Umberto Eco (1932-2016)
So, yeah. Eco is dead, too. Maybe it's only an illusion, at this point, only a semblance - the world suddenly casting off some of it's brightest creative lights. Likely, there's nothing statistically significant about the six weeks or so. But it sure seems so.
I was never crazy about Il nome della rosa (The Name of the Rose), but Il pendolo di Foucault (Foucault's Pendulum) was, as they say, a revelation.
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It's sunny today and warmer. The temperature may reach 56˚F. It's currently 47˚F.
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Yesterday was spent almost entirely trying to make Tales of Pain and Wonder presentable for Nicky at PS Publishing. I'm using the 2008 text, making only very, very minor changes. I don't this will count as a genuine fourth edition. I may call it Edition 3.5. I said, a short while back, only a few days back, that I was done, for now, being a curator of my past fiction, that it was time to write new stuff. And here I am curating again. But this manuscript is woefully overdue, and the publisher has been immensely patient. I'll finish with it today, I hope. I can't take much more tedium.
Speaking of things that are woefully overdue, Spooky and I are getting together the three highest rewards for the Tale of the Ravens Kickstarter that we did in early 2011. Backers have been updated, and again, thank you for your support and patience I'm finishing up the text of the story, and Spooky's busy with everything else. I'm thinking we'll be done with this sometime in March.
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TV last night, David Attenborough's Nature episode about the new (as yet unnamed) Patagonian titanosaurid sauropod, and then we watched the first four episodes of a new Netflix series, Love. I'm still on the fence. I find almost all the characters entirely loathsome, little talking, moving symbols for everything I hate about the present. But Gillian Jacobs' character, Mickey, has kind of hooked me. So, I expect we'll finish the season, since it's all up, enticing our tendency to binge watch.
At about 3 a.m., I put on To Kill a Mockingbird (1962), and I drifted off about an hour into it. I'm always surprised all over again at what a beautiful film it is, and it always takes me off guard. Russell Harlan's cinematography and Elmer Bernstein's score. I forget things. For example, the role the film played in "Bus Fare," Alabaster: Wolves, and Dancy's cigar box of treasures.
TTFN,
Aunt Beast
I was never crazy about Il nome della rosa (The Name of the Rose), but Il pendolo di Foucault (Foucault's Pendulum) was, as they say, a revelation.
---
It's sunny today and warmer. The temperature may reach 56˚F. It's currently 47˚F.
---
Yesterday was spent almost entirely trying to make Tales of Pain and Wonder presentable for Nicky at PS Publishing. I'm using the 2008 text, making only very, very minor changes. I don't this will count as a genuine fourth edition. I may call it Edition 3.5. I said, a short while back, only a few days back, that I was done, for now, being a curator of my past fiction, that it was time to write new stuff. And here I am curating again. But this manuscript is woefully overdue, and the publisher has been immensely patient. I'll finish with it today, I hope. I can't take much more tedium.
Speaking of things that are woefully overdue, Spooky and I are getting together the three highest rewards for the Tale of the Ravens Kickstarter that we did in early 2011. Backers have been updated, and again, thank you for your support and patience I'm finishing up the text of the story, and Spooky's busy with everything else. I'm thinking we'll be done with this sometime in March.
---
TV last night, David Attenborough's Nature episode about the new (as yet unnamed) Patagonian titanosaurid sauropod, and then we watched the first four episodes of a new Netflix series, Love. I'm still on the fence. I find almost all the characters entirely loathsome, little talking, moving symbols for everything I hate about the present. But Gillian Jacobs' character, Mickey, has kind of hooked me. So, I expect we'll finish the season, since it's all up, enticing our tendency to binge watch.
At about 3 a.m., I put on To Kill a Mockingbird (1962), and I drifted off about an hour into it. I'm always surprised all over again at what a beautiful film it is, and it always takes me off guard. Russell Harlan's cinematography and Elmer Bernstein's score. I forget things. For example, the role the film played in "Bus Fare," Alabaster: Wolves, and Dancy's cigar box of treasures.
TTFN,
Aunt Beast