Given all space and time, and all history and fiction, which offer of adventure would you be most likely to accept - and which one would you definitely decline? [personal profile] ffutures asked.

Well, I'm tempted to say "none, because I'm chicken and would rather read about those adventures than experience them". But that would be a boring answer, and there are some which don't carry the risk of dying of smallpox or being turned into a Cyberman, one presumes. So, let's see....

Fictional: To get the obvious out of the way first: assuming that I'd live in a universe with the Doctor in it for real (the only universe worth thinking about, according to the Master, who ought to know), and that I would not live in one of those eras where one can google at least asome appearances of his which ought to give me an inkling about the risk travelling with him involves... I think I'd say yes if 'Thirteen offered me a trip with the TARDIS. She's not my favourite Doctor, but she conveys trustworthiness if she wants to, and even if I did manage to look up her companions, thehir rate of not just survival but lack of heartbreak (Yaz always excepted) at the end of their travels with her is promising. Most of the other Doctors would in real life make me think "nah, you seem to be interesting and/or crazy, but I wouldn't trust you to bring me home again".

I would definitely say no to Gandalf. Especially if I were in Bilbo's position. Firstly, stagemanaging an intrusion by loads of uninvited guests is just rude, and secondly, no way you're getting me anywhere near a real life dragon to be torched. No thank you. And that's before we're talking about the travel conditions. I can't ride, and while I do like long hikes, taking these in eras where I could get eaten by trolls... no, really not. I'm just not Burglar material.

Real: If I was dared as Nellie Bly was to travel around the world in 80 Days a la Jules Verne, with a newspaper paying for it, absolutely, I would have tried my best.

Would not have joined: any expedition involving the Artic. I like snow in winter, and I also like to ski, but I like it with the perspective of afterwards returning my heated apartment and being able to take a luxurious long hot bath. Not from the perspective of someone looking for the North West Passage on a sailing boat in the 18th century or someone racing to the Pole in the 20th century. I like my limbs unfrozen and uneaten, thanks.


The other days
wychwood: heroine addict - Gwen from GalaxyQuest (Fan - Gwen heroine)
([personal profile] wychwood Jan. 17th, 2026 10:27 pm)
135. Voyage of the Damned - Frances White ) I have actually seen some positive comments about this book, and I'm still baffled by that fact.


136. The Cloud Roads - Martha Wells ) This was fun! I'm hoping to read the sequels.


137. Death in the Spires - KJ Charles ) Definitely not a romance - but I like mysteries more than I like capital-r Romances, so that worked for me.


138. Rivers of London - Ben Aaronovitch ) This is still a cracking series opener. What a banger.


139. That Stick - Charlotte Yonge ) A lesser Yonge, but still relatively entertaining.


140. The Wicked + The Divine vol 1 - Kieron Gillen and Jamie McKelvie ) I didn't love this, but it started a number of interesting plot threads; I'll have to see where it goes.


141. Meddling and Murder - Ovidia Yu ) A decent conclusion (at least so far) to the series! I'm sure she could write sequels if she wanted, but this changes the status quo enough that it feels like a good place to stop.


142. Augustine the African - Catherine Conybeare ) This was fascinating; I lent it to our parish priest (who is sort of mentioned in it! as part of the group of Augustinian friars Conybeare meets when visiting Annaba (the city formerly known as Hippo) and he's already told me he's buying his own copy.


143. Salt, Fat, Acid, Heat - Samin Nosrat ) I had high expectations for this book, so it's probably partly my own fault that I wasn't blown away; it did have some good stuff in it, but I spent a lot more time arguing with the author than I expected.


144. Princess Puck - Una Silberrad ) A delightful tale.


145. Death of a Dormouse - Reginald Hill ) A really fun character arc; I enjoyed this.


146. Murder on the Orient Express - Agatha Christie ) Just fabulous.


147. Mona Maclean, Medical Student - Graham Travers ) Not as medical as the title implies, but very charming.


148. Blue Machine - Helen Czerski ) An interestingly different perspective on the oceans compared to my usual more animal-focused natural history versions.


149. The Fox Wife - Yangsze Choo ) A satisfying read, and interesting as a historical as well as fantasy.


150. Grandmaster of Demonic Cultivation 3 - Mo Xiang Tong Xiu ) The story is moving right along now!


151. The Nine Tailors - Dorothy L Sayers ) Excellent reading of a good book.


152. Deeds of Wisdom - Elizabeth Moon ) These short-story collections are always enjoyable, even though they don't usually go much beyond that.


153. Alien Clay - Adrian Tchaikovsky ) A decent idea, reasonably well done, but Tchaikovsky just fundamentally doesn't do it for me.


154. Night Sky Mine - Melissa Scott ) I'm very glad I discovered this in my collection! Scott is always a good time.


155. The Curse of Chalion - Lois McMaster Bujold ) An absolute classic which I will re-read many more times yet, if I get the chance.


156. The Hero and the Crown and 157. Beauty - Robin McKinley ) THatC is still just such a weird book, and Beauty is so conventional! McKinley what are you even doing.


158. The Summer War - Naomi Novik ) Terribly short novella but it still manages to pack a lot in! Excellent siblings.


159. Still Life - Sarah Winman ) Endlessly charming even when it gets implausible; I really enjoy this book.


160. The Sisters Avramapul - Victoria Goddard ) Goddard is such a compulsive writer! I enjoyed these.


161. Heated Rivalry and 162. Tough Guy - Rachel Reid ) Decently-entertaining hockey romances.
Considering this prompt by [personal profile] bimo, it did occur to me that Syril Karn’s part of the Ghorman arc in the second season of Star Wars: Andor in a way is the Mirrorverse, twisted version of a rather popular trope.

Filling the spoilery darkness with order and light )

The other days
Today I discovered that it is possible to add Too Many new games on Steam! It actually locked me out and I had to wait an hour before I could add the final items from the Humble Bundle I was working on. It did take fifty games in 25 minutes to hit the rate limit, though, which doesn't seem too unreasonable. I think I have now added every game I bought via Humble Bundle to my Steam account, which is a nice (small) milestone.

My cleaner came today for the first time since before Christmas, and my house is so pretty now! Also once she was gone I could start the laundry going again (I try to have all the laundry dry and away before she arrives, so she can e.g. vacuum the floor instead of having to work around the drying racks). I've hung three loads already, there's a hoodie in now and a second to go in when it's done, and the only things left that need washing are the half of the bedding that will need a drying rack. That will have to wait until the weekend. I would say "then I'll be all up to date!" but then I'll be at Mum's and will need to catch up again once I return from there! Still, I'm closer than I was.

There have been workpeople outside my window all day dismantling the next block of garages for replacement, which includes mine; I'm quite excited by this, since at the end of it I will hopefully have a garage with a door that I can open! and close! all by myself! without crowbars and ropes and enough equipment that I could really use three hands. Not that I have much to keep in it; the only thing in there before was my bike. Still, it would be nice to get that out of the spare room again.
There were severa new onesl I enjoyed a lot, like Alien: Earth and Pluribus, with the later being hands down the best new series I saw in 2025. And Andor, some minor (for me) nitpicks aside, ended superbly, plus unfortunately more current day politically relevant than ever. But my favourite series in 2025 was Foundation, season 3. And here are some reasons why:

For the third time, this show managed to present a new ensemble of characters per season (plus the few recurring ones) and made me care about them. Now I remember several shows that were originally intended to be "anthology" shows - the one that immediately comes to mind is Heroes - i.e. where the idea was to present a new cast of characters every season - and which when the first season was a success changed their mind because the audience had fallen in love with these characters. Unfortunately, this also meant that the subsequent seasons showed there had been no plan, not even a vague character arc kind of plan, for those characters, and the show quality rapidly diminished, making me wish they'd stuck to the anthology concept. Now Foundation, to me, found a happy medium between the "anthology" concept which its intended huge time spam demands and the fact that most viewers do want some characters to remain attached to, or at least interested in, who are around for more than one season. And they manage it twofold: courtesy of in-universe plot devices, there are in fact some characters around through all three seasons so far - Gail Dornick, Demerzel and sort, kinda, Hari Seldon in a spoilery fashion ). And there are three more actors araound through all three seasons playing different characters who are at the same time variations of the same character, i.e. the Cleonic Dynasty exponents, clones in different stages of aging. (It's not unimportant that they play clones because the stories and developments each Cleon takes in each season are richer and more interesting if you have other Cleons to compare them to.)

But, and this is an important but: the show also offers characters who are around only in one season/era the show takes place. (Or two at most, sob.) And manages to make them interesting and different from each other. Here I would argue the show grew from season 1 - where there were some interesting, memorable characters around, like the Luminarian priestess, but also some which for me didn't work in the way they were intended (the Huntress) - to season 2, where basically every single new character was interesting - Constant, Hober Mallow, Space!Belisarius etc.. In fact, I was so attached to the s2 newbies that I kept wondering whether the show would manage to do it again after the next time jump, and the first s3 episode or two left me a bit sceptical on that count - but then I changed my mind. Granted, I still am lukewarm about Pritcher, but Toran and Bayta were great (not just due to the spoilery thing at the end of the season, though it makes the rewatch of s3 I just finished even more rewarding), I loved Ambassador Quent, and the First Speaker as well.

Another reason: s3 offered the pay off to several long term mysteries and developments - from who was responsible for the destruction of the Star Bridge (and why) to why a spoilery for s2 thing happened ) - , wrapped up one of THE major storylines of the show which is spoilery for s3 ), and did it in a way that was both unepected yet made perfect character sense, and set up enough new questions and storylines which make glad there is a season 4 already secured: For example, Spoilery Questions asked )

And then there's the superb long term character development. [personal profile] bimo commented s1 Gaal would be horrified by s3 Gaal's actions, and yet they are perfecty ic due to the development in between and bring things full circle, in a way. Rewatching s3, I noticed spoilery things about Demerzel in particular. ) And the Cleons! That Lee Pace is excellent is almost a given, and s3's Day's development went from seeming comic relief to absolutely shattering, but s3's Dusk and Dawn both got more to do than in previous seasons, and both Terence Mann and Cassian Bilton ran with it. In fact, when I find the time I'll do a poll asking about everyone's favourites Day, Dawn and Dusk, if such a thing exists, taking all three seasons into account. Speaking of things paying off even more upon rewatch, Dusk's first scene in s3 is watching the recording of other Dusks becoming Brother Darkness and "ascending", which, yeah. S3 does a lot not just with the confrontation with mortality, but also the search for meaning especially for the long term characters. Hari Seldon related spoilery observation )

And there's the way the show asks questions the books couldn't, lacking the concept of the Cleonic Dynasty. Demerzel and the Cleons: A Tale in Three Seasons )

Lastly: I loved s3 for the way it gave us new combinations of long term characters. Which are spoilery. ) And for being such an acting showcase for both recurring actors - Terence Mann certainly owned those last three episodes when he was on screen - and new to the show ones: Synnøve Karlsen as Bayta first and foremost, with again rewatching letting me additionally admire what she does there. (Though this time around I knew she was the same actress who had played Clarice Orsini in I Medici and young Cassandra Austen in Miss Austen, I forgot all about it again when watching her on screen. "We're good at making people love us, you and I", as she says to Magnifico. Indeed.


The other days
Friday morning we had about 8-10cm of snow and public transport wasn't running, so I worked from home. All the main roads around me were clear pretty much throughout, but side roads etc didn't get clear - and then everything half-melted and refroze so anywhere that still had snow got pretty miserable. The pavements on my way to church yesterday had about 3-4cm of lumpy ice, and it was not a fun time, although it also didn't feel particularly dangerous as long as I walked carefully.

At ten minutes before Mass we had six people in the building including me, the priest, and one other altar server. As we went in we'd hit about twenty, and by the end of the homily we were up to 45, which is a bit under half the usual number (although there were a lot of unfamiliar faces, possibly coming to a closer church than they would usually attend?). I was very surprised by the number of latecomers; I left home half an hour earlier than usual, to be sure of getting there OK, and it's not like anyone didn't know there was ice everywhere. I can understand not coming in those conditions, but just, idk, leaving at the usual time? that seems weird to me!

Anyway, it's warmed up a lot today and has been raining for a couple of hours; remnants of the packed ice will no doubt hang around for a while, but hopefully most of the pavements will be more-or-less clear tomorrow morning when I leave for work.

Dad's off to France again this week, so I'm back over there next Monday for the week. My chances of ever catching up with the laundry are receding into the distance and I'm starting to feel stressed about the weekend after, since I'll be there until Sunday morning, then into a double choir rehearsal, then back in the office on the Monday. Probably it will be fine but I need to do a lot of thinking about food planning etc at some point this week. I was having such a nice relaxing time too!!!
"Von der Parteien Gunst und Hass verwirrt/ schwankt sein Charakterbild in der Geschichte" (Schiller about Charles' contemporary Wallenstein; less elegantly put in a prose translation into English, "distorted by the favour and hatred of factions, the portrait of his character flickers through history". Up until a few years ago, I assumed there was at least consensus about Charles I., while possessing "private" virtues (i.e. good son, father and husband), not having been a very good King, what with the losing his head over it, but no, he does have his defenders in that department as well, present day ones, I mean, not 17th century royalist. I haven't read Leandra de Lisle's Charles biography, but I did read her recent biography of his wife Henrietta Maria, which makes a spirited case for her as well. (My review of the Henrietta Maria biography is here.) While I'm linking things, Charles I. inevitably features heavily in two podcasts I listened to in the last two years, one named "Early Stuart England" and thus concluded (it ends with the start of the Restoration), and one ongoing, called "Pax Britannica" and about the story of the British Empire, which has only just arrived at the Great Fire of London; both start with Charles' father James (VI and I), and do a great job offering context and bringing all the many players of the era alive, not "just" the respective monarchs. They appear to be both well researched, but come to quite different conclusions as to what Charles thought he was doing in his final trial in their episodes about those last few months in the life of Charles I. Stuart . (Also regarding where Cromwell initially thought the trial was going.) If you don't have the time for an entire podcast but want to hear vivid presentations of the trial itself and the summing up of Charles I., good and bad sides, that go with it, here is the trial/execution episode of Early Stuart England, and here the one from Pax Britannica.

Now, on to my own opinions and impressions re: Charles I. Which after reading and listening up in the last years on the Stuarts didn't change as much as my opinions on his father James did, but that's another, separate entry, which I will probably write as well. Years ago I thought Charles had a lot in common with his maternal grandmother Mary Queen of Scots - they both died undeniably with courage and flair, they both saw themselves as martyrs of their respective faiths, they both were great at evoking personal loyalty in people close to them - and neither of them was an actually good ruler, not least because their idea of the kingdom and people they were ruling and the actual people differed considerably. Mostly I still think that, though now I also see considerable differences.

Not least because Mary literally became a Queen as a baby, and once she was smuggled out of the country as a toddler, she grew up very much the adored future Queen of France, in France, and some of her later troubles hailed from the abrupt change from the role she'd been prepared for - Queen Consort of a Catholic kingdom - to the one she had to fulfill - Queen Regnant of a by now majorly Protestant Kingdom. Meanwhile, her grandson Charles might have been male, but wasn't expected to reign at all, because he was the spare, not the heir, through his childhood and early adolescence. Not only that, but he was overshadowed by both his older siblings, brother Henry and sister Elizabeth, he was sickly small child and for years not expected to live at all, he was handicapped twice over (stuttering and having trouble walking, with the usual ghastly historical methods used to cure him of both). Mary was a golden child (as were Charles' siblings), young Charles was the family embarassment and reminds me of no one as much as of Frederick I. of Prussia (that's the grandfather of Frederick the Great), another "spare" who was suffering from physical impairments and spent a childhood overshadowed by his glamorous older brother, his father's favourite, with whom he nonetheless had a good relationship and grieved for when he was gone. (Think Boromir and Faramir.) That makes for a very different psychological and emotional make-up, and both Charles I. and Frederick I. compensated later in life, when they unexpectedly did become the heir and then the monarch, by very much leaning into the ritual and splendour of Kingship. No "Hail fellow, well met" type of attitude for them (which for all their absolutism the Tudors were so good at); they were monarchs who rather treasured the distance and remoteness, as if in compensation of all that early ridicule and disdain.

If you're curious about the first Frederick, more about him here. Of coure, he died in bed, having created a new kingdom (and a lot of debts), whereas Charles ended up beheaded, with (most) of his family in exile, his three kingdoms at war and England a Republic (or if you want to be hostile a military dictatorship) for the next twelve years. Some of the reasons for this different results are Charles' fault, but not all. He did live in very different circumstances, not least because he inherited some baggage from the previous reign, fatally a very bad relationship between King and Parliament, and his father's favourite, Buckingham. (In fact, Buckingham managing to be the favourite of two monarchs in a row instead of being kicked out once his original patron was no more was a feat hardly any other royal favourite has accomoplished.) But he also from the get go was good at making his own mistakes, ironically enough at first by being completely in sync with the mood of the times. The peace with Spain was a signature James I. policy and achievement (and a very necessary one at the point he inherited the kingdom from Elizabeth, with both England and Spain financially exhausted by the war) - and deeply unpopular. When young Charles (still Prince of Wales) and Buckingham after their misadvantures in visiting Spain and NOT returning with a Spanish infanta as a bride for Charles went into the opposite direction and became heads of the war party which wanted a replay of the Elizabethan era's greatest hits, Charles was, for the first and last time in his life, incredibly popular. And once James was dead, an attempted replay was exactly what he and Buckingham went for - which turned out to be a disaster. Instead of glorious victories, there were defeats. Buckingham just wasn't very good as either admiral or war leader. And Charles was stubbornly loyal to his fave.

This is a trait sympathetic in a private human being and disastrous in a monarch, because the "evil advisor" ploy is ever so useful if you need to blame someone for an unpopular policy and/or monumental fuckup, and James, for all that he adored his boyfriends, had used it if he had to. Charles I.' sons, Charles II. and James II., drew very different lessons from their childhood and adolescence in an English Civil War, not least in this regard . Charles II. was ruthless enough to sacrifice unpopular royal advisors if needs must, James II. was not and was more the doubling down type, and guess which one died a king and which one died in exile. Buckingham had already been hated under James, but under Charles this really went into overdrive, and there was a rather blatant attempt at getting him killed via show trial when parlamentarians (aware that Charles who refused to let Buckingham go insisted that Buckingham had only fulfilled his orders) thought they had a winning idea by insinuating Buckingham had murdered James (which Charles hardly could cover for), only to find Charles indignantly shot that down as well. Buckingham ended up assassinated anyway, by a disgruntled veteran but to the great public cheer of Parliament, and you can't really call Charles paranoid for developing the opinion that most MP were fanatics not above lying in order to kill his friends with flimsy legal jiustifications.

(Fast forward to Wentworth/Strafford getting killed in just such a fashion years and years later.)

Buckingham's successor as person closest to the King and accordingly hated for it was Charles' wife, Henrietta Maria, and here we have shades of Louis XVI., because in both cases the fact these two Kings didn't have mistresses and were loyal to their wives worked against them and contributed to the wives fulfilling the role of the royal favourite in getting blamed for everything going wrong, and there was an increasing amount of things going wrong. Leandra de Lisle points out that actually, far from dominating Charles and making him do her bidding, Henrietta Maria had to live with the fact that Catholics under Charles had it worse, not better, than they had lived under James I., because no, Charles wasn't a crypto Catholic. Going all in with the High Church idea and the bishops etc. together with Archbishop Laud wasn't in preparation for an eventual return to Rome. Which didn't make it better in terms of the result. It was one of those head, desk, moments demonstrating what I said earlier, that Charles kept misjudging what the people in the countries he was ruling wanted and were like (he really seems to have thought it was all a couple of troublemakers in Westminster that objected, but really, out there in the countryside, etc.).

Now, for all that he spent his first three years as a toddler in Scotland, he had otherwise zero experiences of the place, and none of Ireland, so he has some excuses there, and like I said, I can understand the emotional background to the increasingly terrible relationship with the English Parliament. But it still means he failed at his job, to put it as simplified as possible. There were monarchs before and after who were also absolutely and sincerely convinced they were God's anointed (and knew better than anyone elected). Elizabeth certainly thought she was. And most of her favourites were deeply unpopular. (It's telling that the sole one who wasn't, Essex, was the one ending up rebelling and getting executed.) But she was aware she had to woo Parliament now and then to get what she wanted in terms of budget. And she was really good at a mixture of prevaricating, not allowing herself to be pinned down in one particular corner. Charles I.'s near unerring instinct for finding "solutions" to his problems that made things worse, not better, and then refusing to offer scapegoats or listen to advice that required a complete reevaluation of his own beliefs was a fatal combination of traits which, again, would have well fitted a private citizen - but not a monarch in early modern England.

So did Charles leave the country something other than a Civil War in which some 6% of the population died? (Hence the "man of blood" label, though of course it's a bit rich coming from the likes of Cromwell - just ask the Irish.) An A plus art collection, and I'm not just being flippant. He had superb taste in paintings, not just in terms of dead and already declared great painters but of his own contemporaries. (Charles I. as a nobleman and patron without royal responsibilities - say, as the King's younger brother he was originally supposed to be - , would probably get an admiring footnote in any cultural history.) The idea that monarchs/heads of government can be put on trial and held reponsible not by other fellow monarchs but by their people. (Well, in principle. In practice, the trial in question was extremely questionable from a legalistic pov, not least because it wasn't even conducted by the actual elected Parliament but by the leftover "rump" that remained after having been purged by the military of anyone who might disagree. Hence Charles, who like grandmother Mary was at his best when backed into his last corner, pointing just this out as if he was a trained lawyer. Stupid, he was not. Whether that makes his previous fuckups as a ruler worse is for you to decide.) Anyway, I would say that the National Assembly putting Louis XVI on trial had a better claim of being actually representative of the country AT THAT POINT than the Rump was of Civil War England. And both trials presented an intriguing paradox, to wit: a) the monarchs they judged were guilty of at least some of the accusations - Louis XVI HAD conspired with foreign powers against his people in his last two years, Charles had, among other things, restarted the Civil War after it had already been believed to have ended, but b) any just trial should allow for the possibility that the defendant could be found innocent, and there was no way in either trial that would have happened, the only acceptable outcome was a guilty verdict and a death sentence, because the accusers and the judges were one and the same. (One of the podcasters disagrees and belongs to the school of historians who think hat if Charles had submitted to the authority of the trial and had entered a plea, he wouldn't have ended up executed, btw.)

(BTW, Robespierre originally was, unless I'm misrenembering, against a trial against Louis XVI for that reason - not because he didn't want him dead, but because, and here his inner lawyer spoke, a trial should allow for the possibility of innocence, and if Louis was innocent, the entire Revolution was wrong, which could no be, hence there should not have been a trial.)

Charles to his last hour did not consider himself guilty in the sense he was accused of being. He did think his death was divine punishment, not for failing his people - he thought, as mentioned, he had done his best throughout his life, and it wasn't his fault that it hadn't worked out - , but for letting Parliament bully him into signing the death warrant for Thomas Wentworth, Earl of Stafford, a man he knew to be innocent and to have been condemned just as a lesson to him. This, he said in his final speech, was why his fate was deserved. I think this perspective both shows why I wouldn't have wanted to be ruled by him, but why I also think he was, as a human being, a far cry from our current lot of autocrats who wouldn't know how to spell guilt and responsibility, be it personal or political.

The other days
watervole: (Default)
([personal profile] watervole Jan. 9th, 2026 03:58 pm)

 I set out to try and gain some weight, as I'd lost somewhere between six and eight kilos over the last few years - which in retrospect was probably Diabetes related. My body is now fairly inefficient at converting food to energy.

 

So far, I'm just over a kilo up from where I started a bit over a month ago.  I hit 50.5 kilos this morning, which is a new record. (there's usually a random wobble of around .3 kg from day to day).

 

I've done it mainly by eating things between meals and before going to bed.  A boiled egg here, a peanut butter sandwich there, a bit of cheese, etc.

 

So, feeling quite positive about that - I now know that I can do it, and am making slow, steady progress.

 

I think my energy/braincell levels are up a bit too.  I managed to dance the whole of 'Three Point Turn' at morris practice last night - without any mistakes (a first) and still able to stand at the end!  (we do go for high-energy morris...)

Tags:
wychwood: HMS Surprise: "bring me that horizon" (Fan - horizon)
([personal profile] wychwood Jan. 8th, 2026 08:46 pm)
The snow did indeed all melt on Tuesday, but this evening we're under Storm Goretti, and it's been coming down good and proper - huge wet flakes, a couple of centimetres in the last hour or so already. We don't seem to have much of the high winds or anything, though; it's been quite peaceful (well, except for Miss H's family, who were driving back from Worcester and are stuck on a road behind some lorries).

Currently in limbo as to whether I'll be in the office tomorrow or not; the forecast thinks it'll keep snowing for a couple of hours but then move towards sleet, and this stuff is so wet it won't take much to melt it. I'll have to see what it looks like in the morning. I've packed everything ready, regardless - although actually I didn't really need to, because the swimming pool has pre-emptively cancelled the morning swim, so I don't need most of it anyway...

The washing machine is behaving itself again. The repairman has broken his ankle and couldn't come and look at it, but suggested something to check; we tried it without any result but then did some laundry to see whether it would cooperate or not, and so far so good! I did four loads yesterday, so the pile is looking much more reasonable.

Life is incredibly quiet and mundane and some day I will finish the November booklog, but mostly things are just... restful, right now. A good way to start the year.
A day early, because I'll be on the road tomorrow for most of the day, and thus without internet access.


Personal backstory: Previous Bronte-related musings by yours truly can be found under this tag. The short version is that I care a lot, both about their works and the family. And one thing that has become increasingly obvious in the last twenty years or so is the increasing villainization of Charlotte Bronte. Now, Charlotte isn't my favourite, and of course there's a lot you can critique about her, as a writer (cue Bertha Mason) and as a human being, definitey including her treatment of Anne's second novel, The Tennant of Wildfell Hall (i.e. ensuring it would not be republished after Anne's death), and general underestimation of Anne. But the way fictional treatments of the Bronte sisters have made her into the villain or at least antagonist definitely has become a trend.

Part of it is, I think, because Charlotte is the sibling we know about most (she lived the longest, she had the most connections to people outside the family, there is therefore the most material from and about her available, and inevitably it also means she is the one through whose glasses we see the family initially). While it's not true you could put the reliable primary biographical material from Emily and Anne (i.e. written by them, not by someone else about them) directly on a post card, it really isn't much, not just by comparison to Charlotte but also to father Patrick and brother Branwell, both of whom left far more direct material. There are the two "our lives right now" diary entries from Anne and Emily separated by several years which offer a snapshot of not just how they saw their lives right then but also the intermingling of the fictional and the real, i.e. they both report of what's going in their lives and what's going on in Gondal and in Angria, the two fictional realms created by the siblings (and btw, the fact Emily and Anne know about Angrian developments years after stopping to write for Angria and creating their own realm of Gondal prove that they kept reading it). Emily's entries (very cheerful and matter of factly in tone) also counteract her image as the wild child barely able to interact with civiilisation. But that's pretty much it. And that means you can project far, far more easily on Emily and Anne than on Charlotte. Can form them how you want them to be. It's much more difficult with Charlotte, whose opinions on pretty much anything, from Jane Austen (boo, hiss) to politics (hooray for the Tories, down with the Whigs!) to religion (Catholics are benighted and/or scheming, but in a pinch a Catholic priest can be oddly comforting) is documented to the letter.

(Along with the projecting, editing also is easier with Emily and Anne. For example: Anne's rediscovery as a feminist writer due to Wildfell Hall rising in critical estimation these last decades, is well desesrved, but I haven't seen either fictional or non-fictional renderings focusing on her intense religiosity, and I suspect that's because it makes current day people cheering on her heroine Helen Huntington leaving her husband uncomfortable.)

There is also the matter of long term backlash. After Charlotte died, one of the things Elizabeth Gaskell tried to accomplish with her biography of Charlotte was the counteract the image of all three Bronte sisters as a scandalous lot - see their original reviews - by presenting the image of Charlotte as a faultless long suffering Victorian heroine, with her siblings living at a remote isolated place barely within civilisation. creating art of such unpromising material solely because they had nothing else. Now as well intended as that was, and as long enduring as the image proved to be, it's also hugely misleading in many ways. Juliet Barker in her epic Bronte family biography devotes literally hundred of pages on how Haworth wasn't Siberia but had lively political struggles, how the Brontes could and did go to cultural events such as concerts by a world class pianist like Franz Liszt or grand exhibitions in Leeds, and most importantly, how the "long suffering faultless Victorian heroine" image leaves out all of Charlotte's sarcastic humour and wit, her (unrequited but fervent) passion for a married man, her bossiness etc.; I won't try to reduce all of that into a few quotes. Though let me re-emphasize that the removal of humor via Gaskell proved to be really long term and fatally connected to Bronte depictions, not just of Charlotte. And it's a shame, because they were a witty family. Charlotte's youthful alter ego Charles Wellesly in the Angrian chronicles is making fun of pretty much everything, including Charlotte herself and her siblings, and most definitely of her hero Zamorna. (Proving that Charlotte the Byron reader didn't just go for the Childe Harold brooding but the Don Juan wit and Last Judgment parody.) In all the adaptations of Emily's Wuthering Height, I am always missing the scene which to me epitomizes Emily's own black humour and self awareness of the danger of going over the top with melodrama - it's the bit where a drunken Hindley Earnshaw threatens Nelly Dean with a knife and Nelly wryly asks him to use something else because that knife has just been used to carve up the fish with, ew. (Wuthering Heights adaptations also suffer from the fact that it's hard to convey in a visual medium the sarcastic treatment our first personal narrator Lockwood gets from his author, because he's consistently wrong about every single first impression he has of the people he meets and their relationships with each other, and if the adaptation includes the scene where child!Cathy and child!Heathcliff throw the religious books they don't want to read into the fire, they're missing out the titles which are Emily parodying the insufferable titles of many a religious Victorian pamphlet.) And Patrick, in direct contradiction of his image as a grim reclusive patriarch, for example wrote a witty and wryly affectionate (for all sides) poem documenting the grand battle between his curate (Charlotte's later husband Arthur Nicholls) and the washer women of Haworth who were used to drying their laundry on the tombstones which Nichols tried to stop them doing). Etc.

Anyway, the point I am trying to make is that once research went beyond the Gaskell biography, I suspect a lot of people subconsciously felt cheated and blamed Charlotte for it, casting her as a hypocrite instead of a Victorian saint. (And more recently as a BAD SISTER, jealous of Emilly, Anne or both.) But Charlotte herself had never claimed to be the later. And honestly, I doubt that her postumous editing of her sisters' works came from anything more sinister than remembering all those early negative reviews casting the "Ellis brothers" as immoral and wanting to change these opinions. Not to say that Charlotte couldn't be jealous, of course she could be - I'm not just thinking of her depiction of her unrequited crush's wife but of her bitter remark re: Patrick's grief for Branwell directly after Branwell's death that betrays her anger about Patrick having loved Branwell better than her, for example -, and given Charlotte and Branwell, so close as children and adolescents, lost each other as writing partners once they became adults, I can also see her being somewhata envious about Emily's and Anne's continuing collabaration, though here I venture into speculation, because there isn't a quote to back this up. But it was also Charlotte who insisted they all pubilsh to begin with - not just herself - who, as oldest surviving sister, felt herself responsible for her younger siblings, and who was keenly aware that the moment Patrick died - and none of them could have foreseen he'd outlive all of his children - they could depend only on themselves for an income. It was Charlotte who despite hating (and failing at) being a teacher and a governess tried her best to improve nost just her but Emily's chances in that profession (basically the only one available for a woman without a husband and in need of an income) - and cajoled Emily into joining her in that year in Brussels, who did all the corresponding with publishers who initially kept sending back their manuscripts. Who had that rejection experience years earlier already when as a young girl she sent her poetry to Southey (today only known because Byron lampooned him in Don Juan and The Last Judgment) only to hear that she should turn her mind to only feminine pursuits and leave the writing to men. Who not only had survived the hell of charity school where she saw her older two sisters sicken (not die, the girls were sent home to do that) after abuse but went on to see all her remaining siblings die years later. Who kept writing and hoping and never stopped opening herself to new friendships instead of becoming bitter and grim. Charlotte had an inner strength enabling her to do all this, and she had it from childhood onwards. It's a big reason why Charlotte survived and became better as a writer and Branwell fell apart. Charlotte wasn't any less addicted to their fantasy realm of Angria than he was, well into adulthood. But she didn't react to rejection and crashes with reality by completely withdrawing into fantasy, she couldn't afford to, and it let her grow.

I've said it before, I'll say it again: given her allergic reaction to Jane Austen (which strikes me as having been mostly caused by her publisher's well intentioned but fatally patronizing - "go read Jane and take her as a role model for female writerdom" advice), it's highly ironic, but Charlotte of all the Bronte siblings strikes me as the one most like an Austen and not a Bronte character. (Especially, but not only because of how her marriage came to be.) Both in her flaws and in her strengths. And I wish current day authors would regard her in that spirit instead of making her the bad guy in their adoration of her sisters.

The other days
My definition of "MCU" includes the tv shows (that I've seen). With this in mind, in no particular order:

1) Agatha Harkness & "Teen" spoilery identity is spoilery ) , Agatha All Along: I adored this show in 2024 when it was released and I still adore it, and have rewatched it three times already. There are many reasons why, but the relationship between these two characters is most definitely one of them. It has different layers, not least because the characters are both holding back information about each other and their true reason for the show's quest for a considerable time, and yet they bond in a very real way even before the various reveals. It ends up as mentor/protegé, with a sideline of odd couple and sort of, kind of, family. And I really hope that whatever the MCU future brings, we will see these two together again.

2) Jessica Jones & Matt Murdoch, (The Defenders): speaking of combinations I hope to see again - The big crossover miniseries of the Netflix Marvel shows was flawed in several ways, but the various combinations of characters were all gold, and I loved the Mattt & Jess combo most of all. To put it as unspoilery as possible: their different ways of reaching the top of a building had me in stitches. And the serious character scenes were fantastic. That neither of them was sexually interested in the other might have been why they got along so well, given both characters have a really messy love- and sex life.

3) Tony Stark & Bruce Banner, (The Avengers): their scenes were such an unexpected delight. Very differnet personalities, and yet a meeting of the minds, so to speak, and great chemistry to boot. We hardly saw them in the same room again after Age of Ultron, which I regretted, but given the ensembles grew larger and larger, it was probably inevitable. (Also, the writing for Bruce Banner changed a lot.)

4) Yelena Belova & Alexei Shostakov, (Black Widow, Thunderbolts): I was torn between this and Yelena & Natasha, and Yelena & Kate Bishop, but Alexei wins with a combination of the relationship being showcased in two different movies and the way we see it change through said movies. Also: Alexei may have been a deadbeat (spy) dad, but he can make Yelena smile (intentionally, I mean, not just when he's being goofy) in an incredibly touching way. Again in both movies.

5) Nebula & Gamora (both of them), Guardians of the Galaxy, Avengers: Infinity Wars and Avengers: Endgame: pace Yelena & Natasha, but these are my favourite sisters in the MCU. They get introduced as a seemingly straightforward rendition of bad girl and good bad girl, the evil and the heroic sister - and then it gets complicated. Given their incredibly screwed up childhood and youth (Thanos trying his best to win the worst Dad competition in the MCU), it's a miracle they had non-hostile feelings for each other to begin with, and yet they do. The moment in Guardians 2 when we find out what Thanos did each time Gamora beat Nebula in a match is absolutely gut wrenching. And when we see them connect and change through sevearl movies, it is both touching and absolutely cheerworthy.


6) Mark Spector & Steven Grant, Moon Knight: that they're both played by Oscar Isaacs is the least of it. The miniseries was so clever in the way it introduced us to them which turns certain tropes on their head because it gets spoilery )The result is a sort of "unknown and seemingly very different brothers find each other" tale which also manages to be self exploration and offers moments of grace, support and love in the last three episodes that still make me reach for my hankerchief upon rewatch.


Not included: Peggy Carter & Dottie Underwood (Agent Carter), because the subtext is barely sub, and I definitely ship them, which makes them disqualified for a list of platonic relationships (which I want to remain platonic). But they definitely had "my best enemy" potential in that show. And fantastic chemistry.


The other days
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