Can’t wait for September!

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Look at this cover! A three-eyed cat! A woman who looks like the Lady! A man that has to be Croaker! A pair of kids, one demonic, the other — sort of nice, if you’re into that sort, and whatnot.

It’s dark, it’s stylish, it’s of great quality! Do the job! Get paid! Survive!

I’m beyond excited. So much beyond excited, I can’t even begin to describe it!

Gah!

Have an excerpt, which I totally didn’t steal from Tor.com:

The chimes turned orchestral as she stepped down from the carpet. A gust tossed her hair in streamers as black as her clothing, but shining. Her hair included several intensely scarlet streaks. A silver and lapis lazuli butterfly clip sat at the root of the boldest red stripe. She was as slim as a maiden but her face suggested past strains beyond those of any maiden’s years.

So, truth absolute. She was Taken. She had gone to the Tower. She had come out of the Tower a bespoke servant of shadow.

Nobody moved to greet her. Nobody doubted what she was, either, though no Taken had visited us in months. The Limper had been the last.

She turned my way, frowned slightly, then smiled just as the sun sneaked out from behind a cloud. Its light kissed her. Her face suddenly seemed coated with white makeup on which thin blue lines had been sketched. The light faded before I got a good look. Then I got distracted by the cat that ambled out of her shadow.

It was a three-eyed cat. You do not see many of those. It was as black as her hair. The rationally placed eyes were yellow, except when they looked straight at you. Then they became a pale lilac rose, and glowed. The third eye, above and between, was a slit visible only from straight ahead. It shone crimson for a moment, then purple.

Excerpted from Port of Shadows, copyright © 2018 by Glen Cook.

Book Recommendations: Moving Pictures (Discworld #11)

After Sir Terry Pratchett passed away, I thought to honour him by exploring his Discworld in a chronological order.

Moving Pictures was where my ten-book long Discworld reading spree came to an abrupt end, sometime in 2015–or was it 2016?–I really wish I’d recalled. Something about the beginning of this book didn’t click with me back then. It was a bit too slow, perhaps. Bit more set-up than sometimes, a weaker hook.

Whatever the reason, I am happy to say, I got over it and I’m back in the Discworld!

Moving Pictures is the first in the Discworld’s loosely-connected ‘Industrial Revolution’ books. Its topic could not be clearer!

The entire novel is, in a way, a riff on Hollywood. Holy Wood is a place, but it’s also an entity, personalized and ever-present. It dreams, it moves, it does things. Strange things, nearly Lovecraftian in their nature, but always very, very funny.

The characters are both newcomers and familiar faces: Cut-Me-Own-Throat Dibbler, who you can’t help but love whether you’ve encountered him in Guards! Guards! or not, plays the role of the big Holy Wood hot-shot producer/agent. His sleazy, perfectly selfish self is such a perfect fit for the role, too!

Our heroes are Victor, an apprentice wizard whose laziness is a thing of great beauty. Victor is the kind of clever wee lad that realizes all the dangers that come with being a wizard, and so he much prefers to stay apprentice. There’s also a favourite uncle’s inheritance in the mix, with a very specific clause to it; he’s the kind of clever protagonist I can get behind.

Ginger is a young girl from a village of milkmaids and cousins getting married. As you might expect, she’s not too excited about going back. Not that I’m judging all y’all cousin-marrying cousins in far-off milkmaid villages! You do you!

At any rate, Ginger quickly becomes the leading lady in all the Holy Wood ‘clicks’ and that’s where our two lovely young protagonists meet. What happens next includes trolls, old wizards pretending to be fake wizards in strange and ingenious ways, and horrible Things from Outside all reasonable existence.

Moving Pictures riffs on all things Hollywood, like action flicks, Disney movies (a bunch of sarcastic arsehole animals; a mouse, a cat, a grumpy old dog, and many more!), a constant, all-consuming lust for greater and more grandiose spectacles. It’s beyond funny, and I can’t recommend it enough.

At its core is an appreciation for the magic of film; a very different kind of magic from the traditional wizardly sort. Moving Pictures may not be among my favourite Discworld novels, but it is a treat that plays with a real-world concept in imaginative, funny ways.

If you like Pratchett, or cinema, or just enjoy sharp wit, you’ll want to pick this one up! I’ve gone out of my way to avoid spoilers and the plot, but don’t you worry — there’s plenty of it! That, and banged grains. Those go along quite well with those clicks the young people’re all about, nowadays.

Oh, and did I mention the Archchancellor-Bursar comedy duo? There’s a lot of laughter to be had every time the lens moves to Unseen University, what with these two going at each other’s throats like a married old couple.

 

Thank you for reading! I’m looking forward to writing about more of the Discworld novels as I read them chronologically, mostly. I’m skipping #11, which I’ve read, and heading straight to #12, Witches Abroad! Already 10% in, I’m thoroughly hooked!  

Book Recommendation: Jhereg by Steven Brust

I took a big chunk of time of last October and November to re-read most of Steven Brust’s excellent Vlad Taltos novels. I loved the first few novels as a child when I had read them in Bulgarian. I must’ve been between nine-ten, maybe eleven when I first held Jhereg in my hands. It was a spellbinding experience, the kind that speaks to you on a very deep personal level.

But that was a long time ago.

I do a lot of writing — never as much as I want, and not always as much as I should. I’ve learned a lot about it from reading, naturally. The fact is, one of the major POV’s in my novel is in the first person. During ye olde case of writer’s block, I decided to revisit Jhereg, discover how my adult self would take to a book I loved as a child, and maybe even find out how it holds out.

What we love as kids, adulthood sometimes takes away.

But boy, is Jhereg good!

Vlad Taltos is an Easterner (read: human) in a world of humans (read: elves, or Dragaerans). He is a baronet in the Imperial House of Jhereg, but don’t let that fool you — the title’s been paid for with coin and means next to nothing. The Jhereg is one of seventeen Great Houses of the Dragaeran Empire. The Great House which deals in just about every illegal thing you could think of — gambling, prostitution, assassination and so much more!

Vlad Taltos is an Easterner, and a Jhereg, and he’s a small-time boss of a small-time criminal organization, which owns several districts worth of criminal activities (read gambling dens, restaurants and whorehouses) in the capital city of Adrilanka. He’s pretty good at maintaining his business, for an Easterner, considering their life spans.

Vlad Taltos is the head of security to Morrolan E’Drien, a Dragon and close friend to the Empress, and the single Dragaeran to have a floating castle in the air. It’s called Castle Black, and the colour of magic is Black, and that says something for Morrolan, but I’m getting ahead of myself. Castle Black just so happens to be the safest place in the Empire, unless you’ve got the Imperial Orb looking out for you.

Vlad Taltos also happens to be a killer for hire, and that, most would argue, is where his real talents lie. He’s not a spectacular fighter — although he can hold his own — so much as he’s exceptionally crafty and very, refreshingly clever. The fencing and witchcraft he picked up from his grandfather don’t hurt one bit when handling the larger and stronger Dragaerans, used to a more brutal sort of fighting by far.

Vlad Taltos just so happens to get hired for the most complex job he’s ever had to perform. To kill a member of the Jhereg’s own Council, a member who’s done away with the House’s coffers. A man whose tenacity might very well surpass that of Vlad’s — for this man is a guest of Morrolan E’Drien and the Lord of Castle Black lets no one harm his guests.

The clock is ticking — and if Vlad doesn’t take care of the problem, two mighty Houses go to war. One is the House of some of Vlad’s closest friends, and the other is his own.

Tick-tock.

It’s a great book, worth every minute, every cent. A great starting point to a rich world filled with colourful characters and hours of action and tear-jerking comedy. This book reads like a detective story; the way Vlad works is very much like an investigator, and the books are all the better for it. Steven Brust’s use of language is beyond comparison.

But hey, I’m subjective. I love Vlad. Don’t take my word for it — check it out for yourself!

 

Thanks for reading! I’ll see you next time! Any books you’d like me to read and share my opinion on? Let me know in the comments! A like would also be appreciated! 

 

 

Reader’s Diary #001: I got Hart, Yo!

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I thought I’d write a wee diary. Not the ‘Dear Diary, a madwoman in the bus told me they were listening in through my headphones!’ kind, but a journal about what I read on a day-to-day basis. The sort of content I can put on my blog when I don’t have enough time to put the work necessary in a ‘Writing Advice’ blog post on a Tuesday — which is what I should be writing instead.

You’ll survive another week, no doubt.

But if you don’t, I’m sorry.

Today, I went through twenty-something chapters of Kevin Hart’s I Can’t Make This Up: Life Lessons by Kevin Hart. I’m listening to the audiobook even as I write this, and it’s both entertaining and educational. He’s a great comedian, but this book shows him as a cool human being, too — a guy who’s made many mistakes in his time, but always struggles on. Hart is tenacious, someone who’s gone through a crapload of hardships. A loving, but deeply religious mother, a destructive relationship and later marriage, a lot of sleeping around, a few nights spent in a cell over domestic violence.

But through all the bad shines through an incredibly resilient, even singular, force of will. You’d have a hard time finding someone who wouldn’t be inspired by Kevin’s journey from a talentless swimmer to shoe salesman to young comedian working on his style, to…well, Kevin Hart.

It’s very good, this autobiography. I’ll probably finish it before night’s out — or tomorrow, at the latest. I’ve taken my time as is.

Warning: if you end up reading it, you’re in danger of random fits of giggles while writing blog posts!

I also read two short stories from this month’s Clarkesworld issue, Deep Down in The Cloud by Julie Novakova, and Obliteration by Robert Reed.

I enjoyed them both, but not too much. Both these stories were dystopic. Obliteration in particular reminded me of Black Mirror’s first season finale — technology has advanced to the point that all memories are stored in miniature hard drives, and can be relived instantaneously. The protagonist’s hard drive, and backup hard drive both get smoked via some sort of…I want to say hacker attack, but I’m not a hundred percent sure. Something like that, at any rate.

Deep Down in The Cloud is interesting. It’s a story about the loss of freedom, which begins with the fall of net neutrality — the main character seems to have grown up in our present, or close to it, and still remembers that time. She’s a freedom fighter, hacker, diver.  Interesting characters, mystery.

Both endings are ambiguous and the language is excellent. I’m interested enough to check the respective authors.

That’s it, the end to my first Reader’s Diary! Thanks for reading!

How about you, what did you read? What’re you planning on reading? If you were to live in the world of a book you read over the last week, which world would you pick?

 

Writing Advice: The Seven Key Steps of Story Structure (Chapter 3 of The Anatomy of Story)

Welcome back to my summary of ‘The Anatomy of Story’ by John Truby. Today we’ll take a look at Chapter 3, which deals with the steps of story structure. Let’s get to it! 

When we talk about the  structure of a story, we talk about how a story develops over time.

A story has a minimum of seven steps in its growth from beginning to end:

  1. Weakness and need.
  2. Desire.
  3. Opponent.
  4. Plan.
  5. Battle.Thgfgfgga
  6. Self-revelation.
  7. New equilibrium.

(Magnus Commentary: Sound bit unclear? Don’t worry, we’re gonna breeze through these!)

These seven steps aren’t arbitrarily imposed from without, the way a mechanical story structure such as the three-act structure is. These seven stop are based on human action, and are organic.

1.Weakness and need.

From the very beginning of the story, your hero has one or more great weaknesses that are holding him back. The need is what the hero must fulfill within himself in order to have a better life. It takes change and growth to overcome weaknesses.

Need is a wellspring of the story, and sets up every other step. Keep two important points in mind:

Your hero shouldn’t be aware of his need at the beginning of the story. 

If he’s already cognizant of what he needs, the story is over. The knowledge comes at the end, after the hero’s gone through a great deal of pain or struggle.

Give your hero a moral need as well as a psychological need.

Psychological needs involve overcoming a serious flaw that is hurting nobody but the hero. In better stories, the hero has a moral flaw in need of overcoming; a character with a moral need is always hurting others in some way at the story’s beginning.

(Magnus Commentary: I’m interested to see a character begin without a moral flaw but develop it as the story progresses.)

Giving your hero a moral need also prevents him from being perfect or a victim. Both are the kiss of death, storytelling-wise.

Keep the problem simple and specific.

The problem is also present from page one, but it isn’t as important as the weakness and need. Crisis defines a character very quickly.

Technique: Creating the moral need

Remember the rule of thumb: To have a moral need, the character must be hurting at least one other person. The moral need usually comes out of the psychological need. The character must be hurting at least one other person. The moral need usually comes out of the psychological weakness that leads him to take it out on others.

  1. Begin with the psychological weakness.
  2. Figure out what kind of immoral action might natural come out of that.

A second technique for creating a moral need is to push a strength so far that it becomes a weakness. It goes like this:

  1. Identify a virtue in your character; then make him so passionate about it that it becomes oppressive.
  2. Come up with a value the character believes in. Then find the negative version of this value.

2. Desire

Desire is what your hero wants in the story, his particular goal. A story doesn’t become interesting to the audience until the desire comes into play. It’s the driving force in the story, the line from which everything else hands. It’s intimately connected to need.

One of the biggest mistakes a writer can make is to confuse need and desire or them as a single step.

Need has to do with overcoming a weakness within the character. A hero with a need is paralyzed in some way by his weakness. Desire is a goal outside the character.

Need and desire also have different function in relation to the audience. Need lets the audience see how the hero must change to have a better life. It’s the key to the whole story, but it remains under the surface, whereas desire is on the surface, a thing that the audience wants along with the hero.

Your hero’s true desire is what he wants in this story, not what he wants in life.

Technique: Starting with desire

Careful — you might think to jump past the need and weakness and straight to desire. It’ll start the story off quickly, but it might very well kill the payoff, the ending of the story. Step 1 makes it possible for your hero to change at the end. They’re what makes the story personal and meaningful. And they’ll make the audience care. Don’t start with desire, not ever.

3. Opponent.

See the opponent not as an evil cliché, but structurally, in terms of his function in the story. A true opponent not only wants to prevent the hero from achieving his desire, but is competing with the hero for the same goal. The opponent thus links with Step Two: Desire.

It’s this link that forces hero and opponent to come into direct conflict. Two separate goals mean…the two characters can each get what they want without coming directly into conflict.

To find the right opponent, start with your hero’s specific goal — whoever wants to keep him from getting it is an (or The) opponent.

4. Plan.

Action isn’t possible without some plan. The plan is the set of guidelines or strategies, that the hero will use to overcome the opponent and reach the goal. Linked to both the opponent and the desire. The plan should always be specifically focused towards reaching the goal and defeating the opponent.

5. Battle.

The final conflict between hero and opponent; determines which of the two characters wins the goal. The final battle may be a conflict of violence or of words.

6. Self-Revelation.

The battle is an intense, painful experience for the hero. The crucible for battle causes the hero to have a major revelation about who he really is.

Much of the quality of your story is based on the quality of your story. Good self-revelation, like need, comes in two forms — psychological and moral.

In psychological, the hero strips away the façade and sees himself honestly for the first time. The stripping away of the façade isn’t passive or easy. It’s the most active, difficult and courageous act the hero performs in the entire story. As need is the beginning of the hero’s character change, so is self-revelation the end-point.

7. New Equilibrium.

Everything returns to normal, and all desire is gone, except for one difference. The hero has moved to a higher or lower level as a result of going through his crucible. A fundamental and permanent change will have taken place, either positive or negative.

The hero will therefore either move to a higher level, or — if he’s committed a terrible crime that exposes a corrupt personal flaw — will fall and be destroyed.

That’s it for this week! Hope you find my summary of Chapter 3 an interesting one: here’s to next week, which’ll be centered on Chapter 4: Characters! 

There are plenty of interesting examples and exercises in the book, which are also worth a look. As always, I don’t fully agree with the premise of the novel — that this is the best way to write; but it’s an interesting and educational experience, reading this!

Book Recommendation: The Man in The High Castle

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It’s been a long time coming, this. Philip K. Dick’s look at an alternate version of the world where the Germans and the Japanese won World War 2 is nothing short of a spectacular example of speculative fiction.

How does he do it? How does Dick create such a mortifying vision of the world such as it never was, but could’ve been? How does he weave the essence of three differing cultures, so at war with each other; how does he navigate with such ease between philosophy and action, art and suspense; how does he spin it all into such captivating narrative?

Such skill as to leave you breathless. I’m not quite certain how to even begin to approach it, but I shall persevere, none the less!

After the war ended and the Axis won, the Japanese and the Nazis divided the USA amongst themselves, with New York acting as de facto headquarters to the Nazis, and San Francisco — of the Japanese.

The Man in The High Castle follows the lives of several very different individuals, often connected by the barest threads. They come from all sides of life — a Jew; a neutral Swede businessman who is more than he appears; a high-ranking Japanese Trade officer in the Pacific States of America, a puppet state of the Japanese Empire; a waitress, and an antiquary shop owner, amongst others.

To say what these characters go through would be to spoil an interesting read, and so I won’t. I will, however, tell you that a great deal of them read a book inside the novel; it’s a little piece of popular fiction called The Grasshopper Lies Heavy, whose author writes about an alternate reality where the Axis Powers lost World War 2 in a manner that at first seems similar, yet is wildly different to the way in which our own history unraveled.

Is your head spinning from all the alternate realities yet?

Regardless of the answer, Dick’s depiction of a world thoroughly transformed by the Nazis’ victory is worth your time. Paragraphs like these will chill you to the bones; they will force you to ask yourself questions, to face uncomfortable truths and to dig deeper. Into history, into the present, even into the future.

P.S. Fascinating is Philip K. Dick’s use of the I Ching, the ancient “Book of Changes,” originally Chinese, adopted by the Japanese later down the line, is a book of oracles, used for divination by numerous characters across the book, in order to make decisions. I had never heard about it before–shame on me; nevertheless, it pops up time and time again, oftentimes affecting the choices of important characters.

Even more curious is the fact that Dick actually used the I Ching to aid him in writing the book and its outcome.

 

 

 

Book Recommendation: The Gunslinger

I saw “The Dark Tower” movie today, and it left me with…mixed feelings. Matthew Mchonaghy makes every scene he’s in so much fun, but the adaptation makes everything so much…less. The ideas shown within the movie are a fraction of what The Dark Tower is about.

But this is about the book, not the movie.

“The man in black fled across the desert, and the gunslinger followed.”

Thus begins the first of King’s excellent fantasy series.

It’s a difficult book to get through; or at least the original version was. Made up of five short stories published in a magazine, it’s the shortest of a series of seven (there’s a prequel, too, but I don’t add that one to the main seven.)

The Gunslinger got a revised edition in 2003. It’s good, I hear, and I’m going to read it soon. I could go on and on about the book’s contents, how it’s a slow burner until you get to the very end, and how it sucks you in for several books after that. I could, but I won’t!

Instead, I’ll just say this: The ending of The Gunslinger contains one of the most mind-blowing sections within a novel I have read to date.

“The man in black smiled. “Shall we tell the truth then, you and I? No more lies?”

I thought we had been.”

But the man in black persisted as if Roland hadn’t spoken. “Shall there be truth between us, as two men? Not as friends, but as equals? There is an offer you will get rarely, Roland. Only equals speak the truth, that’s my thought on’t. Friends and lovers lie endlessly, caught in the web of regard. How tiresome!”

The Man in Black has to be one of my favourite characters of King’s. He manages to be clever, insightful and predominantly evil. He is a perfect antithesis to Roland. That last part of the novel–it’s a shiver-inducing conversation between these two men, the culmination to the entire 200-something page book.

“Yet suppose further. Suppose that all worlds, all universes, met at a single nexus, a single pylon, a Tower. And within it, a stairway, perhaps rising to the Godhead itself. Would you dare climb to the top, gunslinger? Could it be that somewhere above all of endless reality, there exists a room?…’

You dare not.’

And in the gunslinger’s mind, those words echoed: You dare not.”

Brrrrr. I’m shivering like a pubescent boy falling down a time vortex.

Those shiver a lot, for the record.

At any rate, it’s been a long day, and I think I’ll punch out for this particular blog post. See you again next time!

 

Book Recommendation: Neuromancer

William Gibson created the “archetypal cyberpunk work,” even if he eventually grew to hate the term which now connotes an entire subgenre of sci-fi. It’s a wonderful, fascinating book, Neuromancer, and I will attempt to persuade you to read it!

“The sky above the port was the color of television, tuned to a dead channel.”

What a fantastic way to open a book, don’t you think? First lines are important, and this one sets a very particular tone which runs throughout the entirety of Neuromancer. Gibson’s world is a dark place, ran by corporations and their interests, a world of increasingly less relevant national governments, where technological cowboys (hackers, basically) ride through cyberspace, breaking walls of virtual ice to get whatever their corporate overlords want.

What is cyberspace, you ask?

“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts… A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…”

Quite the description, isn’t it? Reminiscent of something, perhaps?

Note that Neuromancer was published in 1984; Gibson, some will claim, predicted the internet, as well as virtual reality, before either was a thing. Perhaps he saw the blood in the sky, the writings on the wall; and he decided to share his vision.

Or perhaps Neuromancer was influential enough. Could it be that this struck a chord with the right people, the dreamers, those who could translate a vision into reality, and so brought it along?

The Matrix Gibson speaks of has enough differences to our Internet for now. But those continue to melt away. Perhaps they’ll dissipate entirely before too long. The concept fascinates me, and it scares me a little.

Such is the effect of the world of Neuromancer. It’s easy–so easy–to get lost in it.

I have to balance the scales, however. You might not enjoy this particular title if you dislike being thrown into a sea of unfamiliar vocabulary. Some words and concepts are downright alien, at times. For me, that created a greater sense of immersion, but–especially at the beginning–I got confused a few times too many.

It ends a bit too abruptly, perhaps…but it’s never the ending that matters to me; not that much. It’s the journey.

During that journey, you will traverse a different world, neither better nor worse than this one, and described with a watchmaker’s precision, with skill one could envy, if it didn’t summon a degree of awe instead.

Grab it. It’s worth your time.

 

Thank you for reading! See you again next time.

 

 

Fragile Things

Whenever I read Neil Gaiman’s short-form fiction — his poetry and short stories — I feel as if I’m inhaling some alchemical substance, an aroma whose very essence is imagination, refined by years of study and hard work.

Fragile Things is one of several short story collections which might very well be my favorite (althought that’s arguable).  Some of the best stories you’ll discover in it include:

  • A Study in Emerald, a short story that mixes the Cthulhu mythos with Sherlock Holmes…with a major twist. The title is an obvious riff on A Study in Scarlet, where Holmes and Watson first appeared.
  • The Problem of Susan, a short story that acts as something of a study/critique of Susan Pevensie, one of the protagonists of the Narnia series. It’s a haunting story, and you can read it here, if you’ve nowhere to pick the anthology from, or if you need a taste before you commit to a purchase.
  •  Fifteen Painted Cards from a Vampire Tarot is a weird, disconnected tale; a few tales, revolving around the names of tarot cards.
  • The Monarch of the Glen, a novella-sized sequel to American Gods. If you haven’t read American Gods, I’d advise you to do so before touching this.
  • Instructions, a poem that gives instructions (what else) for surviving in a fairy tale land — since that can still happen, occasionally. How else could you explain Neil Gaiman’s hair?
  • Sunbird, which is also in the anthology of short stories prepared by Gaiman–Unnatural Creatures– is all about a club of bored rich people, who seek the most amazing gourmet food; when all else is tasted, they decide to feed on the exotic Sunbird.
  • How to talk to Girls at Parties, which is getting the movie treatment, was nominated for a Hugo, and is an overall fascinating piece of fiction, is about a shy boy going to a party with his best friend, and things getting pretty weird.
    As things are bound to, at parties…which you’d know, if you ever went to parties with me.

There’s more, of course, but these are the ones that left the biggest impact on me. The collection is very much worth your time!

Thursday Recommendation: A Slip of the Keyboard

Terry Pratchett is one of the writers I most admire.

A few posts ago, I wrote about adding humor to your writing. Pratchett doesn’t simply ‘add’ humor; he weaves social commentary into his impressive body of works — Discworld and otherwise — and then proceeds to mask it with satire and sharpness that can kick your arse seven ways towards Eureka!

But I am getting sidetracked once again. The book itself is a collection of Terry Pratchett’s non-fiction writing,which covers a variety of topics important to the man during his life — both personal and private ones, ranging from musings on his career as a journalist, PR and an author, to his passionate work to protect orangutans from extinction, to a deep-rooted appreciation for libraries and librarians (akin to Neil Gaiman), and wrapping up with his battles against Alzheimer’s and for the legalization and broader acceptance of a sick person’s right to die.

This is the man who described his disease as an “embuggerance.”  His non-fiction captures the weirdness and the ridiculousness, and sometimes the cruelty of the world we all inhabit, of this wonderful, sometime twisted reality we all share.

He fought injustice; in his writing, and outside it. He enjoyed life, and books, and I often think of how much the world could use him now.