. I wouldn’t even be surprised if she eventually causes him to lose his special visa. 

         Overall, Harry hides behind his wife like a beard or shield protecting him from the press’s glaring lens. He lets her do and say whatever she thinks is great so he can keep plotting his own plans. He allows her to take the fall, look stupid, pull stunts people can see through, etc. for a reason. He isn’t completely sure he can make it in his new California life. He knows he can’t if he keeps her for too long, but he also knows he needs an exit strategy in case it blows up. So, he pins the press to attack her as the true culprit. If they split and he has to, he can return home and play the victim of her. If they split and he is doing okay in Hollywood, she can be the reason he plays victim to big named people like Oprah and Gayle. 

         I can see it now. An Oprah Special with Harry tonight on Apple +. Something cheesy or corny that is almost plagiarism. Like Narcissus and the Prince or something. Watch. Mark my words. Oprah talking to Harry about surviving the marriage while trying to rescue two small kids, being in the spotlight as a Royal while being gaslit by a narcissistic wife… yes I can see the green screen set up now.

         I know this is difficult to digest, but I do ask you to try. While his wife is not innocent, she clearly is guilty for her own part indeed, his wife isn’t the true problem. The true problem here is a man who has a serious issue with living in the shadow of his future-King father and future-King brother, and his future-King nephew, that he has chosen to use the same exact attack model his own mother used to merch and marginally disrupt the institution that made her a star. Harry and his mother both wanted the entire spotlight, but both knew they could never have it the way they wanted it. So, they wrote their own victimhood narrative.

         And here we are now. Mark my words. Harry will keep pushing until those remaining titles are removed by them forcing the hands of Parliament and the Queen. Or, they’ll push and push in the press so much the outrage and hypocrisy will leave them no other option but to renounce and re-gift those titles and rights to the line of succession. That is what he wants, even if his missus doesn’t. Also make no mistake about it. Harry is the real Diana 2.0 wannabe, not his wife. Keep an eye out. I have this gnawing feeling that soon enough, there will be plenty leaks from the wife about the husband. She won’t go quietly into the Beverly Hills… but neither will he.

[terramythos]

TerraMythos’ 2020 Reading Challenge In Review - 9/10s!

See Master Post

Here's the 9/10 books of this year -- books I really liked but not to the point of perfection. 

1. This Is How You Lose The Time War by Amal El-Mohtar and Max Gladstone (Full Review Here)

This is a beautifully-written novella about two women from enemy time travel societies. They start as rivals who pass taunting letters to one another and gradually fall in love with each other through their writing. There’s some really beautiful and interesting locations, and I love the longing and emotion in the letter sequences. I think using a science fiction setting for a love story is super cool; especially with time travel, there’s a sense of predestination not found in other genres. I also like the idea of each author writing one of the two leads, so the style is slightly different between them. 

2. The City We Became (Great Cities #1) by N. K. Jemisin (Full Review Here)

Jemisin is a fantastic author and created my favorite series ever (The Broken Earth), so I was stoked to read book one of a new series by her. The concept here is that cities become sentient beings over time given enough people and cultural influence. New York City is about to be born into a human avatar, but something goes wrong. An eldritch foe known simply as The Enemy seeks to sabotage the nascent city and almost succeeds. Proto-avatars of the city’s boroughs have to find their inner power and band together to rescue him and save the city. 

I really dig the ensemble cast, especially Manny (Manhattan), Bronca (The Bronx), and New York City himself. The book is also a great middle finger to Lovecraft, as the cosmic horror element is steeped in structural racism and oppression, with the Eldritch Aesthetic being a creepy pale white. Super excited for the next book. 

3. Artificial Condition (The Murderbot Diaries #2) by Martha Wells (Full Review Here) 

I’ve already said plenty about the Murderbot books on my 10/10 list. I really like this one in particular because it introduces ART, one of the best supporting characters in the series. It’s super interesting to see how Murderbot interacts with a non-human person (or... spaceship. But ART is also a person for sure) similar to itself and I really like the banter and friendship between the two. Like the rest of the novellas, it’s short, but it packs in a lot of story and heart. 

4. Rogue Protocol (The Murderbot Diaries #3) by Martha Wells (Full Review Here) 

My other 9/10 selection for this series! There is a heavy focus on Murderbot’s past and how far it’s come ever since it freed itself from the company’s mental slavery. This probably has the strongest character development in the series outside of Network Effect, with a genuinely sad and sobering ending. 

5. Finch (Ambergris #3) by Jeff VanderMeer (Full Review Here) 

I think this book is where I really “got” the Ambergris series; it’s a pseudo-trilogy with a lot of postmodern elements, but this one is the most straightforward. Finch is a fascinating mix of noir, dystopia, and cosmic horror. I even called this “nontraditional cyberpunk”; there’s elements of a surveillance state, underground resistance/revolution, artificial implants/bodily enhancements-- but all related to fungi and eldritch horror. 

Anyway, this book stars Finch, a detective working in the city of Ambergris, who is tasked with solving an impossible double-murder case. In his investigations, he soon stumbles upon a web of conspiracy related to the downfall and takeover of the city by the gray caps, the humanoid mushrooms who enslave and oppress the human population. It’s just as weird as it sounds, but if you made it to book three, you'll be plenty familiar with how bizarre the series is. Technically, this book is a standalone, but I recommend reading the other two first as they are integral to understanding the plot. 

6. The Last Sun (The Tarot Sequence #1) by K. D. Edwards (Full Review Here)

This is a really impressive debut novel with an interesting world concept and great characters. The idea is that Atlantis was a real thing and got destroyed. The surviving inhabitants decided to build a new city by magically stealing a bunch of buildings throughout the world and transporting them to Nantucket. The result is a cool patchwork urban fantasy setting. There’s a huge tarot motif, hence the series name. It’s also gay! 

I fell in love with the excellent character banter, especially between Rune and his soul-bonded bodyguard Brand. While I had some criticisms on the plot structure and a reliance on same-y action scenes, everything else was so good I gave Edwards the benefit of the doubt. And it really paid off in the sequel, which improves on basically everything. 

7. The Princess Bride by William Goldman (Full Review Here) 

I mean, the movie’s a beloved classic. If you haven’t seen it... go do so? It’s a great adventure story with lots of memorable characters, lines, and moments. Honestly I’m more surprised I hadn’t read the book before, and I’m glad I did. It often felt like an extended cut of the movie, with a few key differences in the frame story and some locations. While I think I like the film just a little more, I appreciate the novel for giving me a broader perspective on the story and characters. 

8. A Choir of Lies (A Conspiracy of Truths #2) by Alexandra Rowland (Full Review Here) 

A Choir of Lies is a standalone sequel to the book A Conspiracy of Truths and can be read on its own if desired. It stars Ylfing, a fan-favorite character in the previous book. He’s processing grief and depression in the wake of his mentor (the last book’s protag) suddenly abandoning him. A (sort of--it’s complicated) professional storyteller called a Chant, Ylfing tries to make it in the Netherlands-inspired fantasy city Heyrland, and writes a diary about his experiences. However, another Chant has found his manuscript and writes scathing commentary on his decisions in the footnotes. 

I had a difficult time getting into this one, as Ylfing is both relatable and infuriating, and a depressed protagonist can be hard to get behind. However, it's well worth sticking through, as the sheer catharsis of Ylfing realizing his horrible mistakes and doing everything he can to fix them is... well, pretty inspiring. Multiple characters own up to their failures, often at great personal cost, for the wellbeing of others. I think it’s a great message, especially reading it in 2020 when the future feels hopeless. A Choir of Lies also has two of the things I liked most about A Conspiracy of Truths-- lots of meta commentary on storytelling, and surprisingly interesting economics. 

9. The Harbors of the Sun (The Books of the Raksura #5) by Martha Wells (Full Review Here)

I thought this was a nice finale to the series. It has some satisfying thematic bookends regarding the Fell and Moon’s character development. It’s also probably the most “epic” fantasy of the series, with super high stakes and a broad cast of perspective characters. I have to wonder if there are plans for further books or a different series in this universe, since the setting has a lot of depth and potential. Either way, I really enjoyed it! 

10. A Killing Frost (October Daye #14) by Seanan McGuire (Full Review Here)

Another year, another October Daye book! Obviously I like this series if I’m fourteen books in and still reading it. A Killing Frost has some slow-ish pacing, but ramps up a lot in the second half of the story. It’s the conclusion to my favorite storyline in the series -- the redemption arc of Simon Torquill. He’s a really interesting morally gray character, and I think serves as the poster child on how the series plays with the idea of heroes and villains. Also, this book casually drops probably one of the craziest twists in the series at the end, and I am super interested to see the fallout of that. 

11. The Edge of Worlds (The Books of the Raksura #4) by Martha Wells (Full Review Here)

This is basically part one of Harbors of the Sun and involves the main cast going on a long journey to an ancient ruin. The first half of the book is pretty slow and probably could have been pared down -- lots of travel sequences. However the second half is super tense and action packed. I found the ancient ruin itself really interesting and creepy, and the book sets up a lot of things that pay off in The Harbors of the Sun. 

[callunavulgari]

Yuletide Letter | 2020 edition

Dear Yuletide author,

Hi there! First, I’d like to apologize for the fact that parts of this is almost entirely copy/pasted from last year’s yuletide letter. I’m aware you probably had no idea, but I’m gonna feel weird about it unless I say something. Secondly, thanks so much for telling me a story! My most sincere wish is that you have fun writing this. I trust that I’ll love whatever you come up with. :) 

Fandoms:

The Locked Tomb trilogy, Wolf 359, Rolling in the Deep, Stormlight Archive, Spirited Away, Modao Zushi.

Over all, I’m pretty sure I’ll be pretty happy with whatever you decide to throw at me. I’m not particularly picky, and enjoy a variety of ratings, themes, and genres. I have a list of over 2000 bookmarks on Ao3, which I would like to say might help you find the things that I like, but odds are you’d just get stuck in it.

General flavors on things: I really love atmospheric settings, stories that you can really feel. A great example of this is A Cornstalk Fiddle. Or wild peaches. I enjoy alternate universes in almost every variation, from soulmates to daemons to canon divergence (I really like canon divergence). I’m super fond of slow burns, though it’ll be hard to convey that in a yuletide fic unless you’re REALLY inspired and/or bored and decide to make it 20k+. 

Other things I like:

sun/moon trope

enemies to lovers

poly

YEARNING

AUs that are almost entirely canon except one of the characters is secretly some kind of creature (vampire, demon, selkie, etc)

magical realism

post-canon fic

found families

I do tend to prefer a fic to have some kind of ship to it, but that’s definitely not required. I am fully on board with explicit fics, but do ask that if there is smut, it’s not just smut. I like how introducing sex to a story changes various character dynamics, and I really, really like the sexually/emotionally charged lead up, but when it really comes down to it, I’m reading the story for the characters.

Dislikes:

Non-con 

Dubious consent is usually okay, but varies based on the circumstances and the pairing. My anon box will be on for the duration of the holiday season, so if you feel the urge, just ask me.

Most hard kinks. Again, it varies, and you can ask me, but I’m not particularly interested in any hard smut for the above fandoms.

Mpreg and/or omegaverse

And then more specific info on the fandoms below the cut because this is already long.

The Locked Tomb trilogy

This series has basically wedged itself right up under my ribcage and made itself at home. I’m okay with a variety of the characters in the tag set, but I mostly would love to see a story centering around either Harrow and Gideon or Augustine, John, and Mercymorn. I am super, super weak for enemies to lovers AND all things yearning and tragic it’s really no surprise I seized onto both of these. I would love a fic exploring the relationship between the above three (the more pining and tragic, the better). But like, that fic would also probably delve into some dubious consent, which again. Is fine to a point. But I mean? Two characters who are torn between loving the third and hating him (and at least slightly torn between two different feelings with each other? Poetic cinema.

If you go the Harrow & Gideon route, I’m actually kind of interested in the idea of an AU that still keeps the necromancy? I mean, necromancers in space is a great concept and I LOVE it, but I also love the idea of necromancers who work in a flower shop! Or a morgue! Or who have a shitty kiosk job at the mall and keeps raising rabid undead squirrels and setting them loose in the food court for fun.

Wolf 359

This podcast. Haunts me. It has basically ruined me for all other podcasts. I adore all of the characters, so you can feel free to write about whoever you want. Favorites are Eiffel, Jacobi, and Hera, so if you throw something at me that has the three of them interacting I could probably die happy. I’m good with gen fic, but I’m also a fan of Jacobi/Kepler, Eiffel/Jacobi, Hera/Eiffel, and would honestly probably fully embrace any other ship you could possibly throw at me.

I like the idea of Hera getting a body after the series. I like the idea of Eiffel finding himself again. I like the idea of Jacobi finding a new family (cough, Hera and Eiffel). I like the idea of Jacobi and Hera becoming best buds. I like the idea of Jacobi working through his grief over Maxwell and Kepler. I like the idea of Hera learning how to be herself in a big wide world that isn’t entirely on her side. I like the idea of every single member of the crew who touches back down on earth learning how to be people afterwards. I like the idea of Minkowski and Lovelace getting closer, especially if Minkowski’s husband is a part of that dynamic.

I just really like found family and people holding each other up when the going gets tough, and this podcast has that in spades. Also? Have you listened to Zero Hours? Because if you want to introduce some of that dynamic I would be forever in love.

Rolling in the Deep 

I honestly wasn’t sure whether to include this one in my list of wants or not, but ultimately decided on it because I think that anything you wrote for it I would be happy about. I’ve left the character section blank because I’d be okay with whoever you wrote about. This is one of those books where I don’t have many shippy feelings, but love the concept. Though, if you want to write about the mermaid they brought back with them and ANY of the characters, I would be particularly cool with that. 

I just really liked this book a lot, so yeah. Anything. Bonus points for post canon. Bonus bonus points for mermaids.

Stormlight Archive

Kaladin/Shallan/Adolin. I know Sanderson said that thing about how Adolin and Shallan would be down for it, but Kaladin would balk and just - listen to me: forget all that. My default reaction to love triangles is usually to happily ship them in a poly setting and these three are no exception. 

You want to write me an AU? Sure! Throw it at me! Canon and/or canon-divergence? Even better! Daemons? Yes, please. 

Alternatively, if you’re not really crazy about poly, I would be okay with something exploring the relationship between Shallan and Jasnah. I really adore Jasnah’s character and wish we had more of her headspace. 

Spirited Away

Spirited Away is my ultimate comfort movie. It is my go-to when I’m sad or sick or upset, and let’s be real here. It’s been a particularly upsetting year. And I would really love post-canon content with either Chihiru, Haku, or both. 

I would love fic where they find each other again. Where they keep finding each other. Where Chihiru walks from her new house down through the forest and just, stares at the entrance for a while. Where Chihiru is haunted by that place through the years, where she both yearns for it and marvels at how like a dream it felt. Where it’s changed her fundamentally, like walking into the fae realm. Where she meets spirits in strange places and speaks to them, only to realize no one else can see them. A fic where Chihiru is twelve, and then fifteen, and then twenty-three, and then even older, and is still just so taken by that place she disappeared to when she was a child and the people she found there.

Above I mentioned wild peaches as an example of a story that I really like, which is a fic of Sarah in the aftermath of the Labyrinth. That is almost precisely the feeling I’ve been craving from a Spirited Away fic, basically since I first watched the movie.

Modao Zushi

I’m weak for Lan Wangji and Wei Wuxian. That is basically all it comes down to. The yearning. The rivals (kind of?) to friends to enemies to friends to lovers concept in this had me really messed up, let me tell you. I am particularly weak for Wei Wuxian as the Yiling Patriarch. That could tread close to the dubious consent line if you want it to, or it could not. Don’t worry about it. As long as it’s not non-con, I will happily accept whatever you have to offer.

I am also pretty okay with basically any AU for this. Not really picky. I will say though that I am particularly enamored with the idea of a dancer and/or composer/musician AU for this one. I’ve written about it twice and it still hasn’t scratched the itch. I just really want them to dance with each other. 

[mild-lunacy]

Pynch Fics (and I)

I just want to say that I realize that sometimes I'm kind of hard on fanfic, and on fandom in general. It's always been my calling card: prioritizing canon over fanon, rejecting everything I ever loved in fandom in a heartbeat if my enjoyment of canon becomes compromised by continued participation, etc. I've been especially hard on Raven Cycle fandom-- and fanon. I guess I feel a bit bad, because there's genuinely so much to appreciate. There's a lot of wonderful fanart, a lot more great fic than you'd expect in a fandom this size, and I've even been inspired to finish writing my own for the first time in ages, 'Ice Supernova'. There's a lot to be thankful for.

I've just been thinking about what a relief and release fanfic is. It's interesting 'cause I've never felt like The Raven Cycle 'needed' fic the way something like Sherlock does. To make it even more meta, BBC Sherlock is itself fic, which goes to show you that no fic can be enough by itself. No fic can 'fix' or replace canon. There's always something. Always something missing. Every fic gives you the limited canon/characterization vision of the author: no more, no less. Often enough, you can't even guarantee that. I certainly wouldn't want people to judge my understanding and vision of the books by that little Pynch skating AU fic. Even if you *are* writing a magnum opus, a lot of times it just doesn't get finished, or gets Jossed, or you're just a different person by the end, so it doesn't feel as satisfying years later. So what I'm saying is, the redemption of fanfic is in its *multiplicity*. No fic, no adaptation, no AU has to really bear the absolute responsibility. It's the gestalt of fic, the fanon that fandom creates-- and I endlessly harp on-- that is the masterpiece.

I love fanfic. I always have, ever since I was introduced to Star Trek at age 13 through the tie-in novels. They were so good, and I loved coming back to the characters over and over, way before I ever watched the show and actually saw them on-screen. I've loved many characters almost entirely or initially because of the fics I've read about them. It's good to remember that. I'm so grateful to the wonderful authors and fellow fans that have let me inhabit a world I love for just a little bit longer. And yes, sometimes it's helped me deal with things that didn't feel like enough, that have felt disappointing. Fic is always there, trying to make things right, all the AUs and all the fix-its and missing scenes and future fics bearing that burden together. And sometimes I get frustrated 'cause I'm so sure canon got it right in the first place, but that's the price one has to pay to see the wrongs righted and the holes filled in my heart.

In The Raven Cycle, I've mostly loved canon AUs and missing scenes. It feels a little wrong to have Adam and Ronan get together earlier than in canon, but many writers made it work. I love fics that take place post-TRK (usually during the first year of college) or pre-epilogue. There's plenty of room for more details and further adventures because canon left the door so open. A lot of writers have been careful and did justice to the characters. I'm happy to share some fics that have been memorable for me, and I hope I'll add to this at some point, too.

So, in no particular order:

We'll Never Be Those Kids Again, by okaynowkiss: and the Missing Scene Award for the TRK climax goes to... This One.

Takes place in the 24 hours after Gansey dies on the side of the road at the end of The Raven King. Ronan's going through a lot and Adam wants to be there for him. Also, everything made in a dream might be in trouble.

Tears and Vines, by adamganseys: and the Missing Scene Award for TDT goes to... This One.

The turn for Monmouth is about to come up when Adam speaks again. “Do you want me to drop you at Monmouth?” There’s a note of reluctance in Adam’s voice, and that’s when he realizes how very much he wants Ronan to come to his apartment with him, how much he needs his comforting presence after what just happened. 

Ronan studies him in that intense way of his before replying, “I’d rather just chill at St. Agnes a bit, if that’s cool with you.”

(Or, my response to the prompt things you said when you were crying, where Ronan comes to Adam's apartment with him after Robert Parrish's trial)

Knights of Caledfwlch, by Incandescentflower: the One with the Fluff, and my Favorite Canon-based Plot

Adam and Ronan adjust to their new relationship and prepare for Adam to go off to college with a lot of adoring thoughts and making out. Also, some magic stuff happens. Gansey asks Adam to find out about the Knights of Caledfwlch and they run into other magic seekers. Adam and Ronan deal with the long distance thing and Adam comes to terms with his own magical abilities. This fic will cover Adam and Ronan's lives for Adam's first year at college.

The Grip of It, by Seek_The_Mist: the One that Works Out the Emotional Consequences

The quest for Glendower ends in an explosion of shattered lives, shattered dreams and shattered realities, leaving five teens in the debris with all the loose ties.

Ronan and Adam barely had something standing during the supernatural madness. It's not straightforward to figure out what they have and how they deal with it outside of it.

Intimacy is everything but trivial.

A. k. a. : Five times intimacy was an awkward and tentative thing + one time it was absolutely glorious.

How Lancelet and Guinevere Slew the Dragon, by scarlett_the_seachild: the One That Integrates Arthurian Mythos to Surprising Effect

Gansey is away in Washington, and Ronan and Adam take this as an opportunity to casually drop by on one another, hold hands, get jealous, fall out, and battle the forces of evil currently threatening Cabeswater.

Set some time post Blue Lily, Lily Blue. Beaucoup de feelings, tension: sexual and otherwise, self-gratification and miscommunication. And Arthurian mythology.

let's get together before we get much older, by raewrites: the One in Which Adam is the Pining Loser (but Ronan is still canon)

Adam doesn’t know what compels him to make an attempt at finally finding out. Does Ronan Lynch have a crush on me? (Do I have a crush on Ronan Lynch?)

Otherwise known at the one where Ronan, Blue, and Noah visit Adam and Gansey at their university for the weekend.

Inside Out, by propertyofthehalfbloodprince: the One with the Cute Coming Out Scene (but then there’s couch sex)

“Ronan-” “Adam.” Rough and rocky and soft. When Ronan said Adam he meant Adam. “How can you even-” Ronan’s palms came up to cradle his face. “Adam.”

In a Dream It Seemed So Real, by beersforqueers: the One with Kavinsky (but he doesn’t matter)

Adam didn't want to see them together, but that doesn't mean he won't have to deal with the consequences. Especially when the consequences are an angry Ronan Lynch and two teenage boys doing their best not to confront their feelings.

Kavinsky isn't helping.

Wonderterror Weekend, by nimmieamee: the One Where Ronan Has Magic Boots

Adam Parrish gets Saturday off and spends the day falling in love with Ronan Lynch.

He also spends it fighting monsters, visiting Europe, and traumatizing people. But falling in love with Ronan Lynch is the part he chooses.

Just to Be Quiet, by sksai: the One Where they’re Essentially Soul-Mates 

an AU loosely based off the concept of the book Unspoken by Sarah Rees Brennan. or, an excuse for Ronan and Adam to have a heart-wrenching psychic bond.

Steady All the Hands, by sksai: the One Where Adam’s a Hooker (and it’s the Cutest Thing Ever)

Ronan makes a series of questionable choices. Adam is just Trying His Best. There is a child - a small one. The gang's all here.

To Feel Your Heartlines, by renlybaratheon: the One where Adam’s a 30-something Woman (but it works)

People in Adam Parrish's life keep getting married all around him, and Adam is not a fan of weddings, a constant reminder of being unlucky in love and his personal decision to focus on his career. But at one wedding, Adam meets the funny and charming Ronan Lynch and starts to think maybe that decision could use some revision, and that his luck has changed.

Reunions series, by LydiaStJames: the One with the Misunderstandings

Adam patted down his body, fingers searching for clothes, but came up empty. Again. 

It really was high school all over again.

Not at All Casual series, by pendules: the One About Touching

The first time Ronan leans over and kisses him when he drops him off at St. Agnes after his late shift, Adam just stares at him wordlessly for a moment before he manages to find his voice and utter an awkward "Thanks" and fumbles to open the door and practically bolts up the stairs to his apartment. It takes a long while to school his heartbeat back to a moderately normal rate and to make his brain actually begin to absorb the line he's been reading over and over for the last fifteen minutes.

Or: Adam and Ronan slowly learn about casual affection that isn't casual at all.

Flames Burned in Our Hearts, by littlelionvanz: the One that Plays with Adam’s Virginity

When he and Ronan started, no one came out of the bushes to hand Adam a pamphlet on what it exactly meant to be in a sexual relationship with another boy. The dos-and-don’ts if you will.

Adam Parrish and the Scientific Method, by poorchoices: the One that Plays with Adam’s Quest to Lose His Virginity (both cute and realistic)

Adam explores his budding sexuality. Post-TRK.

Hold On to Me As We Go, by basicallymonsters: The One that Should Be Canon

It’s like they’re enjoying some fantastic beginners luck, but they don’t actually know how the game is played...

Revised relationships come from the settling dust of unmaking, and Ronan and Adam try to find a balance between grief and joy, love and sex, friendship and occasional hand kissing. They navigate first times and promises and a feeling like magic - even when they're forest-less and wide awake. (Pre-epilogue)

Bonus Porn:

The One Who Makes You Come Undone, by anirondack: Ronan likes Adam's hands and Adam has an idea.

Fight the Wind & Wait for You, by hewhomustnotbejames: Adam's back in town for his 21st birthday.

say my name and i'll lie in the sound, by oftirnanog: Or the first time Ronan and Adam have anal sex. That's it. It's just smut. Fluff and smut and awkward boys with awkward feelings.

[limejuicer1862]

F WORD WARNING

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Amanda Earl

is a Canadian poet, publisher, prose-writer, visual poet and editor who lives in Ottawa, Ontario. Her first and only poetry book so far is Kiki (Chaudiere Books, 2014). Amanda is the managing editor of Bywords.ca and the fallen angel of AngelHousePress. Connect with Amanda on Twitter @KikiFolle or visit AmandaEarl.com for more information.

The Interview

1. What inspired you to write poetry?

I didn’t even realize I was writing poetry until my mid thirties. I scrawled on pads of paper from my parents’ workplaces, all kinds of confessional stuff and complaints and lists. I made notes on index cards about everyone I knew and filed them in a metal box. I just wrote. I didn’t label it. I heard nothing but poetry by men from early childhood and up, whether it was in school or recitations by my father: Shakespeare, Victorian morality poetry, Edward Leer. I liked the rhyming and the sound play, and the images, but I rarely related to it. I dismissed the thought of poetry from my head.

In my mid-thirties, I was going through a period of depression and searched the Internet for solace. I came across the poet Mary Oliver’s poem, Wild Geese, Lorna Crozier’s Carrots (https://jeveraspoetryanthology.weebly.com/carrots.html) poem and also Gwendolyn MacEwen’s fascinating and dark mythological poems. These excited me and made me realize that perhaps I was also writing what could be called poetry. I still wasn’t sure.

2. Who introduced you to poetry?

My father, I suppose, but it didn’t feel like an introduction. He was always reciting poetry to me as a child.

3. How aware were you of the dominating presence of older poets?

More like the domineering presence. Since school curricula for literature were dominated by dead white men, I knew nothing about women poets until I found them in my Internet search in the 90s.  I wish I’d known about Plath and Sexton in my teenage years; although what darkness I would have dredged up back then under their influences… When I first started to realize I was writing poetry, it took me some time to find out about poets like Anne Carson who is willing to step out of traditional form to make poetry out of the long lost fragments of Sappho, accordion books about grief, little chapbooks placed in a box so readers can rearrange at will. Or Caroline Bergvall and her mesmerizing engagements with Old Norse. There’s just so much possibility out there for poetry and yet quite often the same white men, dead or alive, have their work published again and again and win prizes and are taught as the poetry that matters.

4. What is your daily writing routine?

According to Mason Currey in his book, Daily Rituals: Women at Work, the photographer Diana Arbus ritual was sex. (https://www.artsy.net/article/artsy-editorial-daily-routines-10-women-artists-joan-mitchell-diane-arbus?fbclid=IwAR2fXdj7OUukk2c_-RUU8mxIhor8FRPaSWU3yJ0_f_W0t_DzUR8LQ3y3ej0) I usually start my day off with a good wank and at least an hour of pervy chat with a few random strangers. I shivered this morning after a particularly good orgasm. After that I drink Irish Breakfast tea, burn some incense and write or go outside, if it’s not too hot or cold, and wander about until I have no choice but to write. I carry a red journal with me for snippets of overheard conversation, some weird sound play that comes to me, or a doodle. My red journals are smeared in paint and tea stains.

5. What motivates you to write?

1. Lorca’s concept of the duende (https://www.poetryintranslation.com/PITBR/Spanish/LorcaDuende.php) Death is near. I don’t want to be immortal, I just want to continue the conversation. I’m influenced by ghosts, such as Oscar Wilde and Djuna Barnes, Leonora Carrington, Jean Cocteau and Beatrice Wood.

2. Alienation. In some ways I live the standard North American life, but in others I don’t. I write and publish others full-time. I don’t have a nine to five job. I don’t drive. I don’t own property. I live downtown. My husband and I are in a passionate and open marriage. I write to reach out to that one kindred misfit in hope that they feel less alone. The Tragically Hip song “It’s a good life if you don’t weaken,” (https://www.youtube.com/watch?v=gwNVxvczgCs&feature=youtu.be) comes to mind. “Let’s get friendship right.”

6. What is your work ethic?

I follow three principles: whimsy, exploration and connection. I want to play; I want to learn new stuff and I want to write things that connect with those alienated by convention and the lonely. I punched a timecard as a late teen and I saw my parents punching those same damn cards. I loathe systems and routines and any attempts by external authorities to dictate my time, so I rebel against any system. I write because I breathe. It’s just part of me. Writing isn’t as tough as plumbing or surgery.

I serve the work rather than dictating what the work will be. I once spent three months learning about the sonnet because the manuscript I was working on had to be made up of sonnets, not because I wanted to but because the content required it somehow.  I wrote three of the damn things and gave up. They were awful. That manuscript remains unpublished.

I try to remain grateful and humble to have the opportunity to write. Sometimes my work gets published, which is a huge honour. I try to be careful not to let my ego tell me how great I am, because I’m not. I’m just in the right place at the right time and have found the right publisher somehow. This happens rarely.

I try not to take up too much space and leave space for writers who do not have the benefits granted by white colonialist publishing policies and attitudes that continue to prevail. I try to promote and publish 2SLGBTQIA, BIPOC, and D/deaf and disabled writers and look for ways I can support them when I can. I don’t do this enough.

7. How do the writers you read when you were young influence you today?

I read the Exorcist, Mad Magazine, Archie Comics and Harlequin romance novels as a youngster. These works gave me a sense of irreverence that is important for my writing. In high school and university I studied French, German and Italian and finally got excited by literature. Dante made me fascinated with Heaven and Hell; Kafka made me fear insects; Baudelaire made me want to drink red wine. Rimbaud showed me that synaesthesisa, which I have, was not just something I experienced. Later I read Milton’s Paradise Lost. Early influencers of the long poem, I suppose, and the epic. I am writing an anti-epic these days. Red wine isn’t something I can stomach easily anymore. Now and then I’ll have a little Lagavulin in the tub.

8. Who of today’s writers do you admire the most and why?

Nathanaël for Je Nathanaël, for working in the spaces between genres and writing so beautifully of the body. Sandra Ridley for her ability to write long, mesmerizing poems and read them as if they are incantations. Christine McNair for syntactic daggers, sounds that are bitten off, and charm. Anne Carson for her sense of play and versatility. Canisa Lubrin for Voodoo Hypothesis, which is the only book she’s written so far, and it’s brilliant. I am awed by the skill in these poems, not just on a poetic level (diction, imagery, lineation, structure, balance) but also by the power of one writer’s willingness and ability to so effectively dismantle and bring to light the ongoing effects of racism while offering in-depth and tangible illustrations of the othered. Alice Notley for the Descent of Alette, a most extraordinary long poem. rob mclennan for his prolific writing and quiet poetry and bizarre wee stories. Amber Dawn for brave femme truths and incorporating subjects that are traditionally taboo in mainstream CanLit, such as sex work. Joshua Whitehead for the sheer invention and brilliance of Full Metal Indigiqueer which takes down the literary canon so skillfully. The writers in the anthology Stairs and Whispers: D/deaf and Disabled Poets Write Back Edited by Sandra Alland, Khairani Barokka & Daniel Sluman (http://ninearchespress.com/publications/poetry-collections/stairs%20and%20whispers.html) for the versatility and beauty of their writing. It’s good writing and more people should be aware of it. Ian Martin for self-deprecating comedy. Erín Moure for Elisa Sampedrin. Lisa Robertson for the gift of the sentence. Gary Barwin for his whimsy and willingness to play in numerous genres and media.

I wish Djuna Barnes was here. I’m always looking for a modern-day equivalent. Nightwood was an exquisite and poetic novel.

9. Why do you write, as opposed to doing anything else?

I don’t just write. I also play with paint, make visual poetry, which some might say is a form of writing, run two small presses, which do a bunch of things. I spend too much time on social media. I make countless lists. I watch a lot of films and tv. I listen to music. I wank. I fuck my husband. We cook glorious meals together. I go on long rambles and spend a lot of time in cafés. I cry and worry every day for the persecuted in this topsy turvy era where the Ogre in the House of White is making us all fear that the end of the world is close.

All these activities and emotions enter into my writing in some way.

10. What would you say to someone who asked you “How do you become a writer?”

I don’t know. I focus less on being a writer and more on writing. Writer sounds like a title and titles have a bunch of preconceived expectations I can’t satisfy. Same with poet. I just write.

But I guess, I’d tell them to be gentle on themselves, surround themselves with books, art, film and whatever inspires them. Ignore prescriptive rules, such as write what you know. Heather O’Neill, a fiction writer I admire, once said that for her to write, she has to be angry about something. At least that’s what I remember her saying at an Ottawa International Writers Festival event.

For me, I have to feel emotion of some sort, whether it is anger, sadness, love… I guess I would say to the person who wants to write that they are going to have to make sure that they don’t numb themselves. It’s easy in this era to want to numb ourselves against all the pain and suffering and power games going on, but when we numb ourselves, we don’t feel and if we don’t feel, it’s hard to respond. Writing, whether it’s directly political or not, is a response to what’s around us. I think it takes a great deal of empathy to write. It takes close listening and close watching.

Find a mentor. I’ve been fortunate in that rob mclennan has been extremely supportive of my work. He’s been honest when the stuff is shite. I still remember taking my first of his poetry workshops in 2006 and him telling me I was writing zombie poems.

He’s published many of my chapbooks through above/ground press and my book, Kiki through Chaudiere Books. He always encourages me to write and he has introduced me to many of the poets I mention in my list of influences and more. He does this not only for me, but for numerous others. It’s amazing!

11. Tell me about the writing projects you have on at the moment.

I was fortunate to have received a grant from the City of Ottawa for Beast Body Epic, a long poem that I began a few years after a major health crisis in 2009 and have been tinkering with ever since. So I’m going to finish tinkering and submit the manuscript for the fourth time toward the end of the year.

I have a smaller manuscript called The Milk Creature and Mother Poetry, inspired by Diana di Prima, one of the women active in the Beat poetry scene.

I’m working on The Vispo Bible, a life’s work to translate every chapter, every book, every verse of the Bible into visual poetry. I began in 2015 and have completed about 300 pages so far.

In 2018, I began work on a novel. Its working title is The Nightmare Dolls’ Imperfect Reunion. It’s about women, health, ageing, friendship, gender, and it has a helluva soundtrack. (https://open.spotify.com/playlist/5B1GAgN046EdtrBLXiNoni?si=NIbexI5mQqKnr54qfmJ7ZQ)

Amanda Earl is a Canadian poet, publisher, prose-writer, visual poet and editor who lives in Ottawa, Ontario. Her first and only poetry book so far is Kiki (Chaudiere Books, 2014). Amanda is the managing editor of Bywords.ca and the fallen angel of AngelHousePress. Connect with Amanda on Twitter @KikiFolle or visit AmandaEarl.com for more information.

Wombwell Rainbow Interviews: Amanda Earl F WORD WARNING Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[timeflies1007-blog]

Doctor Who Reviews by a Female Doctor, Season 4, p. 2

The Doctor’s Daughter: This isn’t the worst episode of the reboot, but it might be the most emotionally unsatisfying. Producing a biological relative for the Doctor by putting his hand in a machine for a few seconds undercuts his grief about the loss of his people without really any payoff—his lackluster relationship with his daughter just doesn’t do enough to compensate for the notion that apparently getting Time Lords back into the world is a lot easier than we thought. There are a couple of nice moments in which the Doctor refers to his grief about his Time Lord family, but his sense of loneliness—usually taken very seriously by the show—is undermined more often than it is accentuated here.

           I’m not really sure why Martha is in this episode, as she doesn’t want to be there and there’s very little for her to do. She forms sort of a nice bond with one of the fish creatures, but the Hath are mostly so dull that Martha’s forced to wander around in a weird, personality-less void in which fish with legs stand around breathing. She’s not really missing out on much while she’s a captive of the Hath, as the human civilization is also entirely without interest. There’s a lot of talk about war, and then there’s a brief creation myth, and then one of the humans claims that peace and genocide are the same thing so that the Doctor can yell about violence and Jenny can point out how violent he is. We’ve had an awful lot of this theme (the Doctor thinks he is above violence! but also the Doctor is violent!) in the past couple of episodes, which would be fine if it were going anywhere interesting but it’s basically not. The plot twist—in which it is revealed that the war has been going on for only a matter of days—is genuinely pretty surprising, but it’s so difficult to invest in these characters or this world that it doesn’t mean very much.  

           Jenny herself is likeable enough, but is one of the clearest foray into Mary Sue territory that the show has ever done. She’s born perky, quick-witted, and intensely athletic, and can easily understand other people’s motives and characteristics in spite of having only just sprung into existence. Other talents include asking lots of questions so that we get exposition about stuff that we already know, doing back flips through laser beams, and flirting. The actress (Peter Davison’s daughter and Tennant’s future wife) does as much as she can with the material, and she really does have a very charming screen presence, but the script confines her so thoroughly to the “attractive, physically gifted woman” box that there’s not much for her to work with. Given her origins, it’s not surprising that her connection to the Doctor comes across as forced and artificial, but I just never buy any real emotional connection between them.

           I’m even more annoyed by the “death” of the daughter, as her return to life is weirdly emotionless and doesn’t follow any of what we know about Time Lord regeneration. This non-death also lands us with one of the worst-ever Doctor speeches. Tennant generally does grief and anger very well, but his shouty speech directed at the warring figures comes across as absolutely moronic. The Doctor has a tendency to tell other people what to do, which is somewhat justified by his years of experience in dealing with conflict, but it’s a lot more palatable when it’s tempered by his awareness of his own mistakes and problems. Here, he pretty straightforwardly tells the people of this planet to model their society around their consciousness of how much better than them he is, and it’s just absolutely insufferable. I do think that his claims that he “never would” engage in their destructive behavior are deliberate irony on the part of the show, in the sense that this season does give us fairly consistent reminders that the Doctor is always trying to distance himself from violence without ever quite succeeding. That makes sense of this scene’s role in the larger arc of the season, but it doesn’t explain why the character himself has so little self-awareness or so much willingness to lie to himself that he can bring himself to say nonsense like this.

           Donna is loveable as usual here, and I particularly like her insistence that the Doctor take seriously his connection to his daughter. She also describes the feeling of stepping off the TARDIS onto a new place as being like “swallowing a hamster,” which is pretty fabulous. (I could do without the Doctor sending a mechanical mouse toy to distract a guard because Donna’s “wiles” aren’t enough, though.) She just doesn’t play a large enough role in this story to save it from the cheap emotional foundation; the entire concept of “we need the Doctor to feel feelings, preferably loudly and angrily, let’s put a blonde in” is so tired by this point that it’s difficult to watch. C/C-

The Unicorn and the Wasp: And we’re back to good episodes for a while! This is easy to forget in light of the bigger, flashier episodes to come this season, but it’s very fun. Donna’s having a great time pretending to be a 1920s socialite, and the episode gives both Tate and Tennant a lot of opportunity to demonstrate their marvelous comedic timing. Meeting Agatha Christie at a country house when someone has been murdered is a similar enough idea to “The Unquiet Dead” and “The Shakespeare Code” that they actually have Donna make a joke about it, but it’s a premise worth repeating. I do think that Agatha Christie would have written a much better mystery than this one, as none of the twists are particularly effective and the resolution is moderately entertaining but unremarkable. Still, having a giant wasp attack a bunch of rich white people (aka WASPs) is a good joke, and watching the characters try to figure out what’s going on is fun even in the absence of a compelling mystery.

           Christie herself is generally pretty well-written, but among the major historical figures the show has portrayed, she’s not one of my favorites. Part of the problem is that the actress gets sort of upstaged by some of the other guest stars. The not-yet-famous Felicity Jones is a delight as a jewel thief, but the wonderful Felicity Kendal (one of the stars of the great 1970s comedy The Good Life) steals the show. I don’t think she’s really supposed to, as she’s a fairly minor character whose function is to have a dark secret that informs the mystery, but I find myself watching her rather than Agatha Christie when they’re on screen together. Nonetheless, the idea that the events of this episode are the reason why Christie disappeared for a few days gives it a nice sense of importance, and the revelation that her books are perpetual bestsellers is not quite as moving as the similar moment in “The Unquiet Dead” but is still quite lovely.

           The heart of this story is not the character herself, really, but rather the whimsical adventures that ensue from the Vespiform’s absorption of her writing. A couple of serious moments exist, including Donna’s willingness to kill the Vespiform when the Doctor refuses, but for the most part this episode is all about the comedy. There are silly flashbacks, exaggerated plot twists, and at one point there’s a lengthy comedic bit about the Doctor cleansing poison from his system. There are also lots of accidental references to books that Christie hasn’t written yet, and Donna unsuccessfully tries to get herself into a copyright page. Nothing really remarkable happens here, but it’s just so bubbly and charming that the episode is an absolute joy to watch. A-/B+

Silence in the Library: Even if the story itself had been boring, I would have really enjoyed this episode just for the beautiful, terrifying library in which it takes place. I love libraries, and if I were in charge of the show we’d probably have a library setting about once a season. Happily, this library is home to a compelling story, with a spooky new set of monsters and a marvelous debut for River Song.

           River is definitely the highlight of this two-parter, and Alex Kingston is immediately fantastic as the doomed time-traveler. It’s a bold move to introduce a new character, heavily imply that she’s the Doctor’s wife, suggest that there are lots more adventures with her in the Doctor’s future, and then kill her by the end of the two-episode story. I can’t think of many other characters on the show who have been introduced with quite so much fanfare, and so it’s a testament to Kingston’s performance that the emotional impact of the character exceeds the impressiveness of the plot to which she is attached. She has immediate chemistry with the Doctor, and her distress at having met a version of the Doctor who doesn’t know her unfolds beautifully across the episode. In spite of this distress, though, there’s just such a tremendous sense of enjoyment and energy in everything she does, as if she can’t help relishing the challenge and the adrenaline in spite of everything that’s going wrong. The rest of her crew aren’t quite as interesting, and Miss Evangelista’s brainlessness is a bit overplayed, although I do like the brief friendship she strikes up with Donna. This two-parter is basically about the chemistry between River and the Doctor, though, and even when the supporting cast isn’t quite as good, these two absolutely sparkle.  

           The Vashta Nerada aren’t quite as memorable to me as the Gas Mask Child or the Angels, but they are solidly scary monsters, and the fact that we see the gnawed skeletons that they produce but never see the monsters themselves definitely adds to the effect. The statues with human faces don’t really do much for me, and even when we see Donna’s face at the end of the episode I’m mostly unimpressed. I’m much more interested in the ghostly remnants of consciousness that linger in those the Vashta Nerada have killed—the notion of digitally-saved consciousness is creepy in itself, but hearing Proper Dave and Miss Evangelista continuing to speak even after their deaths is absolutely harrowing. Between the dangers that lie in the shadows and the terror of listening to the dead continue to speak, there are lots of properly terrifying moments.

           The one major problem that I have with this episode is that I don’t really find the computer universe to be particularly interesting. I like the concept of having “saved” people to a computer, but I spend most of the scenes with the little girl and Dr. Moon just waiting to get back to the library. To be fair, the use of her television is pretty cool, as is the fact that she has a picture of a blond woman and a wolf on her wall, but I find the character herself to be pretty irritating. There are enough things that don’t work for me here that I don’t find this story to be quite as compelling as “Blink” or “The Empty Child,” but the gorgeous setting and the terrific introduction of River are enough to make this one of the stronger episodes of the season. A/A-

Forest of the Dead: Unreal universes clearly fascinate Moffat, who will return to this trope a number of times in later episodes. This two-parter is his first foray into a story like this, which gives it a sense of originality that diminishes as we see the concept repeat in subsequent seasons, but I would argue that this fake universe—which becomes more prevalent here than it was in the previous episode—is nowhere near as interesting as the ones that appear later on in episodes like “Last Christmas” and “Extremis” or Simon Nye’s “Amy’s Choice.” It is genuinely sad to see Donna realize that her children aren’t real, and it’s even sadder that she never finds out that her husband in the fake universe was in fact an actual person, but the whole place just says Fake Sci-Fi Universe so blatantly that I never find any interest in it as an alternate reality. It also feels oddly uncreative; I get that the other reality was initially created for Cal’s benefit, and that might explain the domestic focus, but the thoroughly unadventurous world isn’t very exciting and doesn’t seem completely suitable as a happily-ever-after for someone as energetic as Donna. Miss Evangelista, who experienced an error in translation that increased her IQ but also resulted in physical disfigurement, is a striking presence but even she doesn’t really hold my interest. (It’s also unfortunate that the script isn’t as clear as it could be about the relationship between the two changes that she experienced; I don’t think she really says anything that implies a causal relationship between the two, but a slightly vague sentence structure makes it possible to read this as a claim that her decreased attractiveness made possible her increased intelligence, which would definitely have been worth avoiding.)            

Because I don’t really enjoy the world to which Donna and others have been “saved,” this episode only really works for me when we’re in the library itself. Fortunately, there are a number of good scenes in the library and then one absolutely sublime one, as River sacrifices herself so that the Doctor can live to make all of the memories that she’s already had with him. It’s an absolutely stunning piece of writing, acting, and musical underscoring, and River’s death is so moving that it’s difficult to believe that this is only her second episode. I’m not sure what gets to me the most in this scene; it might be River telling the Doctor “you watch us run,” as she thinks of the time together that’s still to come for him, or it might be the Doctor’s acknowledgment that there’s only one reason why he would ever have told her his name, or it might be some of the best music Murray Gold’s ever composed, but in retrospect, I think what makes me saddest is the fact that one of the last things she hears is the Doctor unknowingly saying her mother’s favorite expression. She’s quick to shut down the idea that time can be rewritten in this case, but if you watch this after seeing later seasons, the words allow the spirit of Amy Pond to make a brief, heartbreaking appearance in her daughter’s final moments.

           River’s connection to the Doctor works marvelously well throughout the episode, and the notion that he’s like seeing a photograph of someone from before you knew them gives us a lovely way into her feelings. The Doctor takes an embarrassingly long time to get the connection between books and trees, but he does do some pretty stellar thinking as he figures out what it means to have “saved” all four thousand people. (He figures this out in the middle of Anita trying to have a meaningful last conversation, which isn’t his kindest moment, but it’s still impressive.) The Vashta Nerada and their creepy shadows continue to be very frightening, but the resolution—in which the Doctor intimidates them into leaving everyone alone by telling them to look him up in the library’s books—is not the most satisfying end to the main plot. The final moments, though, in which he “saves” River to the library computer, make for a much stronger conclusion. River is one of the many characters to only sort-of die, and my lack of interest in the computer universe means that I’m not that excited about the continued existence of her consciousness within it. However, the Doctor’s realization of why he gave her his screwdriver and his rush to “save” her is so compellingly done that I’m very moved by the scene in spite of the minor issues that I have with it.

           As in the first part, I don’t find this episode quite as brilliant as some of Moffat’s other early episodes, like “The Empty Child/The Doctor Dances” and “Blink.” The Vashta Nerada are solid villains, and the library is a gorgeous setting, but this episode is really only sensational to me when River is on screen. Still, even with some pieces that I don’t especially like, this episode contains enough brilliant moments to make it a very strong story overall. A/A-