Tuesday at home

So the good news is, it’s almost certainly not my back. The disc herniation in my spine is still there, and hasn’t miraculously healed in the past year and a half, but it doesn’t appear to be impinging on the nerves. So I have an appointment next Thursday with a urologist, and I’ll see where that leads me.

My appointment was over pretty quick this morning, and I spent the rest of the day watching a little television — Fringe and a BBC show called Luther — and working on this short story due at the end of the week. I’m at about 3,000 words now and looking around frantically for the exit.

Tomorrow it’s back to work.

Tuesday various

  • Paul, the World Cup predicting octopus, has gone to the great octopus’ garden in the sky.
  • Sony will stop manufacturing the Walkman. In other news, Sony was still manufacturing the Walkman. [via]
  • Further proof that science fiction is more about the time it was created than about the future: 5 Things ‘Back to the Future’ Tells Us About the Past. [via]
  • Meanwhile, Realms of Fantasy closes shop. Again, and this time it looks like for good. I’m really disappointed by this news, not least of all because I subscribed in their recent save-the-magazine effort. It raises questions about the viability of print magazines in general, which, as somebody who puts together a twice-yearly zine, is something I’m quite interested in. Realms was a good genre magazine, and I’ll be sorry to see it go.
  • And finally, kind of weirdly tying all of this together in a way: The Space Squid Cuneiform Clay Tablet.

    Of course, it’s not a real squid…and a squid isn’t the same thing as an octopus anyway…but there’s something fascinating about a zine (Space Squid) “printing one of their issues on the ultimate form of Dead Media: inscribed in cuneiform on a baked clay tablet.” Maybe that’s what Realms needed to do. Maybe that’s what I should do with Kaleidotrope. It’s a funny and clever stunt if nothing else. [via]

How to Live Safely in a Science Fictional Universe

Last week, I read Charles Yu’s lovely How to Live Safely in a Science Fictional Universe. I think these two passages are maybe my favorite parts:

I don’t miss him anymore. Most of the time, anyway. I want to. I wish I could but unfortunately, it’s true: time does heal. It will do so whether you like it or not, and there’s nothing anyone can do about it. If you’re not careful, time will take away everything that ever hurt you, everything you have ever lost, and replace it with knowledge. Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to reverse it, you will never again have the original moment back in its uncategorized, preprocessed state. It will force you to move on and you will not have a choice in the matter.

My mother finishes her kneeling, and places her incense into a large ceramic urn filled with the accumulated ashes of a thousand, a million, a hundred million earlier sandalwood incense sticks, the dust of past events collected there and made tangible. She pierces the ash pile, fine, talcum-like, soft gray powder, slides her own incense stick down into it, in a perfect vertical, and appears to consider it for an instant, a thin marker, flimsy and direct, an axis, a conduit for prayer, an object and a process that will turn itself from a material thing into the dust around it, transform into visible and invisible substances, will convert itself into heat and smoke to fill the room. The present incense will become the very stuff that props itself up, and allows other, future incense to stand vertically, for a time, each current incense unable to stand alone, only able to perform its function with the help of all other past incense, like time itself, supporting the present moment, as it itself turns into past, each burning stick transmitting the prayers contained within it, nothing but a transitory vehicle for its contents, and then releasing itself into the air, leaving behind only the burnt odor, the haze and residue of uncollectible memory, and at the same time becoming part of the air itself, the very air that allows the present to burn, to combust, to slowly work itself down into nothingness.