How you can make the gender question on an application ...

I understand the subjunctive now; it's easy and I'll tell you about it. The problem is that we have been taught to think of it almost literally backwards

For the last couple of weeks I've been studying the uses of the subjunctive intensively for a couple of weeks, wading through inane comments like "it's just something only natives know for sure; to everyone else it is invisible magic" (a very unfortunately common and reductive opinion I've seen around), scouring forums to study how people use it, reading guides and books and the whole thing. Not much seemed to be working; the whole thing still seemed arbitrary, impossible to predict, and totally random.
But last night I had a breakthrough, and damn near everything fell into place. I read a few things; I read a great write up on how in spirit English uses the "idea" of the subjunctive mood in various auxiliary verbs from "I think..." to "could", etc, and how it often parallels things in Spanish. I then read through a whole chain of spanishdict questions and answers on the topic, and someone made a comment talking to a new learner who used the indicative in the context of questioning whether or not she had popped a ball when she should have used the subjunctive. His comment was "if you're uncertain that the ball was popped...then why is your next sentence TELLING ME that the ball was popped?"
I frowned. "Why would that say that?" I asked myself. "It wasn't as if she was literally telling him that the ball was popped from her perspective, instead she was just...she was...just..."
Finally it all hit me; the subjunctive mood makes NO SENSE... on its own. The fatal flaw -- one that comes down to a critical misunderstanding between how english's and Spanish's primary moods operate -- isn't that I didn't understand the subjunctive per se
It was that I had no real idea what the hell the indicative mood really was, nor how well-learned Spanish people interpret it to their ears.
How could I? Nobody had explained it well to me. EVERYONE only talks about the subjunctive but never the indicative. Because it's obvious, right? It's the same in English as it is in Spanish, right? Let's barely even touch on it when discussing the subjunctive, how could they be related? It's like English, the subjunctive is just a weird thing dangling from under it.
No it's not. Guys, the indicative mood is far stronger than english's. It isn't about an implication of rules, it isn't about an implication of concrete reality. It is ABOUT reality, truths, and our perceptions of that truth, directly. There is no implication, it's the outright direct meaning. ANY time we use the indicative, we communicate that what we are saying is a FACT to our perception, and everyone else will hear us like that's what we're saying even if the sentence would imply otherwise; it doesn't act subordinate to the sentence context, so if you use it in the wrong context they crash into each other.
This is the key. The subjunctive isn't about being emotional, it isn't about possibilities, it isn't about hypotheticals per se.
It is about NOT being the indicative, and literally the only real "rule" to the subjunctive is "do I want to give my sentences a strong meaning of truth, factual declaration, and concrete reality here? Or would that focus hurt my sentence?" The subjunctive is a mood of avoidance. It's used to AVOID the implications of the indicative. It can only properly be understood by contrast to spanish's usage of the indicative mood, and once you properly grasp that it's the easiest thing in the world to see.
I was up till 5 am checking all the examples I could find, reading Spanish forums online and all their usages. I couldn't find one that didn't make sense to me anymore, not a single damn one. All those weird irregularities? Sensible. The reasons for why it seems to spread over so many theoretical topics? Sensible. I had done it, I'd cracked the meaning behind things. And regardless of what some people on forums had claimed, it's absolutely not magic or something you can only get by speaking for 10+ years. What it is is simply misexplained by means of being talked about in a vacuum.
And with it came a LOT of sudden, cascading realizations about Spanish and how it truly differs from English. I will explain all of this below to help my fellow English-to-spanish people.



First off: "Nice catch", you probably think, "but it's so abstract. How does realizing the implications of the indicative mood help me?"
Allow me to demonstrate. First off, it must be said that the indicative is way simpler than the subjunctive in terms of its scope. In fact the entire reason why the subjunctive seems to cover so many things in theory is just that it is nothing more and nothing less than a reflection of everything the indicative is not, so covers more topics on paper (even if it's used far less frequently in reality) Like I said, literally all of it makes sense when you just flip things around and denote subjunctive as "that thing that gets called when the STRONG indicative mood would ruin things with its overwhelming presence." We can interrogate sentences in Spanish, piece by piece, and I'll show you exactly how it lines up.
Let's take the classical example. "Estoy feliz que estés aqui!" Let's NOT ask ourselves why the subjunctive is here...instead, let's ask ourselves why the indicative ISN'T here.
Indicative comes off as -- again, not merely implies like equivalent statements in English but outright states a purpose of -- declaring facts, discussing concrete reality of the here and now, our declarative plans, etc.
Can you see why this would be "wrong"? It is in fact not wrong, at all -- it's just incongruous in context. If you said "estas aqui" with the mood that declares facts...well, at best you just announced to them that they are here, carrying the meaning of you wanting to let them know this fact. Rather bizarre under most circumstances, seeing as how they damn well know that they are already here and don't need us to declare this for them! So, normally we won't do it unless in context we really do want to declare this to them for some reason.
"Es posible que él es aqui"Let's apply the same process! "Why wouldn't the indicative be good here?" Well let's look at the first half. "Es posible que..." alright so what we say next is possible! And next we say "es aquí". As in, we used the declarative, factual, concrete reality mood. In other words if we used "es" here, we would be outright saying that we firmly believe -- that it is a fact to us -- that this man is here
Well if we firmly believed that already, then why the hell did we lead with "it's possible?" This is just an incongruous statement! Therefore, we don't use it like this (unless we really do want to make such an incongruous statement).
Talking about an object that doesn't or may exist? Well when you refer to it with the indicative, you DIRECTLY STATE that to you that object might as well be reality. Poetic, but also rather delusional. Therefore, we don't use the indicative.
Making conditional plans, like "we will go to the mall once grandma arrives?" If you use the indicative on the latter half, you directly state that her arriving is your reality...even if she hasn't arrived yet. See what I said above about being delusional.
And so on and so on. Whenever you are confused about why a subjunctive is used, the proper question is not "why is it here". The proper question is "why is the indicative not here?" It's a subtle difference -- but an important one.
What we have to understand is that Spanish is not a neutral-statement language. It is binary. You ARE asserting reality. Or you are not; those are the only options, and to speak in the indicative is to presume to be asserting your interpretation of facts for others to hear. It is not a subtle effect or theory, this is how the spanish-trained brain will unconsciously view your sentences and why it will tell them that 'something' is off about what you said. You indicated to them that you wish to discuss something factual that is in fact not, and their / our-future-brains aren't really sure how to interpret that. In fact, if you aren't already thinking of the indicative in this manner or interpreting sentences with that subtext, it's time to start; that's how the spanish speaking mind will interpret its usage, and if we want to learn this language well we need to interpret it as that as well.


Those are the examples off the top of my head. I will now explain why, in terms of the structure of english and spanish, this idea is so hard to get across to native english speakers.


This entire effect is a direct contrast to English, which is why it's alien to use until properly explain, and why to native Spanish speakers our confusion is foreign. To both of you -- english-to-spanish students and people who speak spanish first, i will note the following lingual truth that most people don't realize by virtue of not thinking about it: english is a flexible, and often neutral language. Let me repeat that; english is NEUTRAL by default. We DON'T communicate this kind of meaning with our basic sentences, ever. English is like a buffet rather than a binary. Its base forms are almost always implicationless by design specifically so that we can choose to insert auxiliary words to enchant it with such meanings as English speakers please. This is likely also why most of its true subjunctive mood has faded into niche forms; English genuinely has no real need of it with so many ways of putting a sentence together. Spanish, by and large, has 2, and you will not escape from them nor their implications. (Well and imperative, but I'm not talking about it because both of our languages share that one nearly identically in concept). A statement is a statement, indicative is your reality and your attempts to declare facts for others to hear and discuss, and subjunctive is the only way to indicate that what you speak of isn't that. That's it. That's all there is to it.
Also, I'll tell all spanish-first readers who happen to read this the same thing i told my Spanish friends irl: you have no idea how confusing the subjunctive is when you are coming from a place where the "primary" prose can imply anything due to a) that being what we think of thanks to English b) most people not going out of their way to firmly correct this misconception. It would be damn near useless and indeed extremely random to perceive in usage if not for its reflections on the indicative, which is different from what we think at first. THIS is why your English speaking friends who are trying to learn Spanish struggle so hard with the concept, while you just know it. (And on the flip, why none of my Spanish-first friends realized the neutrality underlining English until i directly pointed it out to them. A lot of us aren't aware of the underlying mechanics; this is fine going from Spanish to English since English is flexible as hell, but not so much the other way around, unfortunately for us.)


Now, after all of this, can I make a request to the general community: can we PLEASE not presume that the subjunctive is magic and that the indicative is so obvious? That kind of common notion is at least in part why a lot of English-to-spanish students wrestle with the concept. For some reason we're often taught (I sure was) that the indicative in Spanish is synonymous with English and to not think more on it in comparison to its bizarre cousin, when in reality the differences between English normal prose and Spanish's indicative are both easy enough to explain and also EXACTLY why the subjunctive exists. Trying to explain how and where to use the subjunctive is like trying to put a car together with a wrench and a few bolts; good luck figuring it out easily with so much essential context missing. Maybe my teachers just didn't think about it? Do people in general not just realize this crucial difference between English's loose neutral structure and Spanish's much stricter and meaning-laden structure? Who knows.
And no, realizing this doesn't mean we don't have to practice. I'll forget use cases, not be able to realize when I needed to switch moods until hindsight, etc. I recommend "demystifying the subjunctive" for a book, it helped me out immensely. But at least now we understand it. Learning, as Spanishdude on YouTube says, is just an act of giving context to things we already know, and now we can do that without being lost. It IS a simple and easy to grasp concept at its heart, it's just not usually explained well and requires explaining what precisely is the difference between how english approaches delivering information and how Spanish does. Former is neutral, latter always communicates a meaning. The indicative in particular always imparts a sense of speaking of concrete reality no matter what sentence it happened to be in, and the subjunctive is nothing more than its replacement for when the indicative's strong statements on reality simply don't work with the matters being discussed. Of the two, the indicative is both more strict and also more narrow, and thus the clause of 'use indicative until its determinate attitude of only being used to address factual reality shits the sentence up' reigns best for the quickest and easiest way to conceptually grasp the subjunctive.
It is all about the indicative; always has been.
Anyway that's all I got. I'm finally going to bed, work will suck tomorrow but oh well, I'm too happy to care. After that I'll...maybe finally learn some decent vocabulary. I'm a heavily grammar based learner, so this was actually one of the first stops on my way through my new language, so I've still got a lot of learning to do. Still, now that i get this, I am much more confident of the rest of the way onward.

----------

Couple of more fun tidbits, if anyone is still reading. I also realized the English conditional is WAY wider than Spanish's, and that this is in part because in English it has come close to replacing separated subjunctive grammar in a lot of cases. If you ever notice how often we through "can" and "could" around, it is in part because of this.
I also realized that in a theoretical sense, the "true" purpose of future tense in Spanish is to discuss plans for the future, not to indicate that it will happen. Technically a small detail and probably obvious to most, but for some reason I needed this realization to realize why the subjunctive isn't triggered by its speculation; merely declaring plans is a concrete thing, after all. For some reason in English I get the subtle sense of trying to will over the future when I use it. Might be a slight language difference in intent, or maybe I'm just presumptuous about the future in English.
Finally, just a piece of trivia I liked; I realized "to think" and "creer / pensar" aren't really good translations for each other in implication. You ever wondered why it doesn't trigger the subjunctive in a positive usage? This helps to reinforce one last bit; for such things when it comes to certainty vs uncertainty, it's likely just a concept being used slightly differently in Spanish. While they mean literally the same thing, their connotations are nearly inverted. Spanish uses it to affirm that you believe something to be true (hence why it's also translated as to believe), while English uses it to instead imply subjectivity and impart doubt to a clause. It would absolutely be a subjunctive trigger in Spanish if it were transplanted directly since our usage of it in spirit is completely synonymous with Spanish's own usual triggers, but well it isn't. My Spanish speaking colleagues thought that one was interesting in particular for some reason, maybe they didn't really know how i had meant it this whole time?
submitted by cantthinkofaname1029 to learnspanish [link] [comments]

One Piece 500K subscribers Survey Result!

It's time for the result of our latest survey! And it had 7252 participant! So thank you everyone that took time to answer those questions.
You should be able to see the answer if you go there : https://docs.google.com/forms/d/1KfHOyWHQTyFEEeAYvCZRxBc3_ZGZxJn6ZUztiwMdVjE/edit

Community section :

What country are you from?

Country U.S.A. Germany India Australia Canada U.K. Bazil France Spain Sweden
Percentage 33.1 % 7.4% 5.4% 5% 4.8% 4.4% 3.1% 3.1% 2.1% 1.7%
Is nice to see that we have users from all around the world, even if nearly 50% are from English speaking countries.
Image 1.

How old are you?

The average age of a /OnePiece user is 23.62 years old. We have roughtly 10% of users that are underaged, and 10% that are 30 years old or more.
Image 2.

Gender

Gender Male Female Other
Percentage 88.6% 8.9% 2.5%
There is no surprise there.
For the others, we have some Gender Fluids, transgenders, Bigenders, quite a lot of Non-binary, a Loli, a Furry, and nearly a 100 Oden (You wish), as well as some rude people, but I won't put up what they said.

Manga or Anime?

Both Manga Only Anime Only
49.8% 46.2% 4%
No real surprise here either. Considering the subreddit has a lot of spoilers and is focussed around the chapter release, it's obvious there are only a few Anime Only people here. So thank you for Sticking Around, even if it the best place to avoid spoilers.

For approximately how long have you been following One Piece?

1 Year or less 2 years 3 years 4 years 5 years 6 years 7 years 8 years 9 years 10 years or more
8.7% 6.2% 6.8% 6.1% 8.1% 7.1% 6.7% 7.1% 4.6% 38.5%
Nearly 40% of our users have followed the series for 10 years or more. (To give an idea, this mean they followed the series since Before the timeskip, as chapter 597 was released at the end of August 2010).
For the rest, we have roughly the same number of new readers that stays with the series. So it's quite good to bring new blood and not have a decrease of new readers.

Where does One Piece rank on your list of favorite manga?

N°1 Top 3 Top 5 Top 10 Bellow Top 10
70.1% 21.6% 5% 2.6% 0.6%
Well, you are in /OnePiece after all. So it's kinda obvious the manga is either your favorite or in your top 3.
If it isn't your number 1, what series are better than One Piece for you?

Do you own One Piece Merchandise?

No Manga Volumes Figurines Clothes Poster DVD/Blu-ray
44.2% 33.1% 24.5% 18.4% 17.2% 6.3%
Those are some good numbers I would say, 55.8% of users have some merchandise and are probably supporting the series (depending on where you bought those)
For the OTHERS answers given, some good ones are : autograph from dub VA of brook, Alvida pre devilfruit bodypillow, Chopper teddy bear, Sountracks, Custom made and 3D printed Keychain, Databook.

Subreddit Section :

Do you visit OnePiece mostly on mobile or on desktop?

Mobile or Apps Both Desktop
50.6% 29.5% 19.9%

If you are using desktop, are you using the old version of reddit? Or the redesign?

Redesign Old version
63.3% 36.7%
It seems like most users are using Mobile and Apps, as well as the redesign on desktop, so it's probably time to pay more attention to that than to the old version, this way we can get banners/flair for users that are on the new version of reddit.

How often do you make : a submission on OnePiece?/Comment?/read the rules?

Submission :
Never Rarely Sometimes Often Very often (Daily)
67.1% 24.7% 5.6% 1.6% 1%
Comments :
Never Rarely Sometimes Often Very often (Daily)
41.2% 32.7% 17.6% 6.7% 1.8%
Check the rules :
Never Rarely Sometimes Often Very often (Daily)
49.1% 17.1% 13.7% 8% 12%
This really shows that there are a lot of lurkers on the subreddit. Most of you won't ever post or comment on the subreddit. With 8% of users creating submission and 25% commenting.
As for the rules, there isn't any surprise since nearly every post respect the rules. (Only 1/5 of the post needs to be removed), so thank you to all of those that read them.

Content you enjoy the MOST/the LEAST.

Content you enjoy the most :
Theories/Discussion Fanart Polls Cosplay Merchandise Youtube Video Media (Photo and Video)
89.6% 47.9% 19.7% 16.7% 14.4% 14.1% 11.7%
So without surprise, people in this subreddit enjoy the Theories/discussions the most out of every type of post, it's then followed by the Fanarts.
Which is good since like 75% of posts made are Discussion (50% total)/Fanarts (25% total).
Content you enjoy the least:
Youtuber Video Merchandise Cosplay Media Fanart Polls Theories/Discussion
36.7% 35.1% 31% 15.7% 15.3% 6.9% 4.2%
Here there aren't any content that most users enjoy the least, but it still seems like users don't want to see that much Merchandise or Cosplay post. (Youtuber video are very rare)
Also, a quick reminder, Discussion/Theories are mostly found by sorting by New. This is where you will see all of them, as it's hard for them to show up on the front page of the subreddit (but if it shows up on Hot, then it's a very good one).

Do you only use the subreddit for the Spoiler and Chapter Discussion thread?

No Yes
63.4% 36.6%
It's nice to see that roughly 2/3 of the users are here for more than just the Spoilers and Chapter discussion. But there is still a huge part that only use the subreddit for that.

Do you want the spoilers gone from this subreddit?

No Yes
86.7% 13.3%

Rate your overall experience on OnePiece.

Here it's seems that out of 10, the Overall Experience on /OnePiece is 8.35
Image n°3

One Piece related questions :

Who is your favorite Straw Hat?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
34.8% 29.1% 1.3% 6% 10.1% 1.8% 6.5% 2.4% 5.4% 2.6%

Who is your least favorite Straw Hat?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
0.8% 3.3% 10.6% 15% 6.5% 21.3% 4% 19.2% 8.3% 11.1%
As it was expected, Luffy is the Favorite Straw Hat for a lot of peopel, he's also the Straw Hat with the fewest "Least Favorite". After him Zoro is second favorite, followed by Sanji, Robin, Usopp, Brook, with the other Straw Hat having very few votes (and Nami having the Least "Favorite" Straw Hat.)
After that, it seems like Chopper, Usopp, and Franky are the one people like the least out of the Straw Hat.
I know it was a hard question for some of you, but the result are still interesting to know.

Which Strawhat has the saddest backstory?

Robin Brook Sanji Chopper Nami Other
50.9% 25% 9.3% 7.1% 5.8% 1.9%
The Straw Hats with the saddest backstory is Robin! Followed by Brook, then Sanji, Chopper and Nami.

What is your favorite Yonko crew?

Red Hair Whitebeard Big Mom Beast Blackbeard
34.7% 31.1% 14% 10.6% 9.5%
So the favorite Emperor's crew are the Red Hair Pirate! Which is very impressive since we haven't seen much of them. I guess Oda better delivers when it come to see them in action after Wano.

Who is your favorite Admiral?

Garp Aokiji Fujitora Kirazu Akainu Sengoku Green Bull
28.4% 28.2% 20.8% 15.8% 4.7% 1.7% 0.5%
While Garp was only a Vice Admiral, he was put in the poll, and he won it! Whitout him, it's Aokiji that is the favorite, followed by Fujitora.
Image 4

Who is your favorite Supernova (outside the Straw Hat)

Law Kid Bonney Urouge Bege X Drake Hawkins Apoo Killer
63.5% 12.4% 5.5% 4.5% 4.3% 4% 2.8% 1.7% 1.3%
Who else than the character that nearly managed to defeat Luffy in the 5 popularity poll? Law is the Favorite Supernova outside of the Straw Hat!

Which is your favourite canon arc in One Piece?

The Favorite Canon Story arc are (You could vote for more than 1) :
Position Story arc Result
N°1 Enies Lobby 43.3%
N°2 Marineford 39.8%
N°3 Wano 30.2%
N°4 Water 7 23.3%
N°5 Impel Down 19.6%

Which is your least favourite canon arc in One Piece?

The Least Favorite Canon Story arc are (You could vote for more than 1) :
Position Story arc Result
N°1 Long Ring Long Land Arc 37.2%
N°2 Fishmen Island 16.9%
N°3 Syrup Village 15.8%
N°4 Thriller Bark 10.1%
N°5 Punk Hazard 9.7%

Favorite Cover Story?

Position Cover Story Result
N°1 Enel's Great Space Operations 24%
N°2 From the Decks of the World : "The 500.000.000 Man Arc" 11%
N°3 The Stories of the Self-Proclaimed Straw Hat Grand Fleet 10.7%
N°4 Ace's Great Blackbeard Search 9.8%
N°5 Straw Hat's Separation Seria 9.6%

Character Design in One Piece :

Do you like the female character designs in One Piece?
Yes No I have no opinion.
63% 19% 18%
Do you like the male character designs in One Piece?
Yes No I have no opinion.
89.6% 0.9% 9.5%
It's true that Oda isn't the best when it comes to Female character design. However it seems like the majority of users don't have a problem with that.

Are fight a determining factor for your enjoyment of the series/arc?

Yes No
52.6% 47.4%
Now this is rather surprising I must say. What do ou thing about this?

What is/are your (absolute) favourite aspect(s) of One Piece?

From the result we have, it seems like the World-Building is the favorite part of One Piece (With 88.6% of voters choosing this).
It's followed by The Adventure (69%), The characterization (54.4%), the Inter-character relationship (49.4%), the Action (36%) and the Art Style (26.2%).
And those result are obvious. Some of the most upvoted chapters of this subreddit are when we have huge world building moment, like 907 (Shanks talks to the Elders), or 957 (ULTIMATE).

Post-Timeskip is?

On Par with Pre-TS Better than Pre-TS Worse than Pre-TS
59.8% 28.2% 12%
This question is one of the most asked. With a lot of vocal voices saying that post TS is worse than Pre-TS.
It's different for sure, but now we know how the community feels about that.

If you could eat a Devil Fruit, what type would you want?

Paramecia Zoan Logia
28.9% 8.6% 62.5%
Most people could choose to eat a Logia, and it seems like becoming a Furry is the lesser choice in this subreddit.

The Final Antagonist of One Piece will be :

With 48.5% it's Blackbeard!
Really? That is surprising for me since it's obvious that Oda will make the SH fight against the World Government after they find the One Piece. And I honestly don't see Blackbeard being the final Antagonist because of that.
So people who voted for this, what was your reasoning for it?

What is One Piece Biggest Flaw?

Some of the biggest flaws mentionned are :
  • The Pacing
  • The Lack of characters' death outside of Flashback
  • The Anime.
Which are all fair flaws to the series.

Random Questions about the Series :

As of Wano, is Jimbei stronger than Zoro?

Yes No Yes but Zoro will be stronger soon
9.8% 60.3 29.9%
I guess people really want Zoro to always be the second strongest no matter what... I expected this result, but I was still disappointed...

Was Zoro as strong as Luffy just after the timeskip?

Yes No
31.5% 68.5%
I... Really? 31.5% said yes?

Will Sanji get laid by the end of the story?

Yes No
49.6% 50.4%
Nearly the perfect split, and it's easy to see why it's very divisive. (Also shows that every vote counts).

Will Usopp be part of the 1 Billion Club by the end of the story?

Yes No
76.4% 23.6%

The Straw Hats will go to Laugh Tales :

Before fighting the WG After Fighting the WG
71.1% 28.9%
It's been hinted at a lot that the SH will go to Laugh Tales before taking on the WG. So for me it feels rather strange to have more than 1/4 voting for them reaching the final island after.

Who will be the one to defeat Kaido? (So give the last hit)

With 66.3% of the votes the one who will give the last hit to Kaido is : Luffy!
Followed by 11.5% with someone else (that isn't Law/Kid/Zoro/Big Mom/Scabbard/Admiral) and 11% by one of the Scabbard.
Zoro received 6.4% of the votes.

Who will be the first SH to realize their dream?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
16.2% 12.5% 3.2% 32.7% 7.8% 1.8% 15% 6.8% 2.8% 1.2%
Most users believe that Usopp will be the first one to realize his dream!
I also think the same as it's the easiest Dream to realize really. I could bet you it will happen in Elbaf.
After that, we have Luffy and Robin, and it make sense since their dreams are linked. Both can be done once they reach Laugh Tales.

How many members will the crew have at the end? (With Luffy)

And most people want 11 members total in the crew! (With 28.6%), 27.5% wants 12 members, wile 19.8% want the crew to be complete right now with Jinbe.

Who do you think wins in a 1v1 : An Emperor or an Admiral?

Yonko Admiral
92.3% 7.7%
If you are active on the subreddit, you know it's one of the question that creates the most discussion/arguments about.
So it's nice to know the overall opinion of the subreddit on this question (Doesn't mean it's always correct mind you).

Is Mihawk emperor's level?

Yes No
57.7% 42.3%
Also a very divisive question on this subreddit.

Is Aokiji emperor's level?

Yes No
38.3% 61.7%

Is Akainu emperor's level?

Yes No
66.2% 33.8%
So they fight for 10 days in a very close battle. With Akainu winning in the end, but after a long and hard fight. And one is Emperor's level while the other isn't?
Really? I find that hard to understand.

If Oden was alive would he be stronger than Mihawk

Yes No
63.7% 36.3%

How strong was Oden at the time of his death?

The strongest Top 3 Top 5 Top 10 Top 20 < Top 20
1.4% 15.4% 32.5% 37.5% 11.9% 1.4%
I like Oden, but sometimes I feel like people are overestimating him.

Who is stronger between Shanks and Mihawk?

Shanks Mihawk
85.6%% 14.4%
This is also one of the question creating the most arguments on this subreddit, after all Mihawk is the World Strongest Swordman. But Shanks is an Emperor and became one after losing his arm.

Is Kaido stronger now that 20 years ago?

Yes, he's stronger Same level Weaker
64.5% 26.3 9.2%

Had Ace survived, would Wano be liberated by now?

Yes No
17.9% 82.1%

Could the Marines take on ALL the Yonko at the same time ?

Yes Yes in Marineford only No 2 at the same time 3 at the same time
2.4% 3.3% 68.6% 23% 2.7%
This question is also linked to how you see the Emperor vs Admiral. So depending on which side you are on, you are more likely to pick Yes or No.

Which character do you want focus on next?

Rank Character %
N°1 Vegapunk 24.7%
N°2 Dragon 18.8%
N°3 Shanks 14.6%
All very good choices, and all of them are character we have known for a long time without really knowing.

Will Blackbeard find the One Piece before Luffy?

Yes No
18.7% 81.3%

How strong is Monkey D. Dragon?

The strongest Top 3 Top 5 Top 10 < Top 10
3% 18.8% 31.8% 37.5% 8.9%
Here, most people seems to think that Luffy's father, Garp's son is part of the strongest characters of the series. Oda better respond to our expectations then.
As for his Bounty : Well, 31.6% think it will be more than 6 Billions and 28.1% think it will be between 5-6 billions.
That remind me, I once made a poll asking people what Sabo's bounty would be (since we knew it was getting revealed in a magazine soon). So maybe I will do the same for Dragon? That could be nice.

Who is currently the strongest Emperor?

Kaido Shanks Blackbeard Big Mom
43.1% 26.4% 26.3% 4.2%
I wonder if the recent chapters made people change their perception on this...

What are the fights you would want to see?

Fight %
Blackbeard vs Shanks 55.5%
Garp vs Rocks 54.9%
Garp vs Roger 54.8%
Mihawk vs Shanks 52.6%
Akainu vs Aokiji 44.6%

How long do you think One Piece has left? (At a rate of 40 chapters a year)

Image 5.
As you can see, most people think One Piece has at least 5 years left to go on. We will know Oda is terrible with respecting his own objectives. And this is good. The more One Piece the better.

On a scale from Spandam to Whitebeard/Roger, How strong is Im?

For this question, it seems like most people put Im at the same level as Whitebeard/Roger with 28.6% voting Im being there.
I honestly don't know how strong I want Im to be.

What arcs, after Wano, do you want?

The arcs people want the most are :
Arc %
Elbaf 79.8%
Laugh Tales 68.6%
Vegapunk 67.5%
The Final War 66.3%
Red Hair Pirates 38.2%
So arcs teased for years (Elbaf/Laugh Tales/Final War) and about character that people want to see (Vegapunk/Red Hair pirates).

How is Blackbeard able to use multiples Devil Fruits?

Reason %
More than 1 soul 29.5%
Weird Body 29.7%
Yami Yami 35.2%
Other 5.6%
It's one of those question were people have very different opinion about. And right now there isn't really a major concensus in the fandom, even if the theory about it being related to the Yami Yami is more popular.
In the Other catergory, there was the Cerberus Devil Fruit option, Blackbeard being a Triplet, him being actually 2+ kids in a trenchcoat, him being a failed Vegapunk experiment, having several stomachs him being pregnant (Stop reading fanfiction), him putting the power inside his rings, being a great guy and him being a cunt.

Haki is :

Image 6
Overall, People like Haki in the series, with a 4.38 out of 5!

How many arcs are left after Wano?

Image 7
Here, it seems like the answer for the community would be 4-5 arcs left. Which would then make (base don the How long One Piece has left), like a year per arc on average.

The final war of One Piece will be :

Reason %
SH+RA vs WG+Marines vs BB 50.8%
SH+RA vs WG+Marines 37.6%
SH vs RA vs WG 6.8%
Other 4.8%
I just don't see Blackbeard being in the final war, as my opinion is that he will be dealt with before it. For the other answers, there was Straw Hats vs Blackbeard Pirates, Family of D vs vs im sama, Total civil war in marines, Straw Hat vs Shanks, Straw hat vs Pound, Zoro vs World Goverment, Dugongs vs buggy.

Will Luffy die at the end of One Piece?

Will Luffy die? %
Yes 28%
No 72%
An ending were Luffy died wouldn't be a good ending for me. He needs to survive and go on more adventures.

Are Shakky and Rayleigh Mihawk's parent?

Answer %
Yes 10.2%
No 89.9%

Will the crew still be together at the end of the series?

Answer %
Yes, they will keep going on adventure together.| 57.6% o, they will move on, like the Roger Pirates| 42.4%
Like with Luffy living, I want the Crew to stay together, and sail together for many more adventures. I could see them taking breaks from time to time, but them staying together would be the best ending for me.

Can the Red Line be destroyed with Ancient Weapons?

Answer %
Yes 91.9%
No 8.1%

What is the biggest mystery left to be revealed?

The most common answers were : The Void Century, the Will of D, Im, The One Piece, Joy Boy, Luffy's mother and Who is Pandaman?

What is the One Piece?

Here, there was plenty of : "No idea", The friends we made along the way, a Devil Fruit, Knowledge, Uranus, History, a book, my mom.

What sort of Devil Fruit do you want to see in the story?

The most common answer was : Water Logia! Followed by Wind Logia and people wanting more mythical Zoans.

What is the craziest theory you believe?

Here are a few of them :
  • Shanks is a Celestial Dragon
  • That Vegapunk is going to flip a switch in the Pacifista programming to fight the marines at the end.
  • Luffy's mom was a celestial dragon
  • Devil fruits are all artificial from the void century
  • That Finland doesn't exist
  • Zoro is going to get Rodger's disease
  • D's were the original Celestial Dragons
  • Weevil was made by Vegapunk using Whitebeard's cells and then was discarded until Bakkin picked him up
  • One of the Roger Pirates (probably Scopper Gaban) is on Laugh Tale waiting for whoever finds it, sort of like how Crocus and Rayleigh seem to be positioned to monitor rookie pirates
  • Onigashima is an Oarz like skeleton and Big Mom is gonna bring it to life.
  • The different races came from other planets/moons
  • Tama is a Kurozomi
  • Ussop is a descendant of Mont Blanc Nolan
  • Luffy hatched from an egg.
  • The fish that bit Shanks's arm off was Joyboy's pet
  • Bon chan is Kin'emon's son
  • Oda no longer draws the manga
  • bonney and ace having a child
  • That Perospero is going to help kill Big Mom.
  • Dragon being former Admiral
What are your favorites?
And here it is, the 500K survey! Took me far too long to make, as I underestimated the time needed to sort the answer and create this post. Like damn.
I hope you enjoyed it. The anwers for the Survey Saga will be up next in some time.
submitted by Kirosh to OnePiece [link] [comments]

No gods, no kings, only NOPE - or divining the future with options flows. [Part 2: A Random Walk and Price Decoherence]

tl;dr -
1) Stock prices move continuously because different market participants end up having different ideas of the future value of a stock.
2) This difference in valuations is part of the reason we have volatility.
3) IV crush happens as a consequence of future possibilities being extinguished at a binary catalyst like earnings very rapidly, as opposed to the normal slow way.
I promise I'm getting to the good parts, but I'm also writing these as a guidebook which I can use later so people never have to talk to me again.
In this part I'm going to start veering a bit into the speculation territory (e.g. ideas I believe or have investigated, but aren't necessary well known) but I'm going to make sure those sections are properly marked as speculative (and you can feel free to ignore/dismiss them). Marked as [Lily's Speculation].
As some commenters have pointed out in prior posts, I do not have formal training in mathematical finance/finance (my background is computer science, discrete math, and biology), so often times I may use terms that I've invented which have analogous/existing terms (e.g. the law of surprise is actually the first law of asset pricing applied to derivatives under risk neutral measure, but I didn't know that until I read the papers later). If I mention something wrong, please do feel free to either PM me (not chat) or post a comment, and we can discuss/I can correct it! As always, buyer beware.
This is the first section also where you do need to be familiar with the topics I've previously discussed, which I'll add links to shortly (my previous posts:
1) https://www.reddit.com/thecorporation/comments/jck2q6/no_gods_no_kings_only_nope_or_divining_the_future/
2) https://www.reddit.com/thecorporation/comments/jbzzq4/why_options_trading_sucks_or_the_law_of_surprise/
---
A Random Walk Down Bankruptcy
A lot of us have probably seen the term random walk, maybe in the context of A Random Walk Down Wall Street, which seems like a great book I'll add to my list of things to read once I figure out how to control my ADD. It seems obvious, then, what a random walk means - when something is moving, it basically means that the next move is random. So if my stock price is $1 and I can move in $0.01 increments, if the stock price is truly randomly walking, there should be roughly a 50% chance it moves up in the next second (to $1.01) or down (to $0.99).
If you've traded for more than a hot minute, this concept should seem obvious, because especially on the intraday, it usually isn't clear why price moves the way it does (despite what chartists want to believe, and I'm sure a ton of people in the comments will tell me why fettucini lines and Batman doji tell them things). For a simple example, we can look at SPY's chart from Friday, Oct 16, 2020:

https://preview.redd.it/jgg3kup9dpt51.png?width=1368&format=png&auto=webp&s=bf8e08402ccef20832c96203126b60c23277ccc2
I'm sure again 7 different people can tell me 7 different things about why the chart shape looks the way it does, or how if I delve deeply enough into it I can find out which man I'm going to marry in 2024, but to a rationalist it isn't exactly apparent at why SPY's price declined from 349 to ~348.5 at around 12:30 PM, or why it picked up until about 3 PM and then went into precipitous decline (although I do have theories why it declined EOD, but that's for another post).
An extremely clever or bored reader from my previous posts could say, "Is this the price formation you mentioned in the law of surprise post?" and the answer is yes. If we relate it back to the individual buyer or seller, we can explain the concept of a stock price's random walk as such:
Most market participants have an idea of an asset's true value (an idealized concept of what an asset is actually worth), which they can derive using models or possibly enough brain damage. However, an asset's value at any given time is not worth one value (usually*), but a spectrum of possible values, usually representing what the asset should be worth in the future. A naive way we can represent this without delving into to much math (because let's face it, most of us fucking hate math) is:
Current value of an asset = sum over all (future possible value multiplied by the likelihood of that value)
In actuality, most models aren't that simple, but it does generalize to a ton of more complicated models which you need more than 7th grade math to understand (Black-Scholes, DCF, blah blah blah).
While in many cases the first term - future possible value - is well defined (Tesla is worth exactly $420.69 billion in 2021, and maybe we all can agree on that by looking at car sales and Musk tweets), where it gets more interesting is the second term - the likelihood of that value occurring. [In actuality, the price of a stock for instance is way more complicated, because a stock can be sold at any point in the future (versus in my example, just the value in 2021), and needs to account for all values of Tesla at any given point in the future.]
How do we estimate the second term - the likelihood of that value occurring? For this class, it actually doesn't matter, because the key concept is this idea: even with all market participants having the same information, we do anticipate that every participant will have a slightly different view of future likelihoods. Why is that? There's many reasons. Some participants may undervalue risk (aka WSB FD/yolos) and therefore weight probabilities of gaining lots of money much more heavily than going bankrupt. Some participants may have alternative data which improves their understanding of what the future values should be, therefore letting them see opportunity. Some participants might overvalue liquidity, and just want to GTFO and thereby accept a haircut on their asset's value to quickly unload it (especially in markets with low liquidity). Some participants may just be yoloing and not even know what Fastly does before putting their account all in weekly puts (god bless you).
In the end, it doesn't matter either the why, but the what: because of these diverging interpretations, over time, we can expect the price of an asset to drift from the current value even with no new information added. In most cases, the calculations that market participants use (which I will, as a Lily-ism, call the future expected payoff function, or FEPF) ends up being quite similar in aggregate, and this is why asset prices likely tend to move slightly up and down for no reason (or rather, this is one interpretation of why).
At this point, I expect the 20% of you who know what I'm talking about or have a finance background to say, "Oh but blah blah efficient market hypothesis contradicts random walk blah blah blah" and you're correct, but it also legitimately doesn't matter here. In the long run, stock prices are clearly not a random walk, because a stock's value is obviously tied to the company's fundamentals (knock on wood I don't regret saying this in the 2020s). However, intraday, in the absence of new, public information, it becomes a close enough approximation.
Also, some of you might wonder what happens when the future expected payoff function (FEPF) I mentioned before ends up wildly diverging for a stock between participants. This could happen because all of us try to short Nikola because it's quite obviously a joke (so our FEPF for Nikola could, let's say, be 0), while the 20 or so remaining bagholders at NikolaCorporation decide that their FEPF of Nikola is $10,000,000 a share). One of the interesting things which intuitively makes sense, is for nearly all stocks, the amount of divergence among market participants in their FEPF increases substantially as you get farther into the future.
This intuitively makes sense, even if you've already quit trying to understand what I'm saying. It's quite easy to say, if at 12:51 PM SPY is worth 350.21 that likely at 12:52 PM SPY will be worth 350.10 or 350.30 in all likelihood. Obviously there are cases this doesn't hold, but more likely than not, prices tend to follow each other, and don't gap up/down hard intraday. However, what if I asked you - given SPY is worth 350.21 at 12:51 PM today, what will it be worth in 2022?
Many people will then try to half ass some DD about interest rates and Trump fleeing to Ecuador to value SPY at 150, while others will assume bull markets will continue indefinitely and SPY will obviously be 7000 by then. The truth is -- no one actually knows, because if you did, you wouldn't be reading a reddit post on this at 2 AM in your jammies.
In fact, if you could somehow figure out the FEPF of all market participants at any given time, assuming no new information occurs, you should be able to roughly predict the true value of an asset infinitely far into the future (hint: this doesn't exactly hold, but again don't @ me).
Now if you do have a finance background, I expect gears will have clicked for some of you, and you may see strong analogies between the FEPF divergence I mentioned, and a concept we're all at least partially familiar with - volatility.
Volatility and Price Decoherence ("IV Crush")
Volatility, just like the Greeks, isn't exactly a real thing. Most of us have some familiarity with implied volatility on options, mostly when we get IV crushed the first time and realize we just lost $3000 on Tesla calls.
If we assume that the current price should represent the weighted likelihoods of all future prices (the random walk), volatility implies the following two things:
  1. Volatility reflects the uncertainty of the current price
  2. Volatility reflects the uncertainty of the future price for every point in the future where the asset has value (up to expiry for options)
[Ignore this section if you aren't pedantic] There's obviously more complex mathematics, because I'm sure some of you will argue in the comments that IV doesn't go up monotonically as option expiry date goes longer and longer into the future, and you're correct (this is because asset pricing reflects drift rate and other factors, as well as certain assets like the VIX end up having cost of carry).
Volatility in options is interesting as well, because in actuality, it isn't something that can be exactly computed -- it arises as a plug between the idealized value of an option (the modeled price) and the real, market value of an option (the spot price). Additionally, because the makeup of market participants in an asset's market changes over time, and new information also comes in (thereby increasing likelihood of some possibilities and reducing it for others), volatility does not remain constant over time, either.
Conceptually, volatility also is pretty easy to understand. But what about our friend, IV crush? I'm sure some of you have bought options to play events, the most common one being earnings reports, which happen quarterly for every company due to regulations. For the more savvy, you might know of expected move, which is a calculation that uses the volatility (and therefore price) increase of at-the-money options about a month out to calculate how much the options market forecasts the underlying stock price to move as a response to ER.
Binary Catalyst Events and Price Decoherence
Remember what I said about price formation being a gradual, continuous process? In the face of special circumstances, in particularly binary catalyst events - events where the outcome is one of two choices, good (1) or bad (0) - the gradual part gets thrown out the window. Earnings in particular is a common and notable case of a binary event, because the price will go down (assuming the company did not meet the market's expectations) or up (assuming the company exceeded the market's expectations) (it will rarely stay flat, so I'm not going to address that case).
Earnings especially is interesting, because unlike other catalytic events, they're pre-scheduled (so the whole market expects them at a certain date/time) and usually have publicly released pre-estimations (guidance, analyst predictions). This separates them from other binary catalysts (e.g. FSLY dipping 30% on guidance update) because the market has ample time to anticipate the event, and participants therefore have time to speculate and hedge on the event.
In most binary catalyst events, we see rapid fluctuations in price, usually called a gap up or gap down, which is caused by participants rapidly intaking new information and changing their FEPF accordingly. This is for the most part an anticipated adjustment to the FEPF based on the expectation that earnings is a Very Big Deal (TM), and is the reason why volatility and therefore option premiums increase so dramatically before earnings.
What makes earnings so interesting in particular is the dramatic effect it can have on all market participants FEPF, as opposed to let's say a Trump tweet, or more people dying of coronavirus. In lots of cases, especially the FEPF of the short term (3-6 months) rapidly changes in response to updated guidance about a company, causing large portions of the future possibility spectrum to rapidly and spectacularly go to zero. In an instant, your Tesla 10/30 800Cs go from "some value" to "not worth the electrons they're printed on".
[Lily's Speculation] This phenomena, I like to call price decoherence, mostly as an analogy to quantum mechanical processes which produce similar results (the collapse of a wavefunction on observation). Price decoherence occurs at a widespread but minor scale continuously, which we normally call price formation (and explains portions of the random walk derivation explained above), but hits a special limit in the face of binary catalyst events, as in an instant rapid portions of the future expected payoff function are extinguished, versus a more gradual process which occurs over time (as an option nears expiration).
Price decoherence, mathematically, ends up being a more generalizable case of the phenomenon we all love to hate - IV crush. Price decoherence during earnings collapses the future expected payoff function of a ticker, leading large portions of the option chain to be effectively worthless (IV crush). It has interesting implications, especially in the case of hedged option sellers, our dear Market Makers. This is because given the expectation that they maintain delta-gamma neutral, and now many of the options they have written are now worthless and have 0 delta, what do they now have to do?
They have to unwind.
[/Lily's Speculation]
- Lily
submitted by the_lilypad to thecorporation [link] [comments]

Type me please

I was typed on this sub some time ago but my answers were too vague and not that accurate I think. I’m doubting my type again and I need some new insight.
– Describe yourself in as much elaborate detail as possible (that still renders you anonymous, or to a level of acceptable comfort)
18 yo high school student just trying to survive IB. My gender is a questionable thing. I consider myself non binary because I’ve always felt extremely uncomfortable with talking about my gender and I wanted to obey all of the expectations and gender roles.
I hate all of the labels and sht. I feel like I’m an individual being that doesn’t fit anywhere but at the same time I feel like a part of humanity and I can connect to literally any human being. Doesn’t matter of nationality/age/gendesome other sht. I sympathize with everyone and I kinda feel like I belong to them. If I had to move to foreign country that I don’t know anything about, right now, I think I’d quickly adapt to the culture. I feel like everything and nothing at the same time.
I am diagnosed with severe social anxiety and I display some characteristics of avoidant personality disorder. It basically makes me unable to figure out my type since I don’t know what is true about my personality and what is a defense mechanism anymore.
I need some insight from other people because I’m so confused about my own self. I don’t really understand the concept of personality traits at all. I feel like a chameleon and I have no consistent personality.
– Why are you interested in knowing your type?
At first I was just curious because I’m really into psychology and I found the idea of cognitive functions interesting. But now I’m just mad at myself that I can’t decide on my type because I relate to few types but at the same type I relate to none of them. I just want to be certain. I have this issue that I need to be sure about my every decision and I hate that whenever I finally decide that “this is my real type, it feels right” then suddenly a few days later I find out that it can’t be my real type because the way that type is supposed to think doesn’t really describe how I think very well.
– Do you go to work and/or you in school? If so, what field/occupation/subjects?
I go to school. I changed my school a year ago. My first school wasn’t that bad, the teachers weren’t the worst, my classmates didn’t bully me for being quiet and I had not so bad grades. But deep down I hated that school. There were so many people that I felt overwhelmed and I had to close myself in the restroom every break. I just couldn’t handle this many people. And this school had such a depressing vibe for some reason. After one of my classmates almost commited a suicide it had become even worse.
I accidentally found another school that was way smaller (less people) and since it was IB it could mean I’d have better opportunities for universities abroad. And I could choose every subject. I didn’t think twice, I changed my school immediately. It didn’t matter for me that the exams would be much harder and there would be overall more work. And that new classmates might bully me or something. I mean, I was scared at first but I had to try no matter what. Now I think it was actually a great idea. I love this school even though I sometimes struggle with this much work.
My subjects are my native language, english, german, biology, psychology and maths. I chose them because I’m good at them. Except for math, it was obligatory.
– Describe your upbringing. Did it have any kind of religious or structured influence? How did you respond to it?
It was pretty chill I guess. My parents have always supported all of my weird interests that I wanted to try and some of my dumb decisions even if they disagreed with them. Although most people would say that I should be grateful to my parents that they were always generous to me with their affection and money, at the same time they never understood me. I’ve always been a very creative and imaginative child. I’ve always been daydreaming and I used to write stories a lot. My parents thought it was some sign of schizophrenia or something (it wasn’t) and told me to stop daydreaming and focus on school and grades. I remember whenever I tried to share some of my weird ideas with them, they were always telling me that it’s pointless and I have to be more down to earth. I was also very curious as a kid and I could sometimes research some really bizarre stuff because I found it interesting. I remember my parents once found my searching history and literally yelled at me for searching some useless knowledge. I’d understand their reaction if I was searching for p0rn or something like that but I was looking for some psychology stuff lol. I started to become very secretive at this point and now I always have to be in incognito mode and I have to clear my history frequently or I’ll become anxious that somebody is judging me. And I remember when I once told them about my anxiety they literally told me that it’s not a problem and I’m perfectly fine and I should stop thinking about such pointless stuff.
Religion wasn’t a very big issue for me. My parents are christian but they never tried to force anything on me. They tried to make me religious when I was a child but eventually let me choose whether I want to believe in that or not. At first I considered myself christian even though I didn’t know what it was even about. I was told since childhood that it is the truth so I didn’t question it at that time. But I eventually started questioning my faith. I didn’t like going to the church, the prayers and all. I didn’t really agree with some of the principles of that religion. I began to ask myself whether I really believe in god or do I “believe” because I’m scared of punishment. When I grew up, I started doing some research on the Bible and I realised that it doesn’t make any sense. I mean, it depends how you interpret it, for me it didn’t make any sense. Also, in my native country there’s something like religious education in school and it’s basically forcing christianity into kids. I hate this. I rember a priest that was „teaching” my class in middle school and once he could say that god loves and accepts everyone but then he could say something like gay bad, trans bad. Like the fck is this?!
– Do you need logical consistency in your life?
I have no idea what that inherently means but I’ll try to answer anyway.
I like to think that everything is connected and I can start overthinking things that don’t make sense to me, to find some explanations. I need explanations for everything. I used to be really anxious about what happens after death because that’s something I can’t explain. I mean, I can try but it wouldn’t be 100% accurate because I can’t check that unless I’d die. If I ever decided to kill myself, the reason would be probably that I just wanted to check what will happen to me. I created my own theory on what happens after death that I try to believe is true so I won’t have to kill myself. I somehow tried to base it on science but it turned out to be some irrational crap. But for me it makes the most sense so I assume it’s accurate since it can’t be proven right or wrong. It just depends what you believe in. I know my theory is not perfect and I only pretend I believe in it but I really don’t want to have to kill myself so I need to approve any explanation, doesn’t matter how irrational it sounds.
– How curious are you? Do you have more ideas then you can execute? What are your curiosities about? What are your ideas about?
I think I’m very curious. I want to know everything. Like literally everything. Possessing all of the knowledge possible and understanding the whole world and how it works had been my dream since I remember. Sometimes I can get into some bizarre interests that are completely useless for me but I still find them interesting, like marine biology.
Anyway, I have too many ideas and usually, I end up with nothing. My ideas can be about everything and anything but usually creative stuff like ideas for songs or novels.
– If money was not an issue, what careejob would you have?
I wouldn’t even go to work lmao. I’d just procrastinate all day.
At the end of the day I’d probably have to go to work because I’d be scared that I’d lose all the money and I wouldn’t know what to do with myself anymore and I don’t want to parasite on anybody so yeah, I’d have to go to work someday. But the thing is, I have no idea what job I’d like to have.
– Are you a free spirit or do you play by the rules? If so, why?
This is quite hard for me to answer. I have a weird relationship with the rules. Of course I don’t like being limited or told exactly what to do, I can be a little rebel sometimes. But at the same time I need some guidance. When I have no direction, my mind goes blank because I either have no idea what to do or too many ideas. When I’m doing some work for other people, I always have to ask about every little detail so they’ll be satisfied with my work. I have to do that because if I’m given too much freedom I tend to think backwards and do the literal opposite because I could understand the assignment differently or something like that. I don’t want others to be disappointed with my work.
I always think differently than it’s expected from me lol. I remember once there was a test at school about some poem and there was a task to interpret the last sentence or something. I thought it was about time loops so I wrote about it but when we were checking the test, the teacher said it was about death. I got half of the points for that task because my arguments were good but my interpretation wasn’t the same as the teacher’s and it was a bit out of the blue. Like my teacher probably didn’t even know where the hell did I get that from.
– If I asked you to take a shot with a football how would that make you feel? Would you be able to do it well? Would you enjoy it?
I’d die internally because it’d remind me of my trauma associated with team sports. I used to be bullied in primary school because I wasn’t good at sports. I could never follow the ball and the general action that was taking place because that sht was too fast for me. And I used to have anemia so I literally had no strength or energy to do anything. I’m still not very athletic so I’d probably do terribly. But I think I could enjoy it if it was just for fun and I wouldn’t be ridiculed for any mistake.
– If I asked you to write me an essay, would you enjoy it? What would it be about? How would it make you feel?
I love writing essays in english but I hate writing in my native language (it’s more complicated than english and even native speakers can sometimes make some really stupid and basic mistakes) so as long as it is in english I’d enjoy it. I have no idea what I’d write about. If I was given a topic I could write about literally anything but if I had to choose a topic myself I’d be completely clueless. I’d probably search for some ideas on the internet and then choose whatever seems the easiest to write because I don’t want to spend 7492810847 hours on that essay.
– Is it okay to crack a few eggs? If it makes an omelette? Do the ends justify the means?
I guess so. Do anything you want, just don’t hurt anybody else.
– Do you put things back in their proper place?
I never do that and it’s going to make me insane someday. I can sometimes put my phone somewhere and after 5 minutes I can completely forget where the hell I put it and then search for it for hours. I lose my stuff at home all the time because I put my sht wherever I feel like. I wish I wasn't this messy because it can be annoying but I can’t stand order either. I get inspiration from chaos and whenever I’m drawing I HAVE to make my desk a bit messy because when it’s empty and clean it feels as if my mind was empty.
– How do you behave around strangers, acquaintances and friends?
I have social anxiety so I act very awkwardly around strangers and people I don’t know that well like for example classmates. I’m very shy. I stutter a lot, I say stupid things unintentionally, I tend to zone out a lot. I’m also very quiet and I never talk unless I’m being asked directly. Even if asked directly, I can sometimes still keep quiet.
I can become overwhelmed a lot when I’m around other people and I sometimes have panic attacks or I can start crying for no reason.
I can’t do small talk, it’s pointless for me and it seems so fake. But if I ever approached somebody for the first time and asked them what is the meaning of life or something like that, they’d think I’m insane, so I don’t really know how to start a conversation. And I really hate questions like „how are you?". What does it even mean, like wtf. My social skills are so terrible, I wish I was born with some instruction on how to act in any social situation. Whenever I have to talk to a teacher or somebody else in a formal setting, I always have to ask my mom how do I say what I want to say in a way that will be appropriate. This sht’s exhausting.
I have no friends but my family is like my friends so I can say how I act around them. I think I’m the most “real” around them because I’m not scared they’ll judge me. I’m a completely different person when I’m comfortable. I can be a clown sometimes, I say a lot of dumb stuff intentionally because I don’t feel embarassed when I’m around my family. My family has so many inside jokes, most of them made by me lol. I can be very loud and talkative sometimes or even argumentative and I’ve heard so many times from my parents “if you only were this outspoken at school like you are at home”. If any of my classmates saw me like that they’d say it’s an impostor because there’s no way I could act like that lmao.
I also got more comfortable with my distant family and I’m not that shy anymore when I’m around them. I can confront my uncles whenever they’ll try to playfully bully me (I really hate when they do that) and I feel so good about that. I wouldn’t be able to do anything like that a year ago and I’m glad I’m getting more confident.
– Do you have exquisite tastes that you would expend effort or money for?
I buy apple stuff because it’s easier for me to use. I once had an android phone and it was a pain to use.
– How do you act when others request your help to do something (anything)? If you would decide to help them, why would you do so?
I think I’d help no matter how I’d feel about it. I lack assertiveness because of my social anxiety. With people I’m comfortable with, I think I’d still help no matter what. I’d just feel terrible as a person if I wouldn’t help.
– How long do you take to make an important decision? How would you go about it? And do you change your mind once you've made it?
I’m hella indecisive. I have to ask other people for some guidance or I’ll be lost. I literally cannot decide for myself. I also sometimes seem like I have no opinion on anything but I just see pros and cons in everything and I can’t decide on the best option. Everything is shades of gray and whatever I choose should be personal preference but I always look for the objectively best solution that will be approved by my inner critic and also other people. It’s exhausting because I can’t even choose a meal in a restaurant. I treat it like some very important decision while it’s so mundane. When it comes to food my final choice would probably be something I haven't tried yet that sounds good or whatever with shrimp. I’m always in a mood for some shrimp lol. I sometimes can choose something familiar but only when I really don’t know what to choose. After making my final decision, I always wonder what if another one would be better and I never feel certain about my decisions. I’m scared of making decisions because I’m anxious that my decision was the wrong one. I wish I could try everything in my life.
– If I asked you to design a plan of action, would it be easier to work alone or in a group? Do you ask for others’ opinions? or stick to your own guns?
It would be better to work alone because I cannot work in a group since my social skills are lower than the bottom of Marianas trench. I can’t even work with people I’m comfortable with. I feel like they distract and overwhelm me and I prefer to get some ideas from others and then execute everything myself. When I get some ideas from other people, it immediately stimulates my mind and I can quickly come up with something. I sometimes have great ideas while trying to create something out of nothing but I have the best ideas when I find some ideas from the external world that inspire me and I start from there. After I finish my work, I have to show it to others. I need some validation from them because I want to know if my work is acceptable. With any schoolwork, I have to first show it to my sister before I can show it to my teacher so I know I didn’t do any crap and I wouldn’t be laughed at. I can’t show anything to my teachers without being certain it’s good.
– A weekend best spent looks like ...?
If I could do anything I wanted, I wish I could go to the mountains or sightseeing by myself or with my family. More realistic best weekend would be a weekend where I don’t have that much work for school and I can actually relax.
– My biggest fears are ...
There’s quite a lot of that. Most of my life has been full of the feelings of fear and anxiety.
I’m really scared of social interactions and public speeches, being judged or rejected. I hate the feeling of embarrassment, it makes me feel so uncomfortable. I’m also really scared of crowds. When there are too many people around, I start panicking. I once got a panic attack at a wedding and nobody could calm me down, I was so overwhelmed (especially that there were many photographers and they were surrounding me so I couldn’t really escape from them. I didn’t want them to take any pictures of me so I put a jacket on my face whenever I saw them near me. Most of the wedding I spent outside sitting on a bench because there weren’t that many people there and there weren’t any photographers around).
I’m really scared of the future because I don’t know what to do with myself and I’m probably gonna end up lonely, depressed and addicted to some crap.
What I really hate is pressure and feeling controlled or trapped. Especially at school because I’m forced to do things that make me uncomfortable, like performing in front of people. And I feel like school has always been limiting my creativity and individuality.
I’m also scared of bugs. I hate them so much. I can start panicking whenever I hear a fcking fly.
– How much do you express yourself and what mediums do you do that through? Art? Writing? Talking?
Art is my thing. But I’m more into analyzing and critiquing art rather than creating. When I do create, I express my ideas more than my feelings.
I draw graphic novels. The funny thing is that I don’t even “like” most of my works. I mean, if somebody else created these stories and I was a reader, I’d rate them something around 5 on enjoyment. Most of my stories are based on some concepts I found interesting or I create stories to see how the public would react to it or just to check how I’ll perform at a specific genre rather than something that is personal to me.
I sometimes write songs and they also aren’t that personal to me. Some are, but most of my lyrics are about things anyone could relate to. And I like to create some really weird analogies. I wrote 8379287593 songs about comparing some random stuff to toxic relationships. Give me any random thing and I could transform it into a song about toxic relationships. I’ve never been in a toxic relationship tho. My sister also writes songs but they are so personal that only she knows what they are about. I hate that to be completely honest. I prefer lyrics that make sense and are easy to interpret given the context.
I think I create for the audience instead of myself.
I express my feelings through writing. I sometimes just write down my thoughts to let go of them and it’s very therapeutic for me. I sometimes post some of my thoughts on my twitter. I really need an audience lol.
– Generally where do you lean politically? Is it every man for himself? Should people be pragmatic? Does the government need to step in and help people?
I’ve tried to get into politics more because I might seem ignorant since I have no political views. I see pros and cons in everything and it’s really hard for me to decide what is the best. I somewhat agree with every side. I could say I’m libertarian because I value freedom a lot, but I don’t really know.
– Does it matter if something is factually correct for you to believe in it?
Depends. I won’t believe in something like flat earth but not everything can be scientifically proven. I can be a bit sceptical since science is constantly improving and literally anything can be proven wrong at any time.
– Are emotions/feelings an important aspect of your life? If so, then why?
This is a very tough question for me. I have no idea if emotions are just chemicals in the brain and the way I react to things or if it’s something deeper. I want to think it’s something deeper because it’s more optimistic and it could mean that feelings are something individual for everyone (and my therapist said so lol). I like to think that there is something in the world that is only for me. I got very obsessed with my individuality because I have a twin and we’ve been constantly compared to each other. People used to treat us as if we were one person. Now I have to be “different” in everything, so people will finally address me by my name and not per “twin” all the time.
I like to see myself as an individual being and I also see other people like that. I just love the idea that everyone is different but at the same time we’re all connected.
Are emotions actually important in my life? I guess so. I mean, I don’t really know, but my therapist told me that understanding my emotions is the key to curing my mental health issues and existential crisis. The thing is that I try to avoid my feelings as much as I can because when I’m left alone with my feelings I get depressed and start crying. Every night when I’m going to sleep, I start overthinking a lot since it’s the only thing I can do, so I started to distract myself from thinking by creating some fictional stories in my head.
A bit on my feelings because it’s really confusing to me:
I have trouble with recognizing my feelings and I sometimes have trouble being subjective. I can even be a people pleaser. I remember I had to write an essay for my english class about my thoughts on some quote and I first wrote what I think the author meant, then why it’s accurate and why it’s not and then in conclusion I wrote in which aspects I agree with the author and in which I disagree. Then my sister told me I did it wrong because I was supposed to write what the quote meant to me personally. But that was what it meant to me lol.
Whenever my therapist asks me about my feelings I always answer “I don’t know”. Because I just genuinely don’t know. Even when she once told me I can explain my emotions metaphorically, I still couldn’t. For some time I was thinking that I don’t feel emotions at all but my therapist told me I just feel differently than how I think I „should” feel. I have this weird inner view of how emotions “should” be and I’m quite anxious that it doesn’t actually work like that.
I can sometimes get really dramatic with my external emotions (shouting, crying, etc) but I never actually feel like that. I think that how I react is so different from how I actually feel. I never realise that I’m acting like I was angry in that exact moment but rather when people tell me that I was acting dramatic or something and after I’ll calm down I’m like “oh, I probably seemed angry at that time”.
– How attached are you to reality?
I don’t think I’m very attached to reality. I feel like I’m living in a simulation sometimes. The experience of life is so surreal, I can’t even explain it.
I daydream a lot. Maybe even too much. I can sometimes lay in my bed for hours doing nothing and just thinking and listening to music. I even wondered if I don’t have maladaptive daydreaming at some point. I sometimes get caught up in my thoughts and when somebody distracts me I can get frustrated. When I’m with other people I can sometimes zone out completely because, for example, I saw a plane and I started wondering how the hell does it exactly work that it can float in the air, completely ignoring the people I’m with.
– How thick skinned are you? Are you sensitive to criticism?
I am very sensitive actually. But I think I got more thick skinned over time. I used to be such a sensitive child that literally anything could make me cry. Not sure if I really got more confident or if it’s the medicine I’m taking for my anxiety tho.
I’m also a huge empath. Whenever I read a book or watch a film, I literally “transform” into the main characters and feel everything they feel. I remember I tried to read The Sorrows of Young Werther for school and I couldn’t finish it, I wasn’t able to handle this much negative feelings. I just read the summaries and hoped I’ll pass the test. I also started reading a manga called Chi no wadachi recently and it killed me.
I’m fine with constructive criticism. I like criticism if it’s intended to help me improve and I hate it when somebody does that just to sht on me. I can get aggressive sometimes when somebody criticizes me all the time, even when I improve my work and they still can see something bad about it. I really hate it because it doesn’t help me at all.
If I get insulted, I try not to care or not show that I care, but I actually deeply care at first. I usually forget about it and move on quickly but it’s still somewhat hurtful I guess.
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Completing the 2020 Bingo Challenge: Short Story Edition

Completing the 2020 Bingo Challenge: Short Story Edition
Completing the 2020 Bingo Challenge: Short Story Edition
One of the rules of the Fantasy Bingo Reading Challenge is that you can read an anthology or collection for any of the squares. I’ve always been a fan of short fiction, so I’ve occasionally used this rule to complete my Bingo Card (I used three collections outside of the Five Short Stories square last year, for example). When planning my card for the 2020 Bingo, I noticed that several of the squares fit quite well for some of the collections and anthologies I had (a Star Trek anthology for Exploration, books with colors or numbers in their names, etc.). “What if…” I wondered, “…I can do it for every square?”
Thus, my project is born: Complete my Bingo card using only books of short stories, following all the other rules of Bingo. I did not repeat a single author from one square to another, and I even made sure not to repeat editors, either.
Look on my Works, ye Mighty, and despair!
A brief aside before we start, some terms I use that some may not be familiar to some:
  • Anthology: A book of short stories by multiple authors, usually assembled by an editor whose name is attached to the book (i.e. The Book of Dragons edited by Jonathan Strahan)
  • Collection: A book of short stories by a single author (i.e. Kabu Kabu by Nnedi Okorafor)
  • Short Story Cycle: A book of short stories that has its own narrative (i.e. Moral Disorder by Margaret Atwood). Some similarities with “interlinked collection,” “mosaic novel,” and “fix-up novel” (The Martian Chronicles by Ray Bradbury being a famous example of the latter).
  • Reprint and Original: Many anthologies/collections reprint stories published previously (reprint) vs. originally written for the book in question (original). Some collections will mix it up (such as a reprint collection with one original story to encourage readers who have read the others to pick up the new book).
Why? What did I hope to accomplish by doing this particular short fiction challenge? Some of my friends will complain about the Five Short Stories square (especially the hard mode requirement to read a book), and I wanted to spite them a little bit and also demonstrate that there’s a lot of different and interesting books out there to read in that format!
Planning: The hardest thing about this was the original planning, as several books I thought would be an easy match for the square didn’t work because another anthology I planned to use already included that author, so I had to dig a bit deeper to find something that didn’t repeat any authors. Also, in past Bingo Challenges, my cards are usually quite fluid as I shift books around throughout the year. Because of all the authors I was juggling, I couldn’t easily do that (though it was vastly easier to do with collections instead of anthologies, for obvious reasons).
Numbers: For this card, I officially read 32 books for the 25 squares: One of those books was quite short, so I read an additional three to meet the length requirement. For the original Five Short Stories square, I decided to be obnoxious and read five collections. These 32 books included 1 short novel (included in one of the collections), 8 novellas, 106 novelettes, 498 short stories, and 3 poems for a total of at least 2,739,975 words (the rough equivalent of reading the first nine novels of The Wheel of Time). I read 189 different authors. In addition to the 32 books above, I read 15 “pre-Bingo” books—books I felt I needed to read to be able to read the anthology or collection I actually used for my Bingo Card. Fifteen of the 32 books were ones I already owned. Nine books I checked out from the library. Five books I bought specific for Bingo, and three books were free (gifts or free online).
1. Novel Translated from Its Original Language:
There Once Lived a Woman Who Tried to Kill Her Neighbor's Baby: Scary Fairy Tales by Ludmilla Petrushevskaya (reprint collection)
  • Reason: I couldn’t read my first choice so I looked through my TBR list to find another SF/F collection I thought would be a translation. It also won the 2010 World Fantasy Award for Best Collection.
  • Favorite Story: “My Love” as I really liked how the characters grew apart and then back together again.
  • Recommended: Only if you like short depressing literary fiction that mostly hinge on dreams and ghosts.
  • Hard Mode: Yes, Pretrushevskaya is a woman.
  • Other Options: I really wanted to read Xia Jia’s A Summer Beyond Your Reach, but she had a story in another anthology I read. I also considered one of Ken Liu’s Chinese SF/F anthologies (Invisible Planets or Broken Stars). I read Jurado & Lara’s Spanish Women of Wonder last year. Etgar Keret’s Fly Already, Kenji Miyazawa’s Once and Forever, or Yoko Ogawa’s Revenge also looked promising.
2. Setting Featuring Snow, Ice, or Cold:
Frozen Fairy Tales edited by Kate Wolford (original anthology)
  • Reason: I literally searched snow and anthology and this was one of the early options.
  • Favorite Story: tie between “The Stolen Heart” by Christina Ruth Johnson and “Death in Winter” by Lissa Sloan; the first just felt great, and the second has this haunting feel I loved.
  • Recommended: Yes; a good selection of fairy tale-inspired stories. Read during the summer, though, it felt really cold.
  • Hard Mode: Yes, every story is in a snowy or cold setting.
  • Other Options: I’m kind of mad that I didn’t come across Snowpocalypse: Tales of the End of the World (edited by Clint Collins and Scott Woodward) until after I read my original choice. I like silly titles.
3. Optimistic Spec Fic:
Ingathering: The Complete People Stories by Zenna Henderson (short story cycle, 1 original to this book)
  • Reason: I’ve had a copy of this book for a couple years, and I needed an excuse to read it. It’s actually an omnibus of Henderson’s two People collections plus some previously uncollected stories. I’ve read the first People collection (Pilgrimage) several times people).
  • Favorite Story: I’ll say “Ararat” here, but the first six stories (the original Pilgrimage collection) are amazingly wonderful and heartwarming.
  • Recommended: Yes, absolutely. Zenna Henderson deserves more attention.
  • Hard Mode: Yes. <3
  • Other Options: If Henderson’s book hadn’t worked out, I considered Heiroglyph (edited by Ed Finn & Kathryn Cramer) and Salena Ulibarri’s two Glass and Gardens anthologies (Solarpunk Summers and Solarpunk Winters), but that would’ve required juggling my card.
4. Novel Featuring Necromancy:
The Book of the Dead edited by Jared Shurin (original anthology)
  • Reason: I asked Jared Shurin (pornokitsch) if he knew of any anthologies with a necromantic theme, and he rattled off five or six options before remembering that he himself had edited an anthology about mummies. I don’t know how you forget something like that.
  • Favorite Story: tie between “Old Souls” by David Thomas Moore and “Three Memories of Death” by Will Hill (non-SF/F)
  • Recommended: Yes, but it’s out of print! Several of the stories were reprinted in Paula Guran’s The Mammoth Book of the Mummy, including “Three Memories of Death.”
  • Hard Mode: No, through several do have mummies as protagonists.
  • Other Options: I was considering Brian McNaughton’s The Throne of Bones since the description seemed rather death-magicky. At this point, the Paula Guran anthology above would probably be a good choice.
5. Ace/Aro Spec Fic:
Life Within Parole, Volume 1 by RoAnna Sylver (collection, mix of reprint and original)
  • Reason: A friend found this on Claudie Arseneault’s asexual recommendations website, which was good, but I felt I needed to read her novel Chameleon Moon first to understand the collection. I’m glad I did.
  • Favorite Story: Reluctantly “Phoenix Down” as it felt the most self-contained.
  • Recommended: Only if you loved Chameleon Moon, which I only recommend if you like a sample of the writing. It’s amazingly diverse in representation, but my frustrations with the novel related more towards its pacing and worldbuilding. Plus I don’t like superheroes.
  • Hard Mode: Yes, half the stories have an asexual or aromantic protagaonist.
  • Other Options: My original choice was Common Bonds: An Aromantic Speculative Anthology edited by Claudie Arseneault, C.T. Callahan, B.R. Sanders, and RoAnna Sylver, a Kickstarter-funded book. However, due to the pandemic, the publication was pushed back, and I didn't want to wait any longer. I also seriously considered Chuck Tingle’s Not Pounded in the Butt.
6. Novel Featuring a Ghost:
Ghost Stories of an Antiquary by M. R. James (collection, mix of reprint and original)
  • Reason: I just searched ghost anthology, and this was a top result. I have actually never heard of M. R. James before this year, but I gather he’s a huge influence since he’s written so many ghost stories.
  • Favorite Story: “The Mezzotint” as it was the one that creeped me out the most.
  • Recommended: Yes, but only if you realize that it’s got an older style to them (since this book came out in 1904), and that most of these stories won’t creep you out in the year 2020.
  • Hard Mode: No, the ghosts are either antagonists or obstacles.
  • Other Options: I actually don’t know, I stopped searching after I found the book. M. R. James does have 3 more collections of ghost stories, though (all of 4 of which have been gathered in Collected Ghost Stories by M. R. James).
7. Novel Featuring Exploration:
No Limits edited by Peter David (original anthology)
  • Reason: I read the first few Star Trek: New Frontier novels back in the late 1990s, but never finished it, so I got all the books for a personal readthrough. Star Trek is by definition perfect for the exploration square, so I read the books. However, I was reading them in publication order, so I had to read the first 14 books before I could get to the anthology!
  • Favorite Story: “Waiting for G’Doh, or, How I Learned to Stop Moving” is a rather funny story about the security officer Zak Kebron at the beginning of his career.
  • Recommended: Yes, but only if you’ve read at least the first six Star Trek: New Frontier novels (all the stories are set before the first book, but most of the characters aren’t really established until you’ve read the first four).
  • Hard Mode: Maybe, nearly all the stories feature exploration, but the plots are often about backstories for the main characters of the series.
  • Other Options: I considered James Alan Gardner’s Gravity Wells (his novel Expendable is a perfect exploration book, so I was hoping the collection would work). Past anthologies that would probably work is Federations edited by John Joseph Adams, Galactic Empires edited by Neil Clarke, and maybe Alastair Reynolds’s Deep Navigation or Galactic North.
8. Climate Fiction:
Everything Change: An Anthology of Climate Fiction edited by Manjana Milkoreit, Meredith Martinez, & Joey Eschrich (original anthology)
  • Reason: A friend recommended to me as this theme was getting difficult for me to find, as all my other options included stories by authors I had to read for other squares. This book was produced from a short story contest run by the Imagination and Climate Futures Initiative at Arizona State University and judged in part by Kim Stanley Robinson.
  • Favorite Story: “On Darwin Tides” by Shauna O’Meara, which follows a “sea gypsy” in Malaysia as she struggles in this new dystopian future.
  • Recommended: Only if the topic appeals to you—because it was a contest, the stories are mostly from amateur writers and the quality mostly shows. It’s free online, though, and there’s a second book, Everything Change II, which I’ve been told is better.
  • Hard Mode: No, most of them are apocalyptic or post-apocalypse.
  • Other Options: My original choice was Drowned Worlds edited by Jonathan Strahan, but there’s also Loosed upon the World: The Saga Anthology of Climate Fiction edited by John Joseph Adams, and I imagine a lot of solarpunk-themed books could work for this, too.
9. Novel with a Color in the Title:
The King in Yellow by Robert W. Chambers (original collection)
  • Reason: I already had it (it’s available on Project Gutenberg)
  • Favorite Story: “In the Court of the Dragon” which felt like one of the creepier stories to me.
  • Recommended: Honestly, no. Only half the stories are SF/F, the other half are all stories about bohemian artists in Paris. This book is known for the stories involving “The King in Yellow” play, but they didn’t really work for me.
  • Hard Mode: Yes.
  • Other Options: I considered using Judith Tarr’s Nine White Horses, the anthology Blackguards, Jack Vance’s Wild Thyme, Green Magic, Walter Jon Williams’s The Green Leopard Plague and Other Stories, Black Feathers edited by Ellen Datlow, or How Long ‘til Black Future Month? by N. K. Jemisin.
10. Any Fantasy Book Club Book of the Month OR Fantasy Readalong Book:
Sooner or Later Everything Falls into the Sea by Sarah Pinsker (reprint collection, 1 original to this book)
  • Reason: The Goodreads Book of the Month club picked it for June this year. I did own or read all the other options that were available at the time.
  • Favorite Story: tie between “And Then There Were (N-One)” and “In Joy, Knowing the Abyss Behind”
  • Recommended: Yes! There’s only one story I would rate less than 4 stars in this book.
  • Hard Mode: Yes, I actually led the discussion for the book in June.
  • Other Options: We don’t read very many collections or anthologies for the Fantasy book clubs, so my only choices were Fritz Leiber’s Sword and Deviltry (Classics club, November 2017), Mahvesh Murad & Jared Shurin’s anthology The Djinn Falls in Love and Other Stories (RAB, May 2018), and we currently have Daniel M. Lavery’s The Merry Spinster for FIF (September 2020). There’s also the Dresden Files read-along which did two of Butcher’s collections, and the Uncanny Magazine Disabled People Destroy Science Fiction/Fantasy read-along (those would’ve been rereads for me, though).
11. Self-Published Novel:
In the Stars I'll Find You & Other Tales of Futures Fantastic by Bradley P. Beaulieu (mostly reprint collection)
  • Reason: I already owned this, it was basically the oldest self-published collection I had.
  • Favorite Story: tie between “Flashed Forward” and “No Viviremos Como Presos” – both dealing with a lot of emotions.
  • Recommended: Yes, the only other stories by Beaulieu I’ve read were 2 co-written novellas, and I felt this collection was better. I haven’t read his novels so I can’t compare.
  • Hard Mode: Yes, at the time of this post, it has 18 ratings on Goodreads.
  • Other Options: There are hundreds of options, but I could’ve read Lawrence M. Schoen’s recent collection The Rule of Three and Other Stories (his other collection, Buffalito Bundle, has stories featuring The Amazing Conroy and are lots of fun.)
12. Novel with Chapter Epigraphs:
Not the End of the World by Kate Atkinson (short story cycle)
  • Reason: This was another difficult square, as I knew a short story cycle had the best chance of having epigraphs before every story. I finally found this book by Kate Atkinson. (Ironically, I realized later that my Politics choice also had epigraphs.)
  • Favorite Story: “The Cat Lover,” I guess.
  • Recommended: No, unless you like literary magical realism where stories just kind of end.
  • Hard Mode: No, all of the epigraphs are quotes from Latin or Shakespeare.
  • Other Options: Apparently, Retief! by Keith Laumer would’ve worked from my options. It really is a difficult thing because in a collection some authors might have an epigraph for a story, but not all or most of them.
13. Novel Published in 2020:
Shadows & Tall Trees 8 edited by Michael Kelly (original anthology)
  • Reason: I picked this off Locus Magazine’s forthcoming books list and bought it.
  • Favorite Story: tie between “The Glassy, Burning Floor of Hell” by Brian Evenson and “Child of Shower and Gleam” by Rebecca Campbell – the first is creepy as hell, and the second is strange and lovely.
  • Recommended: Yes, if you’re comfortable with weird or darker fantasy stories.
  • Hard Mode: No, Michael Kelly has edited several anthologies before.
  • Other Options: I had planned to use The Hidden Girl and Other Stories by Ken Liu, but I needed Liu for another square. I also considered A Phoenix First Must Burn edited by Patrice Caldwell, and I had three anthologies from Joshua Palmatier I could’ve used (Apocalyptic, Galactic Stew, and My Battery is Low and It is Getting Dark) but I needed another Palmatier anthology for another square. Any of the various “Best Science Fiction or Fantasy of the Year” type anthologies that came out in 2020 would’ve been appropriate as well (Jonathan Strahan, Neil Clarke, Rich Horton, Paula Guran, Ellen Datlow, Bogi Takács, and Jared Shurin all edit “Year’s Best” or “Best of Year”-style anthologies).
14. Novel Set in a School or University:
Sideways Stories from Wayside School; Wayside School is Falling Down; Wayside School Gets a Little Stranger; and Wayside School Beneath the Cloud of Doom by Louis Sachar (short story cycles)
  • Reason: Strangely, one of the first books I thought of for this square. Plus, the most recent book had come out. I decided to read all four as each book is really short (only about 20,000 words per book). Only the first one or two was a reread.
  • Favorite Story: None, they’re all funny and good.
  • Recommended: Yes, absolutely. Maybe better for kids, but I smiled a lot while reading these.
  • Hard Mode: Yes.
  • Other Options: Witch High edited by Denise Little would’ve been good, but included a story by Esther M. Friesner whom I needed for another square. A Kickstarter-funded anthology, Schoolbooks & Sorcery edited by Michael M. Jones, would’ve worked, but it’s not out yet.
15. Book About Books:
Ex Libris: Stories of Librarians, Libraries, and Lore edited by Paula Guran (reprint anthology)
  • Reason: This was another difficult square because did you know that searching “book anthology” does not narrow things down at all?? I finally hit upon just searching “library anthology” which did the trick, but this one anthology predetermined at least 3 other squares because of its authors (I couldn’t use Ken Liu, Xia Jia, Amal El-Mohtar, and others because they were all in here).
  • Favorite Story: tie between “In the House of the Seven Librarians” by Ellen Klages and “Summer Reading” by Ken Liu. Klages’s story about “feral librarians raising a child” is just wonderful, and Liu’s is very, very sweet.
  • Recommended: Yes, absolutely. This also contains Scott Lynch’s excellent “In the Stacks” and I will never not say no to Kage Baker.
  • Hard Mode: No, libraries are an integral part of most of the stories.
  • Other Options: *gestures wildly* I don’t know!
16. A Book That Made You Laugh:
Explaining Cthulhu to Grandma and Other Stories by Alex Shvartsman (mostly reprint collection)
  • Reason: Alex Shvartsman edits an annual humorous SF/F anthology series called Unidentified Funny Objects (the 8th volume is out this fall), but even though I have them all, they all shared authors with other squares until I remember that I had two collections from Shvartsman, and this was one of them.
  • Favorite Story: “Things We Leave Behind” is a semiautobiographical story about books. Absolutely lovely.
  • Recommended: Yes, but I understand most won’t share his sense of humor. He also tends to write very short stories, so don’t read these for immersion.
  • Hard Mode: Yes.
  • Other Options: Books making you laugh is so subjective, so any author you like probably has something that could work (you only need one story to make you laugh after all). John Scalzi has a couple collections that could work, Connie Willis has a great sense of humor.
17. Five Short Stories:
  • Reason: To be obnoxious I decided to read five collections for this square (instead of just five short stories). I decided to read 5 that I already owned by women/non-binary people. I picked semi-randomly (Hand and McHugh), by older ones I owned (Wurts), and by a couple new ones I was excited about (Datt Sharma and Slatter).
Not for Use in Navigation: Thirteen Stories by Iona Datt Sharma (reprint collection)
  • Favorite Story: “Quarter Days” is a full third of this book, and it’s an interesting post-WWI setting with magic.
  • Recommended: Yes, they have an interesting outlook, and one of the stories has an Indian wedding in space.
Saffron and Brimstone: Strange Stories by Elizabeth Hand (reprint collection, 1 original)
  • Favorite Story: “The Least Trumps” should appeal to the booklover in every single one of us.
  • Recommended: These are definitely interesting stories, but I’d only recommend for “The Least Trumps” and “Cleopatra Brimstone.” She’s got a poetic style here that didn't always work for me.
After the Apocalypse by Maureen F. McHugh (reprint collection, 2 original)
  • Favorite Story: “Special Economics” which follows a Chinese girl trapped into working at a factory.
  • Recommended: Yes, though it’s also one of the few themed collections (versus themed anthologies) that I’ve seen, with every story dealing with apocalypse in some way.
Sourdough and Other Stories by Angela Slatter (mostly original collection/short story cycle)
  • Favorite Story: “Gallowberries” which features Patience from the Tor.com novella Of Sorrow and Such as a young woman.
  • Recommended: Yes, absolutely. Every story is in the same setting, and they all interconnect with each other. I can’t wait to read more from Slatter (I already have The Bitterwood Bible and Other Recountings).
That Ways Lies Camelot by Janny Wurts (mostly reprint collection)
  • Favorite Story: tie between “Wayfinder” and “That Way Lies Camelot” – both are great stories, the first a coming of age, and the other is bittersweet.
  • Recommended: Yes, definitely. In addition to the above, “Dreambridge” is also awesome. I wasn’t as fond of the three ElfQuest stories, but it was interesting to read Wurts’s 4 Fleet stories as I never realized she ever wrote anything close to straight science fiction.

  • Hard Mode: … Yes?
  • Other Options: This is the most open-ended square for this particular Bingo Card, especially since at the time of this post, I own 121 unread anthologies and collections.
18. Big Dumb Object:
Alien Artifacts edited by Joshua Palmatier & Patricia Bray (original anthology)
  • Reason: This was one of the books that made me realize I could do an all-short-story card. I thought the anthology’s theme would perfectly encapsulate the square.
  • Favorite Story: “Me and Alice” by Angela Penrose – a kid finds a strange artifact while digging at a site.
  • Recommended: Yes, though a few stories weren’t to my taste.
  • Hard Mode: No, while the classical BDO is present in several stories, most would fall in the wider definition being used for Bingo.
  • Other Options: I’m at a loss here, as I never looked for more after I found this.
19. Feminist Novel:
Skin Folk by Nalo Hopkinson (collection, mix of reprint and original)
  • Reason: I owned this already from a Humble Bundle.
  • Favorite Story: “And the Lillies-Them A-Blow” – a woman is inspired to reconsider her life.
  • Recommended: Yes.
  • Hard Mode: Yes, Hopkinson is a Jamaican-born Canadian.
  • Other Options: I had a few other books from the same Humble Bundle called Women of SFF. Most of them would’ve worked.
20. Novel by a Canadian Author:
The Very Best of Charles de Lint by Charles de Lint (reprint collection)
  • Reason: It appears I picked this up in 2014 for some reason (I’ve never read de Lint before this year). But he’s Canadian!
  • Favorite Story: There are honestly too many to say, but I’ll say “In the Pines” for now.
  • Recommended: Yes, yes, yes. I basically added everything he’s written to my TBR.
  • Hard Mode: Maybe, it was originally published in 2010 with Tachyon Publications, but in 2014 it was reprinted by de Lint’s Triskell Press (which is the copy I have), which would count.
  • Other Options: A friend sent me an anthology edited by Dominik Parisien called Clockwork Canada: Steampunk Fiction, though I would’ve had to juggle square to get it to work. Nalo Hopkinson is Canadian, so Skin Folk would’ve worked, too. Jo Walton has a collection called Starlings.
21. Novel with a Number in the Title:
Nine White Horses: Nine Tales of Horses and Magic by Judith Tarr (reprint collection)
  • Reason: At the time, the only collection I had with a number that I could use.
  • Favorite Story: “Classical Horses” – an absolutely lovely story that mixes real life and fantasy, and appeals to my Classics nerd background.
  • Recommended: Yes! Tarr is a wonderful writer.
  • Hard Mode: Yes.
  • Other Options: I could’ve used The Golem of Deneb Seven and Other Stories by Alex Shvartsman, Nine Hundred Grandmothers by R. A. Lafferty, and The Rule of Three and Other Stories by Lawrence M. Schoen.
22. Romantic Fantasy/Paranormal Romance:
Once Upon a Kiss: 17 Romantic Faerie Tales published by Anthea Sharp (original anthology)
  • Reason: My original first choice was a bust when I realized quickly that the stories involved love, but were not romance stories. This was an emergency backup as I was nearing the end of reading for this Bingo Challenge.
  • Favorite Story: “The Bakers Grimm” by Hailey Edwards, which is a sweet little story about baking under pressure.
  • Recommended: No. 99% of the stories are direct appeals to try to get you to buy their books. Many of the stories don’t even really feel like short stories. I had a friend who only read urban fantasy who was adamant that she hated reading short stories and I couldn’t figure out why. Now I do. Many of these read more like vignettes than proper short stories.
  • Hard Mode: No, the HEA Club hasn’t done any anthologies or collections for me to participate in.
  • Other Options: My backup would’ve been to find some paranormal romance series and look for a collection or anthology in that world, but it would’ve involved more prep reading.
23. Novel with a Magical Pet:
No True Way: All-New Tales of Valdemar edited by Mercedes Lackey (original anthology)
  • Reason: Valdemar is an easy setting to choose for this square, and even though I had stopped reading the yearly anthologies (they’re up to 13 or 14 now), I decided to grab the 8th anthology from the library.
  • Favorite Story: “A Dream Reborn” by Dylan Birtolo, a beggar girl with a gift grows a conscience.
  • Recommended: Only if you’re a Valdemar fan and you literally can’t get enough of the world (I’d recommend sticking with the novels up until the Collegium Chronicles).
  • Hard Mode: Yes, Companions can usually speak telepathically with their Heralds and a select few others.
  • Other Options: I’m sure there’s a themed anthology perfect for this, but I honestly don’t know offhand if there is one, since this was an easy choice for me.
24. Graphic Novel (at least 1 volume) OR Audiobook/Audiodrama:
Eerie Archives, Volume 1 edited by Archie Goodwin (original comic book anthology)
  • Reason: I searched “comics anthology” into my library’s digital catalog. This showed up.
  • Favorite Story: No real favorite, but I guess “Flame Fiend” by Eando Binder, about a man desperate to avoid fire.
  • Recommended: Yes, if you’re interested in 1960s horror comics anthology magazines. Each story is about 6-10 pages long, but many felt like cheesy horror to my modern eyes.
  • Hard Mode: Maybe, each story is standalone, but this book contained the first 5 issues of Eerie comics. I’m going with No because Eerie is a running series.
  • Other Options: I considered The Escapist (inspired from Michael Chabon’s The Amazing Adventures of Kavalier and Clay), a Mouse Guard comics anthology, and Thrilling Adventure Hour before finding Eerie. I also though the Eisner Awards were a good source of finding potential comics anthologies, since that's a category.
25. Novel Featuring Politics:
Retief! by Keith Laumer (reprint collection)
  • Reason: I knew the main character was a problem-solving diplomat, so this was an easy pick.
  • Favorite Story: “Diplomat-at-Arms” which is a great story of following an experienced old man on a mission, and “Cultural Exchange,” a really funny bureaucratic tale (and this one is free on Project Gutenberg).
  • Recommended: Yes, with reservations. They’re all stories from the 1960s, they’re bureaucratic galactic pulp fiction where Retief always knows better than his bumbling superiors and women only show up in secretarial or minor support roles. The stories also feel a bit repetitive as a whole, so if you read these, space it out.
  • Hard Mode: No, several of the stories feature royalty.
  • Other Options: I felt like this was a nebulous category, but offhand, I’d suggest Do Not Go Quietly: An Anthology of Victory in Defiance edited by Jason Sizemore & Lesley Conner and Resist: Tales from a Future Worth Fighting Against edited by Gary Whitta, Christie Yant, and Hugh Howey for two explicitly political anthologies, and maybe something like Harry Turtledove’s interlinked collection Agent of Byzantium for an alternate history take on a Byzantine special agent.
Favorites
  • Favorite collections: The Very Best of Charles de Lint by Charles de Lint, Ingathering: The Complete People Stories by Zenna Henderson, Sooner or Later Everything Falls into the Sea by Sarah Pinsker, Sourdough and Other Stories by Angela Slatter, and Nine White Horses by Judith Tarr
  • Favorite anthologies: Ex Libris edited by Paula Guran and The Book of the Dead edited by Jared Shurin
  • Favorite overall short stories: In addition to my favorite stories in the books above, I’d also give a special place to The Very Best of Charles de Lint (“In the Pines,” “In the House of My Enemy,” “A Wish Named Arnold,” “Mr. Truepenny's Book Emporium and Gallery,” “Pixel Pixies,” “The Badger in the Bag,” “Timeskip,” “Into the Green,” “Birds,” and “Pal o' Mine”) and to Sooner or Later Everything Falls into the Sea (“And Then There Were (N-One),” “In Joy, Knowing the Abyss Behind,” “Our Lady of the Open Road,” “Wind Will Rove,” and “A Stretch of Highway Two Lanes Wide”).
  • An Aside: My father died suddenly in the middle of my reading for this challenge. The books I read from Zenna Henderson and Charles de Lint really helped me during this time, with de Lint’s book making me cry multiple times (in a good way).
The End
Sometime last year after touting one short story or another to my friends, I said, “Oh, I don’t think I read *that* much short fiction,” and they all looked at me funny for some reason.
Oh. Never mind. I get it now.
All joking aside, I’ve read SF/F magazines off and on growing up, and I always enjoyed the occasional Year’s Best Science Fiction anthology from Gardner Dozois, and Robert Silverberg’s Legends anthologies were rather formative to my growth as a fantasy reader (that’s where I read George R.R. Martin and Robin Hobb for the first time). Some of my favorite writers have done amazing short stories (in fact, I think I like Alastair Reynolds better at the short length than the novel; witness my love for his story “Zima Blue”!). Even if you don’t read more than the usual five short stories for the Bingo Challenge, please consider branching out! I hope I’ve shown with my own card how much variety is out there.
If you’re not sure where to start, your favorite author may have some short stories of their own, either in an anthology or one of their own collections. Mary Robinette Kowal is one of my favorites, and I loved her collection Word Puppets. If they’re prolific enough, they may have a “Best of” book, like The Best of Connie Willis or The Very Best of Kate Elliott. Trying one of the Year’s Best anthologies I mention under #13, Published in 2020, is also a fun way to explore short fiction.
And even though I didn’t read any for my Bingo Challenge, there are tons of SF/F magazines out there to read from on a daily, weekly, monthly, bimonthly, or quarterly schedule. My personal recommendation is for Asimov’s SF, FIYAH, and Fantasy & Science Fiction for subscription-only options, and places like Clarkesworld, Uncanny, Fireside, and Tor.com for free online stories. There are also some great magazines/sites like Beneath Ceaseless Skies and Daily Science Fiction.
Looking at award lists is a fun way to get started, as most of the major awards also have short fiction categories. Find out where they were published and try out a magazine issue or an anthology.
I’ll end this with the following:
  • an interview by our own tctippens with Jonathan Strahan over at the Fantasy Inn Podcast where they discuss not only his new anthology The Book of Dragons, but reading short fiction in general.
  • Editor Jared Shurin ( pornokitsch ) just came out with The Best of British Fantasy 2019 this past June: check it out!
  • One of my favorite short story writers is John Wiswell, and I’d like to link two of his wonderful stories: "Tank!" follows a sentient tank attending its first SF convention, and "Open House on Haunted Hill" is a very sweet story about a haunted house trying to get sold to a new family. Both stories are quite short and you can read each in just a few minutes.
  • And finally… this is what the internet should be: Naomi Kritzer's "Cat Pictures Please"
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Gravity's Rainbow Reading Group | Sections 66-69 | Week 20

Alright, home stretch foax. This section's a beast. Hang in there and keep sharing your insights! All together now...
Section 66
"You will want cause and effect. All right." (663) What an opening - it's almost confrontational, mocking our need for clear narrative structure and causality.
We discover that Thanatz was tossed overboard in the same storm that sent Slothrop off the Anubis and off on his adventure with Frau Gnahb. Thanatz is rescued by someone even stranger - an unnamed Polish undertaker (think on the etymology of that word) who happens to be a lightening aficionado. I'll stop here and comment that, earlier, when Slothrop fell into the water before and after getting on the Anubis, it brought to mind the river Styx in Hades - another underworld. It washes clean one's identity and memory. Makes you forget who you are. And there's traditionally a ferryman, Charon, to help people cross it. Can't help but think that's who saved Thanatz here, carrying him from the land of the dead to the land of the unliving, the preterite detritus of WWII.
(An aside: Speaking of Styx, has anyone listened to Mr. Roboto recently? That song has some Gravity's Rainbow vibes.)
Our undertaker here is inspired by the Franklin myth and is trying to get struck by lightening in order to experience that "singular point, [that] discontinuity in the curve of life" (664) passing from a rate of change of positive infinity to one of negative infinity in the blink of an eye. Seems there's something of a conspiracy among those who have been through this point of infinite inflection - a secret society of lightening heads who are aware not of another reality but of a new layer of reality laid on top of our own. Insight into a higher level of reality, of hidden systems.
We get an example of the content of the lightning-aficionado's publication A Nickel Saved and it's supposedly full of coded messages for Those Who Know, each part being a veiled reference to other topics that contain the true meaning, requiring a true paranoid's ability to see (make?) connections. For example, there are repeated mentions of April, Easter, and Spring - the season of rebirth. To an Amperage Contest and lightbulbs failing - Byron the Bulb's attempts to strike back, perchance? A screen-door salesman - what is a screen door except a permeable interface?
But our undertaker isn't interested in secret knowledge - he just wants to be a better businessman - and he deposits Thanatz on the shore and rows back off into the storm. Here, Thanatz meets a group of 175s - men formerly imprisoned in the Dora camp for being gay - who have formed their own solitary community in this isolated section of northern Germany.
I suspect some of this imagery may initially shock readers - concentration camp victims who want to return to their prison? Who set up their own 175-Stadt to recreate the conditions of their imprisonment? But think about it - just last section, we saw Katje, someone who's been used and abused by those in power, balk at the thought of being truly free because she had become dependent on systems of control. She had integrated those control systems as part of her identity, her sense of self. "She needs the whip," Blicero wrote of her (662). Just like Katje, these men became so conditioned to depend on a system of total control and rigid social hierarchies that they don't know how to function without it. Their 175-Stadt doesn't seem like such a ridiculously dark, inappropriate caricature now, does it? Because isn't that a central point of this book - that everyone has been conditioned to need control, to need Their System, to not know how to function without it? Slothrop was our perfect everyman from within this system, and look at what it took for him to actually be free (and even then, the ideal of America still has a colonial outpost in his head). But in their 175-Stadt, these men at least control their system of control. They built it, they staff every level of it, and it's entirely under their control. An isolated state, separate from the broader System. But is there a ruler in this system, a king? No, simply the figment of Blicero. His name, his specter, looming over everything. A system of control with no real king? We've seen that before.
Not only that, but this micro-society is not based strictly on the SS command from Dora, but what the prisoners inferred about the rocket command structure in the Mittelwerke. So even their "recreation" of their imprisonment is an approximation of a different system. I'd also stop here to comment that, is this imagery really as ridiculous/insane as it first appears? I'd say no, since the queeS&M community absolutely took inspiration from Nazi uniforms as symbols of dominance and control, repurposing it into fetishwear. But then, as in this 175-Stadt, the control is by choice, as is the submission. As we've seen elsewhere in this book (Blicero's Oven-State), turning submission into a fetish can be a form of rebellion, since it subverts Their means of control (fear of pain) and turns it into a source of pleasure. Is it truly control if you're choosing it? Enjoying it? No one said this book asks easy questions of its readers...
Thanatz keeps looking for answers, and gets swept up amidst the vast swarms of preterite Displaced Persons being shifted across the zone. What's concerning is that these supposedly-free, albeit displaced, people, are shuffled without purpose across the Zone, with minimal food, water, or medicine, being "herded into wire enclosure[s]" and shipped around in freight cars, "deloused, poked, palpated, named, numbered, consigned, invoiced, misrouted, detained, ignored" (669). It's almost impossible to miss the painful similarity here to the treatment of Jews and other victims of the Holocaust. Only here the mistreatment isn't out of some pathological hatred, simply a system without a place for so many people, and without the committed resources to actually, effectively help them. The thought is unsettling, since we like to imagine that only Naziesque hatred could prompt such brutal mistreatment, not apathy.
Finally, he's rescued by the Schwarzkommando thanks to his knowledge of Blicero and the firing of Rocket 00000. Here, we learn a bit more about what happened that day. Looking into Blicero's eyes, he saw windmills reflected, though none were in the area. Another four-way mandala, like we saw last week with Slothrop. Thanatz isn't in great mental shape by this point, and he's beginning to equate Gottfried and Bianca both as his children. Why? Because he felt some sense of responsibility to them? Because he failed them? Either way, the Schwarzkommando learn all they need from him about that fateful noon on the Heath, though we do not. The section ends with a simple touch of hands between Enzian and Christian, a moment of connection, of trust.
Section 67
Man, how do I even start summarizing this complete doozy of a section? As Weissenburger writes, "In this episode the narration begins to fragment." (344) Ya don't say... Well, here goes.
We being one serious trip of a section with Slothrop, as part of a rather unimpressive team of quasi-superheros (the "Floundering Four") fighting against evil ol' Broderick Slothrop amidst the factory-state (a Metropolis-like iteration of the Rocket-State with movable buildings?!). Broderick, in the role of comic book supervillain, keeps trying to off Slothrop, but our hero has a lucky streak just wide enough to keep him alive.
Right off the bat, we see another image of the chessboard - the whole factory-state is laid out in a grid, and it's all A Game of Chess, as der Springer already informed us, and our movements are limited. Crucially, "Your objective is not the King - there is no King - but momentary targets such as the Radiant Hour." (674) How can you win at chess when there's no King? How can the land be restored and the cycle renewed if there's no King to die and be replaced?
Slothrop is joined by a truly slipshod lot: Myrtle Miraculous, the only one who seems to have actual powers; Maximilian, a suave Black club manager who can flow with all natural rhythms and thus able to navigate any scenario with ease, and Marcel, a mechanical chess player (an embodiment of the Mechanical Turk, but crucially, one without the hidden human operator. No hidden Grandmaster lurking inside Marcel here - nope, this android's the real deal.
This section includes one of my favorite quotes from the book: "Decisions are never really made - at best they manager to emerge, from a chaos of peeves, whims, hallucinations and all-round assholery." (676) I can think of several times where I've been able to relate to that scenario all too well.
Their chances for success and failure are equal, but these opposing odds don't cancel each other out - instead, the two opposing forces just create a "loud dissonance". The crew undertake some truly hallucinatory adventures through the Racketen-Stadt which I will not attempt to summarize, as that would be an exercise in futility. But we are treated to flashes of Slothrop, "Broderick and Nalline's shadow-child, their unconfessed, their monster son," (677) getting locked in an icebox, piloting a mobile building through the grid-streets of the factory-state like a giant chess piece. One line really jumps out at me, here, that I think is important: "Their struggle is not the only, or even the ultimate one. Indeed, not only are there many other struggles, but there are also spectators, watching, as spectators will do, hundreds of thousands of them." (679) Makes me think of the "glozing neuters," mentioned earlier - of the masses of people who are just trying to live their lives, neither part of any conspiracy nor actively aware of being subject to one. Must be nice. At the same time, the idea of other, simultaneous struggles, is noteworthy - it brings to mind the concept of intersectionality, and how people realizing their unique, individual struggles share common sources, and common traits, which they can work together to fight.
We end this sub-section in an arena for these exact masses, where our heroes are on a stakeout, with Slothrop in full drag waiting in the Transvestites' Toilet for a message.
You may be wondering about the multiple instances of cross-dressing, in various iterations, throughout the book. Slothrop in drag and Blicero in a wig and merkin come to mind. One aspect, I'd say, is that it reflects a blending of two (as far as society is generally concerned) binary opposites. A crossing-over, a transgression against the status quo and an option other than 1 or 0.
Eliot, in his Notes on The Waste Land, wrote,
"Tiresias, although a mere spectator and not indeed a 'character', is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem." (Emphasis mine).
Cue Crutchfield the Westwardman's world of only one of everything. Likewise, the women in Gravity's Rainbow often blend together, share traits or imagery. So do the men. The joining of the two sexes in Blicero, as well as Slothrop here at the end, is significant.
The Low-Frequency Listeners
The introduction here of the character of Rohr, the Keeper of the Antenna, specifically as a Jehovah's witness, was odd. It's such a specific subsect of Christianity. Then we see - he heard a man on the radio, dying, asking for a priest. Rohr says, "Should I have got on and told him about priests? Would he've found any comfort in that?" (682). In what? I had to look it up, but when I did, it clicked - Jehovah's witnesses apparently do not have priests, because they are all ordained. There is no separate priest caste in their church, and thus no Preterite/Elect division. In this section, we also learn that the Nuremberg trials are getting underway.
Mom Slothrop's Letter to Ambassador Kennedy
You start to feel even more sorry for Slothrop as you realize just how terrible his parents apparently were. His mom cares enough to at least write another letter asking Ambassador Kennedy as to what the hell happened to their son, but her letter quickly devolves into drunken ramblings complaining about striking workers and managing to make an innuendo about Jack Kennedy while also dismissing her love of her sons. Oof. Maybe Otto was right with his conspiracy of mothers...
On the Phrase "Ass-Backwards"
An entertaining linguistic debate between Säure and Slothrop on American idioms, specifically ones involving a reversal, as in the case of "ass-backwards". The section then slips into a story of Säure, in his youth, breaking into the home of a young woman, Minnie, who is unable to hear or pronounce umlauted letters, and thus manages to shout the word "helicopter" rather than "cute robber" well before the vehicle was ever invented. Her cry is heard by none other than a young aerodynamics student. The word is taken as a prophesy and a warning of the helicopter's symbol of the police state, with armed officers hanging out the sides, aiming down at their targets.
My Doper's Cadenza
It begins with a serenade from Bodine, and then an exploration of the tenement building "Der Platz" that is home to numerous drug addicts, dope peddlers, and general ne'er-do-wells. They are building an anti-police moat around the building, entirely underground so as to avoid detection, saving breaking through the street for the end.
Shit 'n' Shinola
Another idiomatic diversion for Säure. A beautiful line is tucked away in here - "from outside, the Hall is golden, the white gold precisely of one lily-of-the-valley petal in 4 o'clock sunlight, serene, at the top of an artificially-graded hill." (687) This building, the Schein-Aula (Seeming-Hall), suggests "persistence, through returns of spring, hopes for love, melting snow and ice, academic Sunday tranquillities, smells of grass just crushed or cut or later turning to hay..." (688) Yet again, imagery of spring, of a return to life from the dead season of winter, of the cycle.
We return to the Roseland Ballroom, where shit 'n' Shinola do actually come together. "Shit, now, is the color white folks are afraid of. Shit is the presence of death, not some abstract-arty character with a scythe but the stiff and rotting corpse itself inside the whiteman's warm and private own asshole, which is getting pretty intimate. That's what that white toilet's for.... that white porcelain's the very emblem of Odorless and Official Death." (688) Here Pynchon cuts straight to the point - the almost pathological fear of death and its connections to fears of blackness, excrement. Shit, Death, and the Word. Edwin Treacle hit on this back on p. 276 when he tried to show his colleagues at the White Visitation "that their feelings about blackness were tied to feelings about shit, and feelings about shit to feelings about putrefaction and death." The cycle of life is too organic, too messy. Better to replace carbon with silicon, to hide shit with porcelain, to treat people with dark skin as "other" or sub-human to avoid acknowledging that their non-European, communal ways of life were, in fact, totally natural.
An Incident in the Transvestites' Toilet
Not King Kong, but a small, costumed ape comes up to Slothrop, who's wearing a Fay Wray dress while waiting in the bathroom for a still-unspecified message. We get a Miltonic blank-verse poem (thanks, Weissenburger!) about the movie King Kong, written in the voice of Anne Darrow (Fay Wray's character). It's honestly quite good - I love the line "in your own stone living space" - the internal rhyme there sounds really nice, and I like the riff on living stone / Livingston, both of which have popped up previously. In the poem, Darrow talks about when she was tied up, hung by the natives as an offering to "the night's one Shape to come" (689), echoing both Greta Erdman's scene in Alpdrücken and the Hanged Man card of the Tarot (willing sacrifice, sacrifice that prompts a return, a renewal of the cycle). Darrow says she prayed, "not for Jack," her suave costar, but for her director Carl Denham, "only him, with gun and camera... making the unreal reel / By shooting at it, one way or the other-" (689). Throughout GR, we've seen a film motif, and this really brings it home. The analogy of a gun to a camera, both of which make the unreal real (a camera creates films that interpret real life - the "unreal reel", a gun makes death, which we've blocked away and tried to avoid, real and inescapable). The director is in control of the movie, the actors, the story, of how it works and what is told. Darrow ends by asking Carl to "show me the key light, whisper me a line..." - a key light is used in cinema and photography to not just shed light on the subject, but to do so in a way that provides form and dimension to the subject and the scene. So Darrow is asking for the director to literally give her form and definition, to tell her what to say next.
This ape, though, isn't so Romantic as ol' Kong though, and is much more direct. It hands Slothrop an anarchist's bomb straight out of the comics pages, and takes off. Slothrop freezes and is saved by a helpful transvestite who takes the bomb and flushes it down the toilet. But it explodes anyway, sending geysers of water up out of all the toilets. A Voice comes out of he Loudspeaker informing everyone that it was, in fact, a sodium bomb that explodes upon contact with water. Tellls everyone to get the "dangerous maniac" who threw it. That was supposed to be Slothrop, but he was saved by his indecision and the kindness of a stranger, who is now set upon by the other occupants of the toilet.
A Moment of Fun with Takeshi and Ichizo, the Komical Kamikazes
We now jump to a pair of comically-mismatched Kamikaze pilots stationed on a remote island well away from any conflict. One flies a Zero, the other flies an "Ohka device" which is basically a rocket-bomb with a pilot's seat. They get moonshine from their radarman, Kenosho, who mocks them daily for the lack of opportunities to fly to their deaths and who comes up with haikus that, while in the right format, really miss the heart of what a haiku is supposed to be.
Streets
Back to Slothrop, now, and a catalogue of the streets he's traveled down and what he's seen. We get a meditation on the absurdity of army chaplains, who worked for the Army and "stood up and talked to the men who were going to die about God, death, nothingness, redemption, salvation." (693) And it does seem a bit absurd when you consider that the Army that employs the chaplains is the same entity sending the men off to die. We see a bus driver (perchance our maniac bus driver from earlier?) driving through town in the night, his passengers looking out the windows, their faces "drowned-man green, insomniac, tobacco-starved, scared, not of tomorrow, not yet, but of this pause in their night-passage, of how easy it will be to lose, and how much it will hurt..." (693) Going back to the Waste Land, the phrase "I do not find / The Hanged Man. Fear death by water." is symbolic of a death without return (drowning) contrasted to the sacrifice/return symbolized by The Hanged Man. These poor passengers, it seems, aren't to expect any return.
Slothrop also, at this point, learns of the bombing of Hiroshima from a discarded Army newspaper, the photo of the atomic blast placed in poor taste next to an image of a pin-up girl. The bomb's mushroom cloud is compared to the Cross, to a capital-T Tree. But which tree? Is this a meditation on the deadly, unforgettable knowledge of how to split the atom, or of the tree of life, with the citizens of Hiroshima as a sacrifice made... but to what? I'm honestly not sure. Would love your thoughts.
Listening to the Toilet
As others have noted, this book in many ways is about the drug counterculture and hippie movement of the 60s/early 70s. This is the most overt in this section, in which we learn that listening for the cessation of the flow of water to the toilet in the pipes is a cue that a police raid is imminent - shutting off the water being a way to prevent the flushing of illicit substances. But it takes a special ear to hear the cessation of a subtle, pervasive white noise. What if the sun, in fact, massive furnace that it is, emits a constant, low-level roar that is so incessant we don't even hear it? What if eddies in the current of the Soniferous Aether cause rare spots of true quiet, where the noise is no longer transmitted and anyone in that spot can hear their own heartbeat it's so quiet? Interestingly, there are "quiet rooms" designed to absorb nearly all sound, used for precise sound calibration. I remember reading that most people can't sit in one of those rooms for more than 30 minutes or so because it's literally so quiet that you can hear the blood flowing through your veins, and people have even reported auditory hallucinations as a result. But why this digression? Maybe because we need to be asking what other white noise is out there that we've become completely deaf to? I think Roger and Jessica found a pocket of this quiet, early in the book, where the "noise" of modern society and all its associated obligations was muted by the War.
Witty Repartee
A return to our Komical Kamikazes, and a meditation on the ubiquity of the Hotchkiss machine gun across nations, independent of alliances. We get an image of a false King - an inbred idiot lying naked in a dumpster, attracting the attention of potential revolutionaries. But they can't decide if he's "a diversionary nuisance planted here by the Management, or whether he's real Decadent Aristocracy to be held for real ransom" (698). While the would-be revolutionaries are debating in the alley, sentries with the aforementioned Hotchkiss guns take positions on the rooftops, aiming down...
Heart-to-Heart, Man-to-Man
A dialogue here between Slothrop and ol' Broderick, with dear old dad interrogating his wayward son about a modern electric drug. Slothrop reassures him that he'd never shoot raw electricity - no, they dope themselves with waves. Major pre-Cyberpunk vibes here, with Broderick warning "Suppose someday you just plug in and go away and never come back?" to which Tyrone replies, "What do you think every electrofreak dreams about? .... Maybe there is a Machine to take us away, take us completely, suck us out through the electrodes out of the skull 'n' into the Machine and live there forever.... We can live forever, in a clean, honest, purified Electroworld-" (699). Matrix, anyone? Not to mention the waves of radio, TV, etc. and the simple, episodic, controlled reality they offer. Pleasantville also comes to mind, with all its commentary on the shows of the era.
Some Characteristics of Imipolex G
We learn that Imipolex G is the first erectile plastic, stiffening in response to certain electronic stimuli. The potential of a layer of controlling wires just under the outer layer of Imipolex, making it a second skin - a synthetic interface. Alternately, there's the potential to control it via a projection of "an electronic 'image; analogous to a motion picture." (700)
My gods, I made it through this section...
Section 68
Tchitcherine now, dealing with a spook, Nikolai Ripov, from the Commissariat for Intelligence Activities. His pal Džabajev has run off with "two local derelicts" (700) and is impersonating Frank Sinatra and wooing the ladies of the Zone. We get the line, "While nobles are crying in their nights' chains, the squires sing. The terrible politics of the Grail can never touch them. Song is the magic cape." (701) - Seems another example of folks recognizing the game, the Grail quest, for what it was and checking out - deciding not to play and just enjoy themselves while the Elect lose sleep over the endless searching.
Ripov explains to Tchitcherine how "the basic problem... has always been getting other people to die for you." (701) Religion used to serve as an effective control for that reason - death isn't quite as scary if you think you're going to heaven. But modern society has moved on, and needs more secular sources of control, like a commitment to "History" as if you're part of some great narrative, sacrificing yourself for some imagined end-goal of what society is "supposed" to be.
Seems Tchitcherine was doping on Oneirine theophosphate. Wimpe, his dealer, argues that a man is "only real at the points of decision. The time between doesn't matter." (702) Points man again - the moment of decision, of choice, that splits the future in two. Points of control. Contrast that to:
"Datta: what have we given? / My friend, blood shaking my heart / The awful daring of a moment’s surrender / Which an age of prudence can never retract / By this, and this only, we have existed." (The Waste Land, Part V: What the Thunder Said - emphasis mine).
Both are arguing that it's these key moments, irreversible junctures in our lives that make us real. Not what comes next, not what people say about us, just our moments. Integrate those moments, run them fast enough (say 24 frames per second) and you might even approximate something close to a person...
We learn that Oneirine apparently leads to "the dullest hallucinations known to psychopharmacology" (703) - hauntings of the mundane, the almost-normal.
Tchitcherine's Haunting
Tchitcherine hallucinates that Ripov is interrogating him, and he becomes fixated on the question of whether or not he was supposed to die. Seems like part of him wants to believe in life after death, in some hope for meaning, which goes against the Soviet doctrine and thus isn't exactly endearing him to those above him. Thankfully this is just an Oneirine haunting, except... wait, it's too real - no subtle violations of reality. He tries to escape, but is outnumbered. But no execution for him here - just a reassignment to Central Asia. A cold and operational death.
Section 69
"The dearest nation of all is one that will survive no longer than you and I, a common movement at the mercy of death and time: the ad hoc adventure." - Resolutions of the Gross Suckling Conference (706)
In other words, they seek a nation that does not function independently of its citizens - one that is not some separate identity with a quasi-personhood (much like how corporations are legally "people"). Rather, a nation that is inextricably linked to the people and that will die when they do. No immortality, no denial of the cycle or death.
But poor Roger's still dealing with Jessica, and now with Jeremy, too, who he's at least amicable with. But he's struggling with their acceptance of the System, their embracing of it. Jeremy's all about reassembling the rockets and firing them, asking "What else does one do with a rocket?" (note how disassembling it or at least not using the weapon isn't even an option...).
Jeremy's even so kind as to invite Roger to a fancy dinner with a bunch of corporate bigwigs, including folks from Krupp, ICI, and GE, and hosted by one Stefan Utgarthaloki, whose name should be a giant red-flag that something's amiss with this shindig. Roger picks Seaman Bodine as his date, the two having struck up a rather theatrical friendship, dress in their absurdist best (Bodine in the mother of all zoot suits), and join the party.
We get some insight here into the nature of rebellions, and the danger of them not only fizzling out or failing, but of being co-opted as a tool to "help legitimize Them" (713). Of either dying or "living on as Their pet" - it brings to mind the corporate branding of "rebelliousness" as cool, as "a phase" that it's normal to go through and eventually grow up from. Treating the idealism of youth, the desire to make the world better and to fight against the problems of the system before you become numb to them, as a normal phase of life is such an effective way to neutralize it culturally. How many people have heard the phrase "you get conservative [i.e. more resistant to change] as you get older"? How many of us have seen youth-led movements being dismissed as examples of immaturity, for example? Between that and companies stamping their logo on it (hello, Hot Topic), it's a way to change the cultural narrative around any movement against the status quo to one that's dismissive, just accepting enough to let people burn off their energy and eventually fall into line. Because how else can you continue to live a decent life in a society that refuses to change? You either go build a shack in the woods somewhere, die, or acclimate to the system and just focus on being comfortable yourself, not constantly fighting for change. It's a depressing thought, and I'm sure Pynchon saw a lot of that attitude in the 60s. I have to wonder - do non-industrialized societies have "teenage rebellion" as a normal part of life? Is that a part of human nature, like we tend to think, or is it an explicit reaction to reaching maturity in a system that is anti-human and anti-nature?
Anyway, back to the dinner party - between the depressing, anti-social music (kazoos?!) and the lavish dinner, things seem fine, but there's a plot against the Roger and Bodine. Fortunately a journalist, Constance, tips off Bodine that they might just be the main course of this feast, so Bodine cues Roger to begin the evening show - an absurd gross-out session that they planned in advance with the aid of now-deceased Pudding communicating via medium Carroll Eventyr. The pair recite an increasingly disgusting list of alliterative dishes, triggering "well-bred gagging" and guests to flee, though a few find it all quite entertaining. But it's enough to break up the dinner party and allow our heroes to flee.
Note: If you made it this far, actually read all this, thank you. Bloom warned me this was a longer section, and boy, he wasn't kidding. I think this is longer than some college essays I wrote... Damn fun, though, and I hope you've found my thoughts informative, interesting, useful, or if nothing else, sufficiently diversionary for a spell. I truly look forward to seeing what you other fine foax have to say on these labrynthine sections.
Questions
  1. In the lightning-aficionado's "A Nickel Saved" excerpt, are there any other references or hidden ideas you can find? I have to think there are.
  2. What is the meaning of the windmill reflected in Blicero's eyes? How do you interpret the imagery in this scene in general?
  3. 175-Stadt. Oven-State. Hund-Stadt. Rocket-State. Factory-State. We've seen numerous examples of specialized micro-states across the Zone, experiments in different forms of society. What are your thoughts on these? Are they hints at ways to find alternate societies, or manifestations of humanity's tendency to divide by category and put of fences?
  4. In the "Shit 'n' Shinola" subsection, Pynchon connects Jack Kennedy, Malcolm X, and Tyrone Slothrop. What do you make of this intersection?
  5. In "Streets," the bombing of Hiroshima is presented as being similar to the Cross, "it is also, perhaps, a Tree..." - the capitalized "Tree" here could be the tree of knowledge, the tree of life, the tree from which the Hanged Man dangles, or perhaps something else. What's your interpretation of this imagery?
  6. In Section 69, we see references to the Albatross, famous symbol from The Rime of the Ancient Mariner. It's presented that Slothrop is the (now-plucked) albatross, but it's not clear who killed this bird, or who's wearing it around their neck. They? Any ideas?
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