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What I Read and Loved in 2018

Another year, another slew of amazing books! A ton of incredible fiction came out this year—and I read some older chestnuts as well. It was difficult to narrow the field to five particular favourites, but I have done it! (And of course, this doesn’t discount any of the other books I read).

In roughly the order I read them, here is…

What I Read and Loved in 2018

(For the sake of transparency, * denotes an author with whom I’m also friends!)

 

The Wood Wife – Terri Windling

Leaving behind her fashionable West Coast life, Maggie Black comes to the Southwestern desert to pursue her passion and her dream. Her mentor, the acclaimed poet Davis Cooper, has mysteriously died in the canyons east of Tucson, bequeathing her his estate and the mystery of his life–and death.

Maggie is astonished by the power of this harsh but beautiful land and captivated by the uncommon people who call it home–especially Fox, a man unlike any she has ever known, who understands the desert’s special power.

So…I adore Terri Windling: her fiction, her art, and her blog. I knew I’d love this novel, too.

And I did. It is everything I love: myth lurking in the shadows, art, and stunning landscapes. This contemporary-yet-ageless-myth style of fantasy reminds me a lot of Charles de Lint (no surprise, they’ve worked together) and I am entirely here for it.

 

A Big Ship at the Edge of the Universe – Alex White*

Firefly meets The Fast and the Furious in this science fiction adventure series that follows a crew of outcasts as they try to find a legendary ship that just might be the key to saving the universe.

A washed-up treasure hunter, a hotshot racer, and a deadly secret society.

They’re all on a race against time to hunt down the greatest warship ever built. Some think the ship is lost forever, some think it’s been destroyed, and some think it’s only a legend, but one thing’s for certain: whoever finds it will hold the fate of the universe in their hands. And treasure that valuable can never stay hidden for long….

Queer lady space pirates treasure-hunting and racing. There is a lot going on in this book, and it’s all great. I particularly love Alex’s work with characterization and it’s wonderful to watch them coming into their own. This is a strong book with a strong voice, and it’s getting well-deserved accolades!

PLUS, the sequel drops tomorrow!! Check out A BAD DEAL FOR THE WHOLE GALAXY!

 

Trail of Lightning—Rebecca Roanhorse

While most of the world has drowned beneath the sudden rising waters of a climate apocalypse, Dinétah (formerly the Navajo reservation) has been reborn. The gods and heroes of legend walk the land, but so do monsters.

Maggie Hoskie is a Dinétah monster hunter, a supernaturally gifted killer. When a small town needs help finding a missing girl, Maggie is their last best hope. But what Maggie uncovers about the monster is much more terrifying than anything she could imagine.

Maggie reluctantly enlists the aid of Kai Arviso, an unconventional medicine man, and together they travel the rez, unraveling clues from ancient legends, trading favors with tricksters, and battling dark witchcraft in a patchwork world of deteriorating technology.

As Maggie discovers the truth behind the killings, she will have to confront her past if she wants to survive.

Welcome to the Sixth World.

Wow. Just…wow. I absolutely loved Roanhorse’s story “Welcome to Your Authentic Indian Experience (TM)” in Apex last year, so I was stoked to read her debut novel. And goodness, it was worth the long library queue. Gripping plot, steely characters with achingly nuanced relationships, and rich worldbuilding—this is a gritty, bloody world. So good.

 

The Quantum Magician—Derek Künsken*

THE ULTIMATE HEIST

Belisarius is a Homo quantus, engineered with impossible insight. But his gift is also a curse—an uncontrollable, even suicidal drive to know, to understand. Genetically flawed, he leaves his people to find a different life, and ends up becoming the galaxy’s greatest con man and thief.

But the jobs are getting too easy and his extraordinary brain is chafing at the neglect. When a client offers him untold wealth to move a squadron of secret warships across an enemy wormhole, Belisarius jumps at it. Now he must embrace his true nature to pull off the job, alongside a crew of extraordinary men and women.

If he succeeds, he could trigger an interstellar war… or the next step in human evolution.

Some stories have their authors’ personality and passion embedded into their DNA to such an extent, it’s like seeing them in book form. That’s how I felt about THE QUANTUM MAGICIAN. It’s just so…Derek.

Which is a good thing: Derek is a shining light in SFF in general and Canadian SFF in particular. This book doesn’t shy away from hard science and tough questions—but it’s also hilarious. Like, genuinely, incredibly hilarious…even as some of this world’s darker implications made me run cold.

 

All the Birds in The Sky—Charlie Jane Anders

An ancient society of witches and a hipster technological startup go to war in order to prevent the world from tearing itself apart. To further complicate things, each of the groups’ most promising followers (Patricia, a brilliant witch and Laurence, an engineering “wunderkind”) may just be in love with each other.

As the battle between magic and science wages in San Francisco against the backdrop of international chaos, Laurence and Patricia are forced to choose sides. But their choices will determine the fate of the planet and all mankind.

In a fashion unique to Charlie Jane Anders, All the Birds in the Sky offers a humorous and, at times, heart-breaking exploration of growing up extraordinary in world filled with cruelty, scientific ingenuity, and magic.

Okay, so I’m a little late to the party with this one. But I’m so glad that I’m here now. This is a delightfully charming book with a confident, playful voice. I love the interplay between magic and science, talking birds and talking AIs. This feels very much like Diane Duane’s “Young Wizards” series grew up, donned hipster glasses, and catapulted into the Millennial experience.

 

BONUS: “The Only Harmless Great Thing,” Brooke Bolander

The Only Harmless Great Thing is a heart-wrenching alternative history by Brooke Bolander that imagines an intersection between the Radium Girls and noble, sentient elephants.

In the early years of the 20th century, a group of female factory workers in Newark, New Jersey slowly died of radiation poisoning. Around the same time, an Indian elephant was deliberately put to death by electricity in Coney Island.

These are the facts.

Now these two tragedies are intertwined in a dark alternate history of rage, radioactivity, and injustice crying out to be righted. Prepare yourself for a wrenching journey that crosses eras, chronicling histories of cruelty both grand and petty in search of meaning and justice.

The bonus round is usually for short stories, but I’d be remiss if I didn’t mention this novelette (that’s right—novelette, NOT novella). The writing is beautiful, the voice unwavering and lyrical. In relatively few pages, Bolander sketches deep characters and a deeper mythos. Haunting, gorgeous, and quivering with anger, this story will be rattling around my head for a while.

 

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What did you read and love in 2018? Drop off your recommendations below!

-KT

 

What I’m Listening to this Week

I love writing to Arvo Pärt’s music. The mystic, minimalist feel is perfect for drafting – and since I’ve been working on a few new short stories, he’s getting consistent play lately!

 

Advent, Introspection, and Shifting “Success”

I’m writing this on the first Sunday of Advent. Among other things, Advent is a season of waiting and preparation—and a fresh page, as the start of a new liturgical year. For me, it’s also an introspective pause before the dayjob season ends and the regular New Year begins.

But I think most people turn introspective, this time of year. That’s what all the year-end wrap-up posts and summaries are about, right? They’re a chance to tie up loose ends and look back over our shoulders before turning the next corner.

“Winter Morning, Charlevoix County,” A.Y. Jackson (1933).

What did you accomplish this year? What goals do you have for next year?

Where are you, right now? Are you happy, here? What will you change, as we move forward again?

So our thoughts run, as the days get cold and the nights grow long. In this weather, there’s more space to spend time with yourself.

Over the next few weeks, we’ll get to the lists of “What I Read in 2018” and “What I Did in 2018.” But for today—I’ve realized something, in my introspecting.

Years ago, I wrote a poem entitled, “What I Want.” You can read it here, but this is the pertinent stanza:

I want you to find me,
Some Tuesday afternoon
When we aren’t doing anything.
I want you to pause,
Just for a moment,
And say,
“I read your story –
It was really good.
I liked it.
I’m so proud of you.
Well done.”

And you know what?

I think I’ve found precisely that, but it wasn’t in the place I expected. It’s like the thing where you see someone out of context and don’t recognize them. So much our perception is built on preconception, the essentials get clouded.

Sometimes, I think, our goals are closer than we believe. It’s just that we want so badly for things to look a certain way—we don’t always realize when we’ve attained them. Maybe this is why the idea of “success” is so slippery. We clutch at specific images—book deals, signings, awards, fans. But sometimes, those are stand-ins: symbols for something deeper.

What do you want, really? Have you already found it?

Something to consider, as the year passes ever more quickly away!

-KT

What I’m Listening To This Week

More Ešenvalds! Yes, “Long Road” is the same ethereal, dreamy choral music we’ve been hearing a lot lately. But it’s all too pertinent right now. I might be crying.

Style and Register

I’ve been rereading Ursula K. Le Guin’s excellent essay collection, The Language of the Night, most particularly “From Elfland to Poughkeepsie,” which examines the importance of language and style in writing fantasy. Le Guin’s main thesis is that fantasy isn’t defined so much by wizards and dragons. What makes it fantasy is the style: “The style, of course, is the book…If you remove the style, all you have left is a synopsis of the plot.” (Le Guin, The Language of the Night, p. 94).

She hastens to add, “I speak from the reader’s point of view. From the writer’s point of view, the style is the writer…Style is how you as a writer see and speak” (ibid).

Which is certainly true. Style can be learned, imitated, affected—but we all have a style that is uniquely us, as personal as our fingerprints or speaking voice.

But I was thinking—I have a story coming out in Lackington’s at the end of this month that’s a very different style than my other fiction. It’s contemporary and snappish (the editor called it “almost hardboiled,” which delighted me to no end). And yet—it’s still me.

As usual, I turn to music to help me understand my own writing process.

“The Village Choir,” Anton Azbe (1900).

First, some technical things: vocal registers.

Vocal pedagogy is its own delight, but for our purposes, let’s talk about chest voice, head voice, and the break. Super simply (I apologize), chest voice is the low part of the vocal range, head voice is the upper part, and the break is that frustrating bit in the middle.

There’s a difference singing across registers. Physically, of course, but also in terms of intention.

And yet, it’s still the same voice—used differently, resonating in different places, useful for different types of music (I would die trying to sing descants in my chest voice).

For me, this is a useful way to think about writing. Some stories sit in my chest voice. Some sit in my head voice. Same voice, same style, just applied differently.

(As a sidebar that really deserves its own blog post, I think that the same logic applies to fairy tales. Tolkien famously described a “fairy-story” as “…one which touches on or uses Faërie, whatever its own main purpose may be…” (Tolkien, Tree and Leaf, p. 16). Much like how fantasy isn’t defined by wizards and dragons, fairy tales aren’t defined by wee sprites. I think defining “fairy tale” comes down to register, rather than plot motifs or tropes—a “Faerie voice,” if you will. But I digress.)

But wait, there’s more!

Even within the same register, vowels change the sound dramatically! Consciously adapting vowels is an important skill for choristers; just like adapting vocabulary, syntax, and vernacular is important for writers.

Good singers can sing across all genres of music. Sure, it may sound different, but it’s always them, always their style. Good writers do the same—and that’s what I’m aiming for.

-KT

What I’m Listening To This Week

Christmas has started at the dayjob, so bring on the Christmas/Advent music! It’s going to be a fun six weeks. Here’s a macaronic piece already getting considerable play on my rotation:

Three Autumn Poems

For many reasons, I’m heart-sore this week. There isn’t a long post in me, but I didn’t want to let this slide another week. And so, here are three autumn poems. You may recognize them from previous postings – that’s okay.

See you next week.

I Saw My Ghost

I saw my ghost yesterday,

Drinking tea in dappled light.

And I—

I checked all my bones,

Running soft fingers along

Old fractures,

Testing the joints

And painted-over cracks.

I am pleased to report

They all held up

But one:

A tiny splinter

On my least significant metatarsal.

It gave a short yelp

Before falling

To dust.

 

We did not speak,

My ghost and I,

Though she lifted cold china

To a mouth that cut.

For I—

I silenced those bones

Better left to old closets:

Those bones best forgotten

Lying quiet

And still.

“French Tea Garden,” Frederick Childe Hassam (1910).

 

October Fell Upon My Back

October fell upon my back,

The brindled wood, the barren lack,

Smoke-yellowed light a slantwise cross

Through bleak-bald trees gone gaunt with loss.

Before the wind, the dead leaves whirled,

Grey starving mist between them swirled.

The forest asked me, low and pained,

“And is it good, what you have gained?”

 

And I—

I stood alone on earth hard-packed,

Stood weighing grief

And weighing lack.

Dry berries withered on the thorn,

The season’s hinge creaked plaintive, worn,

While streams decayed to stiffened mud,

A sting of smoke and smear of blood.

 

October dark caressed my bones,

The trees leaned in, my lovely crones,

But standing in the forest bare,

I could not speak, and did not dare.

 

And the last fall wind

Crept under my coat.

 

The Elegance of the Turtle

This is not a poem

I have written for you,

But for

The elegance of the turtle

As he drifts through

Autumn ponds,

And for the slow guilelessness

In his farewell.

I am certain of the turtle,

And so,

It is better that I sing for him,

Where withered cattails shiver

And greying willows weep

Over the water.

-KT

What I’m Listening To This Week

Can*Con 2018: Anatomy of a Convention

Last night, I stumbled back into my flat and I slept hard. Head hit the pillow, lights went out. For ten glorious hours, I was submerged in deep, (mostly) dreamless sleep.

See, it was Can*Con this weekend.

I’ve talked about Can*Con before. It’s a SFF convention in Ottawa, and my favourite con by far. This year was no exception. It felt like the platonic ideal of cons.

Good professional things happened. My workshop went really well. I spent time with dear friends. I scored some sweet stuff in the dealers’ room. Fun food expeditions were had.

I could ramble on about how great the weekend was, and leave it at that. But I want to take a moment to dissect why Can*Con works.

Some Background

Can*Con was inaugurated in the nineties. After going on hiatus for a time, it was resurrected by Derek Künsken (who just released his debut novel, THE QUANTUM MAGICIAN!). He currently co-chairs the con with my pal Marie Bilodeau. The Ottawa writers’ community is lovely and vibrant, and most of them are involved in the con on some level, whether on the programming or corporate teams.

So what makes this a good con?

Defined Focus

When a con attempts everything, it ends up with nothing. Cosplay, media, literature, gaming, science, and history attract different audiences and need different skills. Spreading yourself thin to hit them all dilutes the con’s purpose. Some cons fragment into self-contained enclaves; others just end up feeling watered-down, and can’t progress beyond surface-level skimming of their topics.

Can*Con has two main focuses: literature and science.

There are some history panels, of course, and I taught a podcasting workshop. The focuses allow some room to breathe, but all programming aligns with that basic mandate.

Baked-In Accessibility/Inclusivity

Accessibility and inclusivity aren’t after-thoughts. They are incorporated into planning from the outset. There is also a designated Accessibility Coordinator.

Pronoun stickers for badges, a dealers’ room designed with mobility in mind, all-gender washroom availability, a quiet room, accessibility seating in programming rooms—these are all givens. Accessibility and inclusivity are non-negotiables.

Is it perfect? Of course not. But identified shortfalls are met with commitment to refining and improving—not denial and shirking of responsibility.

Get the Right People

Convention teams need a carefully curated mix of personalities and skills sets. After all—those personalities and skill sets become the con.

It’s a diverse group, but there is a common factor: commitment to the convention’s mission and values. Without that, you’ve got no coherency in your team, which translates to no coherency in the con either.

Swagger

Just a little bit. Every con has a personality—which in turn influences the audience it attracts. Author and storyteller (and my friend) Nicole Lavigne describes Can*Con as “the little con that does.”

At this point, it’s the best game in eastern Canada. And it got there partly by saying it was. It’s a bit like performer A.E. Shapera pointed out…if you claim you’re famous, eventually people make you so.

Commitment to Harassment Policies

Again, there are always procedures to refine and improvements to make.

But the commitment to upholding the current code of conduct is total and absolute.

End of story.

And so…

It takes a lot to make a convention. It takes even more to make a convention work. As I reflect back on the weekend, I keep coming back to this:

A convention is its community.

I feel very fortunate to call this community—and this con—my friends.

-KT

What I’m Listening to this Week

Ēriks Ešenvalds’ wonderful piece, “Northern Lights.” It starts with a Latvian folksong, and then changes to the writings of American explorer Charles Francis Hall, set to music. The piece reminds me very much of The Flying Dutchman.

 

Can-Con Schedule!

From one adventure to the next!

Six Stories, Told at Night had its showcase and reception last week. Overall, we were thrilled with how it all went (I regret a few moments of clumsiness). And to celebrate, The Seventh Story was released on Friday! This is a companion story written as one of our GoFundMe rewards. You can find it here!

So what’s next?

Can-Con!

Yes, I return once again to this delightful con! Its numbers are swelling, the programming looks awesome as ever, and I’m so looking forward to seeing lots of cool people. It’ll be a busy weekend, too!

Friday, October 12

WORKSHOP: A Sound Idea – Fiction Writing for Podcasts

Ever wanted to dip a toe in the ocean of podcasting? Play with sounds and learn the difference between a read and performed narrative? Then step right up! I’ll be teaching a session on podcasting writing and production.

Can-Con has a few masterclasses running, so click here to learn more and register!

READING: 3:00 pm

It’s gonna be Anatoly Belilovsky and me kicking off the readings!

Saturday, October 13

A Seriously Folked-Up Panel on Fairy Tales — 12:00 pm

Me, Amal el-Mohtar, Kari Maaren, Rati Mehrotra, Derek Newman-Stille (m)

Sunday October 14

Beyond Romantic Entanglements— 2:00 pm

Me, James Alan Gardner, Jessica Reisman, Kelly Robson (m)

Of course, then fun doesn’t stop after Can-Con. There’s a slew of projects in the works. I’ve deviated some from my magic New Year’s Day list of goals, but I’m happy with the things in the hopper…including a new musical comedy crossover.

Things are good. Exhausting, but good.

Best,

KT

What I’m Listening to this Week

I just came across César Franck’s “Le Chasseur Maudit” (The Damned/Accursed Hunter). It’s a wonderful musical take on the Wild Hunt motif. I love the hunter’s horn crying out in the beginning, and the grand, sweeping lines as he’s pursued by Hell. Perfect for this time of year!

New Worlds with Social Anxiety

The Six Stories, Told at Night showcase/party is distressingly close. Blythe and I have been racing about, organizing things and booking things…and going to other people’s events.

It has been a bad week for social anxiety, as I feel terribly out of my element. In many ways, indie theatre is a lot like the SFF world. It’s small. Most people know each other. Different theatres have their niches. There is a whole web of social connexions and unwritten social codes that I can’t see, because I’m not aware of them. Going to the Word on the Street book/magazine festival yesterday felt like heaving myself onto a life raft.

Writers! Editors! Readers! Book people! I know how to do this! I have friends here! I feel safe!

And then back to feeling generally useless.

So what does it feel like, when the anxiety starts kicking in?

Imagine, dear reader, a dimly-lit bar with lots of loud conversations and lots of people clustered in groups. But it’s not a background hum of noise. Oh, no. You’re getting ten different conversations piped directly into your ears—and your brain treats them all as equally important.

It’s a bit like having pop-ups that can’t be turned off. You’re just trying to surf the web, but you can’t get very far before something fills the screen demanding all the attention, right now. My brain’s trying to navigate a situation that it’s fairly sure might kill us, but half of it’s stuck processing incoming sound.

Sensory issues make me good at podcasting, and bad at crowds.

Anyway, they’re all having conversations. Great. So – who has two thumbs and gets intimidated by groups?

Except at cons, weirdly. But then, I know con etiquette better. Loose circle of people drift into the hallway after that panel you all saw? It’s probably okay to introduce yourself and have a brief chat. Two people in a deep conversation, by themselves, in a withdrawn corner of the bar? Keep walking.

“At Dawn,” by John Bauer (ca. 1913).

Anyway, it’s that classic social anxiety thing of being the weird kid standing along the playground fence.

And we can throw in some general competency-based anxiety, just for fun.

My chest tightens. My thoughts race. My hands shake. Really, my brain is trying to be helpful. It’s CERTAIN that danger’s lurking RIGHT HERE, and by George, it’s going to let me know.

But—I’ve been trying to remind myself that SFF has only started feeling comfortable over the last few years. And it’s only been really comfortable for…I don’t know, maybe the last two? Whenever I started going to Can-Con, I suppose.

What made the difference?

Some of it was time, of course. It takes a lot of form rejections, awkward cover letters, and nervous pitches to learn the rhythms of publishing. It also takes time to nurture relationships.

And I started going to stuff. That made the biggest difference. Take ChiZine’s reading series. I made myself go month after month. Sometimes, I had to literally force myself up the stairs. I still went. Every month. Hard rule.

And now…man, I love ChiSeries.

But the point is that it was a conscious decision to force myself over the hump. Going to new cons is a conscious decision. I can do it. I’ve proved it to myself.

I just need to trust that theatre works the same way.

Reminder that you can purchase your tickets for Six Stories, Told Again right here. And join us at Theatre Passe Muraille for the after-party! The Seventh Story will drop there, that night, and in the podcast feed the next day!

 

-KT

What I’m Listening to this Week

More Emilie Autumn, a take on “The Lady of Shalott” this time. I’ve been thinking about that poem a lot this year…

 

 

Place, Identity, and Home

So I’m reading Terri Windling’s The Wood Wife for the first time, and I’m only surprised that it’s taken me this long. Terri Windling is a superb editor (her fairy tale series with Tor is particularly worth reading). I love her blog, where she talks about her creative life amidst the green of Dartmoor. Her takes on mythic fiction fascinate me.

In short, she’s entirely up my alley. I’m not quite done The Wood Wife yet, but I am devouring it. It’s contemporary fantasy, and it’s still got very old magic in it. In many ways, it reminds me of Charles de Lint’s fiction (unsurprising), and I love it for many of the same reasons I love his (even more unsurprising).

It is also a novel inextricably tied to place; in this case, the desert and mountains outside of Tucson, Arizona. The dried-out washes, saguaros, vivid mountain colours, and harsh desert light enfold everything else: place is the magic and place is the character, and it speaks to a lot of what I’m mulling right now in terms of place, identity, and building Home.

This passage particularly struck me:

“He could only guess by the lines of his face what lineage was in him…Did it matter? He was of this land, whatever it had been. He was born here. Eaten its food, drunk its water, sweated under its hot, hot sun; he had taken the land into his body. His blood and bones were formed of it. He belonged here, as nowhere else.” – Terri Windling, The Wood Wife

The same can be said for the novel as a whole. Somehow, Windling has taken the land into the novel. It wouldn’t work, set anywhere else.

Place is particularly on my mind because I finished rewrites on the Beer Magic novel this week. Beer Magic isn’t mythic fiction—there are no Old Ones, here—but I’m trying to treat place in a similar way, trying to take Toronto and its ravines into the story, to sing its own song back to it.

We’ll see how well I do. That is one nice thing about the new place, though. I am closer to the ravines…

Of course, another writer’s words float to mind:

“I truly believe that each of us has a natural home. It may or may not be where we are born. We make it—yes. But we cannot make it perfect unless we discover where it belongs.” – Timothy Findley, Inside Memory: Pages from a Writer’s Notebook

I think I’m trying to figure that out now. I don’t think I shall do so within the next year, or even the next two, or five. But it will come closer—and I think the persistent preoccupation with place and home in my fiction is part of that journey.

But for now? The goldenrod and chicory are blooming in the ravines, and the leaves have that limp, strung-out look they get before they change colour. The sun sets earlier; warm though it remains, autumn is hastening.

And I have more of The Wood Wife to read.

-KT

What I’m Listening to this Week

“One foot in front of the other foot” will be my motto for the next while. Repetitive, forceful as marching footsteps, this song’s been surprisingly comforting.

Updates: the Next Few Months

It’s one of those weeks where I feel like I haven’t anything insightful or interesting to say. Mostly, it’s just been a lot of hard work. But I figured that it’s probably prudent to give updates on a few things…

 

DinoKnights

Yes, it’s true! My interactive fiction novel with Choice of Games released last week. It’s a sword-and-sorcery epic…with dinosaurs! Choose your prehistoric pal, fight in duels, learn magic, and get involved in various schemes!

You can check it out here!

 

Six Stories, A Surprise at Night!

After a thrilling run at the Toronto Fringe, we have more plans for Six Stories…

Theatre Passe Muraille!

…which we’ll announce very soon!

Super Secret Seventh Story

It’s written.

It’s recorded.

I need to edit the audio. We also want to time its release to coincide with our surprise, so mark your calendars for early October! It’ll drop into the same Six Stories feed!

 

Return to Coxwood

Yes, yes, yes, it’s happening!!!

Believe me, ideas are percolating. I’ve got a general thrust of plot, along with a list of actors I’m keen to worth with. Currently, I’m looking at an early 2019 release. Again, mark those calendars!

 

Beer Magic

This novel is so entirely my heart: queer ladies making magic beer across alternate versions of Toronto. I’m well into my own edits on it, and I’ll be looking for betas around early-mid September. If you’re keen, hit me up!

…is that it for now? I feel like that might be it for now.

OH, NO, WAIT.

 

Nutcracker-Messiah

The story of The Nutcracker, told through the music of Handel’s Messiah. (Albeit with some tweaks to the libretto!) Somehow, incredibly, this appears to actually be happening on November 14th. In addition to being a hilarious mash-up of Toronto’s two favourite holiday traditions, it’s also a fundraiser for Gangway! Theatre Co!

It’s the most ambitious crossover you’ve ever seen…

We’ve got a venue and roughly half our artists booked. Again…mark those calendars, it’ll be a party!

Okay. I think that’s it for now.

*thud*

KT

What I’m Listening to this Week

Lots of fugues, lots of J.S. Bach. In my endless spare time, I’m also doodling with some short story ideas…and I’m trying to figure out how to steal the fugue’s structure. I love the idea of starting simply, with one voice, and getting steadily more complex before simplifying again and resolving at the end.

But we shall see.

How “Doctor Who” Helped Me Deal With Life Changes

I’m not even quite sure where to start. It’s been a time. It’s also been a week since I moved from my beloved little garret, and we are…settling in. Kind of. Change is hard, change to my home environment harder still. I do not do well when I’m uprooted.

(Sidebar: which is why I’m amazed that people can routinely move between cities, provinces, and countries. It’s like…how? How do you transplant yourself somewhere completely new, where there is nothing familiar? I’ve only done it temporarily, and I am not keen to try it again anytime soon.)

But we are getting there. Guinness has become braver in his explorations. I vacillate between “ahhhhhhhhhhhh” and “wait this isn’t so bad and I specifically chose this neighbourhood because it contains ravines and many of my friends.” For now, I hold out hope for an eventual triumphant return to Little Italy, because…well, I can’t really do anything else.

And the office set-up is really quite cute. That’s my stable point, too. As long as I have a solid place to do my work, I can handle quite a lot else.

With all this change, though, something has helped immensely. Apologies, as this was cross-posted to Twitter, but I think it’s worth repeating here.

I’ve been watching a lot of Doctor Who regenerations. Not full episodes, mind you. Just the regenerations. In doing so, I’ve noticed a rather helpful pattern.

It happens after something big

The Doctor doesn’t just regenerate willy-nilly. S/he regenerates after some big adventure, some massive outpouring of effort that would usually result in death.

I mean, in a mythic sense, the Doctor does die. The Doctor constantly dies. And the Doctor is constantly reborn.

The lead-up hurts

But anyway, regeneration happens after something monumental. The Doctor is almost always wounded. S/he is almost always in pain. Sometimes, s/he is alone.  And so we usually see the Doctor stumbling around the TARDIS, knowing that regeneration is inevitable but still attempting to fight it off, just for those last few moments.

This is the hard part: the letting go of the old self.

They can always see it coming…

The Doctor sets his/her house in order

Sometimes the Doctor makes a speech for his/her successor. This is where everyone cries. This is where we find out what’s been really important to this iteration.

This is when s/he puts his/her old self to rest. The chapter closes.

REGENERATION BOOM

When it finally happens, after all the lead-up, all the inexorable steps, regeneration is violent. There’s fire. Explosions. The TARDIS gets damaged. It is not a pretty, gentle transition. It’s like the phoenix conflagrating.

It’s that thing where a lot of small changes build up until there’s a MASSIVE change.

A new adventure starts right away

But then the music changes. Humour ensues. There’s very little time spent mourning the old Doctor—we hit the ground running right away with the new.

We’re onto the adventures only the new Doctor could have. And the Doctor always wears a specific face for a reason; it underscores his/her personal arc. The universe needed the War Doctor at a very specific time; it needed Smith’s off-kilter gregariousness just as much.

So…

It’s okay to be in pain. It’s okay to be wracked with upheaval. This is the stumbling-around-the-TARDIS phase. There may be a big explosion of light and sparks soon.

But that’s okay.

That’s when the adventures really begin.

We all change, when you think about it. We’re all different people all through our lives. And that’s okay, that’s good, you gotta keep moving, so long as you remember all the people that you used to be.

– Eleventh Doctor

For obvious reasons, I’ve been thinking about cycles a lot. The dance of creation-stability-destruction, the phoenix and its ashes, the Doctor…

2018 has been a rather more tumultuous year than expected. But I’m excited to see what subsequent chapters bring.

After all…

This song is ending, but the story never ends.

-KT

What I’m Listening to this Week

I’ve used the composer Brunuhville for writing playlists before. It’s all very epic-cinematic-fantasy music. To the surprise of no one, this one also touches on the idea of cycles, of falling darkness leading to dreams…