Nounfall Adverbborn, or The only type of naming convention in fantasy and nerdom

Although slightly silly and inconsequential, the issue in this post points to a more important (philosophical even!) question about the human mind and its relation to speech and language: why do people speak (and write) the way they do? Are we rational agents who, as if homunculi living inside our own skulls, have an idea, and then have to rationally choose the best way to express it? Or are we more like Skinnerian rats who use the words and expressions we use because these have been socioally reinforced and happen to be more effective to achieve a goal we might not even be completely aware of? My experience doing posts about writing and language, as well as observing how people write in what are heavily Skinnerian domains (social media,) makes me think truth points towards the latter. After all, who has never noticed a new expression that everybody seems to be using all of a sudden?

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Goodbye, and Hello.

To keep this relatively short while trying not to degenerate into worthless drama: I’m out. Of where? Now that’s a good question. Of whatever BS has been going on for the past 4-6 years, which has been a complete waste of time for me. Maybe for you it has been a time of great productivity and self-discovery, in which case, congratulations, but for me and, I’m sure, many others, this has been quite useless.

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Reading the Hugos (2020): A Catalog of Storms

This is the final nominee (Disregard that, I actually forgot not just to review another one, but actually to read it! There’s still one more story left) for this year’s short story Hugo Awards, A Catalog of Storms, by Fran Wilde. If you were expecting a roaring end to this review series, you are going to be disappointed.

Fran Wilde wrote years ago one of the few Hugo stories I actually liked, mostly due to its raw, angry energy and somewhat autobiographical content, but A Catalog of Storms has none of those things as far as I can see. To me, it feels like a by-the-book Hugo finalists: wandering, dreamy, with florid language, oozing with magic realism, and with barely any plot or real tension.

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Reading the Hugos (2020) Blood is Another Word for Hunger

This is the fifth of the Hugo finalists and, probably, the most important one. If you could distill the Hugo short fiction category into a platonic form, it would look very similar to this piece, Blood is Another Word for Hunger by Rivers Solomon. And now I have to review it.

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Reading the Hugos (2020) Ten Excerpts from an Annotated… oh God that’s a long title.

Some particular trends in genre literature have become obvious during the past few years. One of them is the use of Brobdingnagian titles, a compulsion to write paragraph-long titles, some of whom even give away the plot. I suspect this may have started as a quirky, ironic thing to do, but I don’t think it’s funny unless you are lampooning or referencing some stuffy style like academic papers or writing comedy. And, to be fair, that’s to some extent what this story is doing—referencing, not the comedy.

The complete title of this very short piece by Nibedita Sen is Ten Excerpts from an Annotated Bibliography on the Cannibal Women of Ratnabar Island, which is way less interesting than my alternative title: The lesbian cannibal she-devils of Ratnabar Island. It’s mating season… and they want your blood!

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Reading the Hugos (2020) And Now His Lordship is Laughing

For this short story, you can play a little game. Thanks to the benevolence and foresight of the people at Strange Horizons, this story is preceded by a long list of Content Warnings. You can ignore those, of course, but who could resist the temptation of clicking on that button to see what awful sins it hides. It’s like a flashing red button saying DON’T TOUCH ME.

VOMIT

The game is this: Try to deduce the plot of this story just from those trigger warnings. So what sort of Gomorrah-style type of story do we have here for it to include all that stuff? A surprisingly meh one. Yes, a child dies, and that sets in motion this story of racial revenge, but I don’t even remember half of the things from the list.

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On commas. This is a post about boring commas—like, with what kind of exciting title do you think I’m going to come up with?

I occasionally proofread texts, and adding missing commas probably takes up half of my time. Removing superfluous ones is a smaller issue, but it’s a close contender. The third, if anyone is interested, is surely missing hyphens in compound adjectives. So, this will be a post about commas and, since they are related, semi-colons. However, the goal is not to remember any list of 8, 10, or 17 seemingly arbitrary rules but to understand the underlying logic, which exists.

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A short note on the literary offenses of modern writing

As many of you who follow this blog, I came across this yesterday. Naturally, the general objection was about calling out a dead man while profiting from his name and all that.

(click on the tweet to see the image and see what I’m talking about)

Well, sure, but before my mind was even able to process that, what struck me the most was how uncomfortably written the entire thing is (or, at least, the first paragraph.) And I don’t mean typos, grammar errors, and such, but something that is deeper and harder to explain but is quintaessentially modern.

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