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May 16, 2012 Dress Your Marines in White Emmy Laybourne Murder in powdered form. What a life. May 9, 2012 About Fairies Pat Murphy Some things happen whether or not you clap your hands. May 3, 2012 At the Foot of the Lighthouse Erin Hoffman I am American. We are all Americans. April 25, 2012 Prophet Jennifer Bosworth Some men are born monsters. Others made so.
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May 8, 2012
Sleeps With Monsters: Failure to Communicate (An Ongoing Problem)
Liz Bourke
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Death in Fantasy Fiction: Why It Makes Us Rage
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Stubby the Rocket
Showing posts by: Amal El-Mohtar click to see Amal El-Mohtar's profile
Thu
Apr 19 2012 9:00am

Stair in her Hair by Rima StainesIn February of 2010, I was going to grad school in Cornwall, England, living in a many-bedroomed student house called The Old Library – built of the bones of dismantled ships, and so very like a fairy tale – when I realised it had been a couple of months since I’d checked my Other E-mail Address.

Some of you probably have at least one of these: an alternate account you use for mailing lists you feel guilty not subscribing to but have little enough interest in to warrant daily perusal. An account to be used mainly for things like Facebook notifications (before you learned how to turn those off) and petition signatures when you didn’t want to be spammed with follow-up requests. That sort of thing.

Maybe that actually isn’t normal at all.

[What was lurking in that inbox]

Fri
Oct 29 2010 9:39am

Winding Down the House

I want to destroy steampunk.

I want to tear it apart and melt it down and recast it. I want to take your bustles and your fob watches and your monocles and grind them to a fine powder, dust some mahogany furniture with it and ask you, is this steampunk? And if you say yes, I want to burn the furniture.

Understand, I want to do this out of love. I love what I see at steampunk’s core: a desire for the beautiful, for technological wonder, for a wedding of the rational and the marvelous. I see in it a desire for non-specialised science, for the mélange of occultism and scientific rigour, for a time when they were not mutually exclusive categories. But sadly I think we’ve become so saturated with the outward signs of an aesthetic that we’re no longer able to recognise the complex tensions and dynamics that produced it: we’re happy to let the clockwork, the brass, the steam stand in for them synecdochally, but have gotten to a point where we’ve forgotten that they are symbols, not ends in themselves.

[Centuries and Symbols]