Clever Strangers and Strange Friends

The snow has built a slice of six or eight inches against the glass of my office window, like the honeycomb of an observation hive. Out in the street it looks twice that height not counting the drifts which have crusted where the sidewalks used to be and swamped at least one car and its forlorn antennae of windshield wipers. I would have enjoyed more of the snowglobe of the day without the return of the phantom detergent which spatch could smell even through the storm as soon as he turned up North Street, but I took a picture early on in the snowfall. None of the needles are visible any more.



I can't believe no one has ever written a crossover between Mavis Doriel Hay's Death on the Cherwell (1935) and Dorothy L. Sayers' Gaudy Night (1935). It must have been unspeakably awkward for Oxford to suffer two unrelated criminal investigations in separate women's colleges in the same year. Just as Sayers modeled her Shrewsbury College on Somerville, Hay fashioned her Persephone College after her own alma mater of St Hilda's and then inflicts on it the discovery of the body of the college bursar by the same quartet of students who were meeting that afternoon to hex the victim with no expectation of such immediate or spectacular results. They plunge into the business of detecting with the same gestalt enthusiasm, a fast-paced, fair-play, often very funny blend of detective and campus novel as their amateur sleuthing attracts the competitive interest of an equivalent circle of male students as well as the police and the resigned relatives who starred in the author's previous Murder Underground (1934). Every now and then an appropriately chthonic allusion surfaces from the winter damp hanging over the river which loops around Perse Island and its contested territory to which an Elizabethan curse may be attached, but it's not, thank God, dark academia; the ordinary kind can be lethal enough. With its female-forward cast and its touches of social issues in the humor, it would have made a terrific quota quickie. "Undergraduates, especially those in their first year, are not, of course, quite sane or quite adult. It is sometimes considered that they are not quite human."

It delights me deeply that my mother regards the young Mel Brooks, as pictured c. 1949 in a recent edition of the Globe, as a snack.

It is always a beautiful day to yell at God, but while you are waiting to take a number for that extremely lengthy line, you might as well stand with Minnesota. Maine, too. I had thoughts about Stolpersteine and Fugitive Slave Acts, but in terms of coherent expression I spent most of my day reacting to the wave of something like scented detergent or dryer sheets that rolled out of the heating system around nine in the morning and stopped me sleeping or particularly breathing well.

I have been re-reading my second edition of Estel Eforgan's Leslie Howard: The Lost Actor (2010/13) which remains a wealth of otherwise inaccessible information with a close eye to the complex interplay of his biography and screen persona. I still disagree frequently with her criticism, but the detail of her research does things like offer a potential reconciliation between the family stories that Leslie was shell-shocked out of the First World War and the absence of his name from any records of active service in France: toward the end of his short stint as a second lieutenant with the Northamptonshire Yeomanry in the spring of 1916, his regiment was billeted with various divisions at Harponville, Ypres, and Arras, where it would have been possible to be officially non-combatant and still, in the immortal words of Frederic Manning, shelled to shit. Leslie himself never claimed to have seen combat, confiding in one of his broadcasts in 1940, "I am willing to let you figure out the degree of my senility by telling you that during most of the last war I was a very junior officer in a cavalry regiment. However, long before I got anywhere near the battlefront, everybody had settled down into trenches, and as horses are practically useless in trenches I found myself near Divisional Headquarters, pretty bored but pretty safe." His daughter records in her memoir A Quite Remarkable Father (1959) that his violent nightmares which could wake anyone within earshot were understood by his family to be connected to his war. She does not seem to have wondered the same about his self-admitted knack for dissociation or his rare but explosive losses of temper. Eforgan follows her in attributing his conviction of heart trouble to hypochondria; it occurred to me that pre-DSM, a person who regularly woke himself shouting and dreaded traveling alone, especially by train in case he shouted his fellow passengers awake with him, could be forgiven the common confusion of a panic for a heart attack. I found Leslie Ruth Dale-Harris née Howard through some cross-checks on Eforgan and the interstitial material contributed by Ronald Howard to Trivial Fond Records (1982) and her portrait of her father is fascinatingly the most fragile of the three, especially since much of what she regards affectionately as his eccentricities and his foibles looks very little out of the ordinary to me, e.g. a capacity for effortless, spellbinding charm right up until his social meter ran out and he had to leave his own party to fall asleep. A droll sense of humor on his own time, a steel-trap comfort with last-minute rewrites and improvisations, and he couldn't tell a formal joke to save his life without cracking himself up over it or lie without self-conscious same. Fifteen years after his death, his daughter still seems amazed that her famously disorganized father, the same nervous mess who had forgotten the ring at his own wedding and needed reminding of everything from call times to the necessity of food, a regular Menakhem-Mendl of the British film industry if she had just acknowledged his Jewishness—like his non-monogamy, it is elided with mid-century tact—threw himself so obstinately and intently into the war effort even when it ran him directly against the prejudices and proscriptions of the Ministry of Information and the BBC. He doesn't just start to look his age in the last years of his life, he looks recklessly burning himself to make his films and his broadcasts and his tours and his connections that Eforgan documents with the Free French and SOE. About a month into the Blitz, he noted with characteristic self-deprecation that after his London flat took a direct hit, "I decided to heed the exhortation of the popular song and 'get out of town'. In fact, I got out of town with a quite undignified haste, arguing to myself that one can prepare a film for production just as well in the country." He continued to travel weekly into London for work until his final tour for the British Council in 1943 and I don't know what he dreamed for any of it. R.I.P. ADH2*2, three cocktails put him literally on the floor.

I seem unable to think about movies except in this secondhand fashion, but I wrote another fill (AO3) for threesentenceficathon. This year it's a lot of noir.

In the midst of everything, we still have birthdays, and for spatch's fifty-first I took him to Porter Square Books and on the roundabout way home we collected dinner from Il Casale. It started to snow on the way back, the light salting flakes of an all-day deep-freeze. I have my fingers crossed for an Arctic explosion this weekend.



I have written another fill (AO3) for threesentenceficathon. WERS played Dave Herlihy's "Good Trouble" (2025) and I had to get home to trace his voice to Boston's own post-punk O Positive. I wish I could call the hundred-year tides against the people who have no right to the streets of my grandparents' city. Failing that, it still matters to be alive.

My plans to sleep out a recovery from Arisia were somewhat complicated by the move-in of the new upstairs neighbors and the resonating chamber of feet and furniture our bedroom immediately downstairs of this process necessarily turned into, but the snow remains beautifully fallen and is not even supposed to rain back into immediate slush or, worse, spring.

I am re-reading Kathryn M. Drennan's To Dream in the City of Sorrows (1997) for the first time since it came out and had completely forgotten the introduction by J. Michael Straczynski in which he designates it the first fully canonical novel in the Babylon 5 tie-in line. Despite the volumes of Harlan Ellison I was tracking down in used book stores and reading at the time—his credit as creative consultant was a point in the show's favor—it was not until years later that I caught since how much of his nonfiction voice had been adopted by JMS. "How difficult a task was this? Job would've packed it in, Hercules would've retired, and Orpheus would've decided that his days spent in Hades weren't really that bad."

The Post-Meridian Radio Players have now opened auditions for their spring show: Jeeves & Wooster: Hijinks and Shenanigans. I am seriously considering throwing myself on a slot for the genderswapped adaptation. It would be something of an exercise if I went for it; most of my performance skills do not translate into straight acting and I am frankly missing the facility with accents specified in the sides or I'd be able to code-switch out of being asked all the time where mine's really from. There was an intrusion here from Tiny Wittgenstein which has since been deleted. But even if it's just the hangover from Arisia, I have not auditioned for anything since 2019 and so long as I could decouple the experience from actually landing a part, it suddenly looked as though it might be fun.

Indeed, I had never heard of hickory oil. I am not however thrilled by the prospect of trading off maple syrup.

Tonight after my second and last panel of the convention, I was told by one audience member that they would listen to me read the phone book because even under those circumstances they would learn something interesting and Tiny Wittgenstein was definitely confused.

The panels went chaotically well. "Cursed Literature" lived up to its name by losing two panelists before the con even started, but in practice it turned into a freewheeling discussion less of literature in particular than the concepts of hazardous information, the spellmaking of language, and narratives as contagion, which gave me an excuse to boost Emeric Pressburger's The Glass Pearls (1966), An-sky's Jewish Ethnographic Program of 1912–14, and Aramaic incantation bowls plus the inevitable M. R. James. "SFF on Stage" had a supersaturation of panelists mostly from the performing arts and could have gone an extra hour at least as we started with the inherently liminal nature of theater and bounced around through all the ways that the speculative can be invoked on stage through conceits, stagecraft, scoring, nothing but the contract that reality changes because the actor says it does. I went all in on twentieth-century opera and weird technically realist plays and discovered that there has actually not been another production of Jewelle Gomez's Bones & Ash: A Gilda Story since the one I saw with my grandparents in 1996. As always, members of the audience asked such good questions that they should have been on the panels to start.

I have been asked multiple times if I will be around for the last day of Arisia and since I have no further programming the odds are unfortunately good that I will be flat in bed, but at the moment I regret nothing. I saw a genarti! I saw a skygiants! I failed to write down the names of a pair of extraordinarily well-dressed attendees who wanted to talk about Jewish folk magic and were thrilled that I recognized their Babylon 5 tie-in novels! nineweaving and I shared a panel for the first time since virtual 2021! I did not make it back to the dealer's room before it closed and instead sort of keeled over in the disused cosplay repair area with choco_frosh and presently a friend of his who is unlikely to be on DW, since this time around people were giving me their contact information on Instagram and I felt as though I should have business cards printed on papyrus scraps. I had genuinely not been sure how this experiment in professional interaction would go. It is snowing as busily as a real winter in New England and without begrudging a second of this vanishing season, I am looking forward to Readercon.

Alexander Knox was born on this date a hundred and nineteen years ago and without him I might never have discovered that the fan magazines of classical Hollywood could get as specifically thirsty as the modern internet.

Come to that, you would have been pretty tasty in the pulpit, too, Alex. You look, except for that glint in your eyes and that dimple in your cheek, like a minister's son. You look serious, even studious. You dress quietly, in grays and blacks and browns. Your interests are in bookish things. You live in a furnished apartment on the Strip in Hollywood, and have few possessions. You like to "travel light," you said so. You like to move about a lot, always have and always will. You've lived in a trunk for so many years you are, you explained, used to it. Of course, you've been married twice, which rather confuses the issue. But perhaps two can travel as lightly as one, if they put their minds to it. But you do have books. You have libraries in three places. At home, in Canada. At the farm in Connecticut, of which you are part owner, and in the apartment where you and your bride Doris Nolan still live. You write, which would come in handy with sermons. You're dreamy when you play the piano. For the most part it isn't, let's face it, church music you play. But you could convert.

—Gladys Hall, "Memo to Alex Knox" (Screenland, August 1945)