Tag: The 100

No Charge

Good morning, Constant Reader! Hope this Tuesday morning finds you alive and well and alert and happy to get going on your day.

It rained again last night, a marvelous soaking downpour that was so loud I even could hear it without my hearing aids in. It was a nice day back at work yesterday, too–I wasn’t all that tired when I got home, which was lovely. I didn’t have to run any errands last night, so I was able to come straight home and write for a while. I managed 1400 painful words, but again–transition chapter, and I always have trouble with those, so nothing to see there, really. I felt good writing though, even if it was a struggle, and that means I am really back at it again. I’m just so grateful that I haven’t lost that ability. I think it’s realistic for me to stop fearing that will happen. It’s not likely at this point. I am writing my forty-third (I think) novel, and if the writing thing didn’t dry up after some of the things we’ve been through here ever since my first book was published, as long as my brain functions it shouldn’t be a problem. Ah, the loss of anxiety is a really lovely thing.

We watched the first episode of Fallout last night; I was reminded of it during the Emmys the other night. I’d not heard a lot about it, so we gave it a try. It’s dystopian, of course (I’ve clearly had that on the mind for a while lately), and the point is that just over two hundred years after a nuclear war essentially altered the world completely. There are people who live and have a civilization in huge underground bunkers, where an below-the-surface civilization has taken hold, and the underground dwellers are afraid of the surface and what has changed in the centuries since the war; there’s also some kind of discord between surface and below surface dwellers. The show seems to focus on three characters; a young woman who lives below ground and ventures out to find her kidnapped father; a soldier in a surface military; and the bad guy–a ghoul who is dug up from his grave by some criminals who want him to help them do bad things which aren’t specified. It was well-produced, and very well put together; the attention to details was greatly appreciated and helped make it seem fairly realistic. It reminded me a lot of The 100, only in reverse, with the survivors underground instead of in space…but there are tropes in this genre, and so there are always going to be similarities between dystopian shows/movies. I’m not sure if we’ll continue watching, but it wasn’t terrible. I try not to judge shows based on the first episode, as first episodes are often working too hard on setting up the show and the characters and their relationships to each other, and this show also has to world-build, so we’ll probably give it another go before crossing it off entirely.

Likewise, we started watching the new gay show, English Teacher, and while the first episode was fine–a little preachy, a little soap-boxish–the second episode really took off, and we were howling with laughter. Highly, highly recommend, if for no other reason than the Trixie Mattel guest spot! Looking forward to watching more of this show, for sure for sure. (And it’s so nice to see gay male lead characters on television…so a refreshing change from the past.)

I feel pretty good this morning, honestly, and it’s a very nice feeling. I am feeling more in control of things these past few months; at least it’s better than the treading water trick I’ve been doing over the last few years or so. I was also thinking about the Scotty series last night, as I am working on Book Ten (which is a truly scary thought; have I really written that many books in a series?), and wondered if it’s time to let him go? I still have ideas for more Scotty books, mind you, and I think of titles all the time (I thought up one this morning: Pearl River Peril), but going through the Scotty Bible and pulling that all together made me start thinking about potentially winding the whole thing down. It’s not the longest running series with a gay male lead by any means; I think Mark Zubro’s series have vastly more volumes in them than I have in mine, but I’m proud of the accomplishment and the haphazard, meandering way the series developed over time. Alas, that also led to continuity errors, but rather than making me cringe I just kind of laugh at my laziness. Before the new meds, this would have created a spiral of a professional wouldn’t have made those mistakes and all those people who discouraged you from pursuing writing were correct and….yeah. Don’t miss those episodes any more, and I also like being able to look at my writing and my career with the proper distance I could never have achieved on the old medication protocol.

Better living through chemistry is, indeed, a thing.

And on that note, I am heading into the spice mines. Have a lovely Tuesday, and I may be back later, and I may not. One can never be certain with me!

Wake Me Up Before You Go-Go

I overslept this morning, which is really fine; I feel very rested, which means I needed the sleep and my muscles, which have felt tired all week, don’t this morning; so there you have it. I have some errands to run in the early afternoon, and I also have some writing to do today; I need to finish a chapter in the WIP and finish one in the Scotty. I should probably do so organizing and of course, the Lost Apartment is a mess. I also need to revise two short stories, whose due dates are rapidly approaching. Next weekend I will be in Alabama for the Murder in the Magic City/Murder on the Menu events, and the next weekend is the final parade weekend of Carnival (yes I am missing the first weekend for the first time in years). I do hate missing the King Arthur parade; I have lots of friends and acquaintances in that one, so I generally get buried in beads. I can’t believe I agreed to miss that weekend, but I also was so busy making sure it wasn’t the final weekend of Carnival that I didn’t notice.

Stupid, stupid, stupid Gregalicious.

Heavy sigh. I finished watching the first season of Black Sails last night, both at the gym and then when I got home after; I am, as I have said, really enjoying the show. I can’t quite figure out why I didn’t like this show when I tried to watch it several years ago, but I am really enjoying it now and glad I gave it another chance. I suspect I didn’t pay enough attention to it as I watched, and you kind of need to pay attention. There’s a lot going on, there are a lot of cross-plots, and lots of scheming. I don’t think I much cared for the way the women were treated in the first episode or two, either; it appeared that the women were all whores or mistreated terribly by men. But that’s not the case; the women are stronger and smarter than the men, and Eleanor Guthrie, who runs Nassau, is developing into quite the cold-blooded manipulative she-devil, which I am also rather loving. And of course, you can never go wrong with a hot, sweaty men in tight leather pants. My favorite, of course, is Tom Hopper, but Zach MacGowan, who plays Captain Charles Vane (and also played Roan on The 100; I thought he looked familiar) isn’t a slouch either.

Zach-Mcgowan-main

I also read two short stories last night, both horror, to keep the Short Story Project going.

The first, “Minuke,” by Nigel Keale, is from a very thick book edited by Marvin Kaye called Ghosts:

The estate agent kept an uncomfortable silence until we reached his car. “Frankly, I wish you hadn’t gotten wind of that,” he said. “Don’t know how you did: I thought I had the whole thing carefully disposed of. Oh, please get in.”

He pulled his car forward and frowned. “It puts me in a rather awkward spot. I suppose I;d better tell you all I know about the case, or you’d be suspecting me of heaven-knows-what kinds of chicanery in your own.”

As we set off to see the property I was interested in, he shifted the cigarette to the side of his mouth,

“It’s quite a distance, so I can tell you on the way there,” he said. “We’ll pass the very spot, as a matter of fact, and you can see it for yourself. Such as there is to see.”

This is a ghost story, or more properly, the story of a haunting;  it was originally written and published in 1950–which makes the story sixty-eight! It’s also told in a classic horror trope that is hardly used anymore, because it’s become cliche–someone is telling the story of what happened to someone else, a disinterested party. Stephen King has used this method a time or two; most notably in his novella “The Breathing Method” from Different Seasons, and sometimes in short stories. It’s a very classic trope–Dracula is an epistolary novel, after all, told in diary entries and letters. But at the time “Minuke” was originally published, horror wasn’t considered a form of literature and as such tropes hadn’t evolved into cliches quite yet, and it’s a well-told tale. The house of the title is merely a bungalow, built in the housing boom of the post-war era, and therefore its tenants are the first to live there; it is too young of a house to have a haunting, and yet it does. It turns out, you see, when the foundations were being dug, they came across some ancient Norse grave markers…(of course, at the time the story was written Poltergeist was many years away in the future, and the ‘never build on an Indian burial ground’ theme hadn’t become deeply engrained in the culture).

(Aside: the collection Ghosts is a gorgeous, leather bound edition with gold inlay and a ribbon page marker that I purchased for a few bucks off a sale table at Borders many years ago; I don’t know why I’ve never dipped into it before, but it’s going to definitely play a role in this year’s Short Story Project.)

The second story I read was “Fallen Boys” by Mark Morris, from Best Horror of the Year Volume Three, compiled and selected by Ellen Datlow, and originally published in Jonathon Oliver anthology The End of the Line:

When the child screamed, Tess Morton felt guilty for having to repress the urge to snap at it. She was aware that it wasn’t Matthew Bellings who should be punished, but his tormentors, and yet the boy’s cry of pain or distress was so whiny that it grated on her nerves.

The reason she felt little compassion for the child was because she knew it took almost nothing to provoke a wail of complaint from him. Matthew would cry out whenever someone barged into him in the school corridor; whenever a football was kicked towards him in the playground; whenever a classmate flicked a paper pellet at him, or snatched a text book out of his hand, or pushed in front of him in the lunch queue. Indeed, the merest slight would cause Matthew’s red-cheeked, strangely wizened face to crumple, his mouth to twist open and that familiar, toe-curling bleat to emerge.

This story, about a class field trip to an abandoned tin mine (now open as a tourist attraction and advertised as an education experience for children), is predicated on a horrific truth about bullying that we don’t like to acknowledge or understand; one that Stephen King exposed and explored powerfully in his own debut novel, Carrie. 

When we read accounts about bullying, and how teachers and other adults look the other way, we are horrified by it; when we read short stories and novels about bullying  our hearts naturally go out to the victims and we loathe the bullies and their enablers; long for their comeuppance, and are infinitely satisfied when it does come. But that bears no resemblance to the reality. That comes from the emotional distance, and the pleasant lies we so often tell ourselves, the lies about who we are as people, and how we would behave in certain circumstances–we identify with heroes and see ourselves as heroes; part of the brilliance of Stephen King’s work is he so often lays bare that horrific truth that we aren’t all heroes.

Take Tess Morton, the teacher taking her kids on this field trip. The story is completely told from her point of view. She knows that kids are bullying Matthew, and she also knows that as the voice of authority she has to try to put a stop to it. She does try, but it’s not taking because Matthew himself irritates her and sometimes she herself wants nothing more than to give him a good slap. This is the same way Miss Desjardin, the gym teacher who stops the shower assault on Carrie White in the opening scene of Carrie, feels about the victim; she has to punish the girls who did it, but Carrie irritates her, she wants to smack her a good one, and she understands why Carrie is bullied.

This is also why school–the hallways, the playground, the cafeteria, the gym–is so scarring for so many people, because they are so evocative of Lord of the Flies or The Hunger Games.

This is a great story; Morris builds his suspense beautifully, and the denouement is rather sudden when it happens–more than a little reminiscent of EC Comics, but it’s also rather satisfying.

And now. back to the spice mines.