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Feb. 22nd, 2026 03:03 pm
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О свободе инакомыслия в существующем режиме в РФ. Если постараться посмотреть как людей наказывают, за что сажают, что мы видим? Кажется очевидным, что публичное выражение несогласия с режимом по идеологическим линиям сейчас уже опаснее, чем в эпоху застоя, но все еще не приближается по опасности к сталинским годам. Сейчас легче "спрятаться" среди толпы, потому что возможностей для публичного выражения мыслей в десятки раз больше - любой форум в интернете, любой канал в телеграме, личный сайт... но эта безопасность временна и иллюзорна.

Эпохи оттепели и перестройки, разумеется, гораздо свободнее, чем сейчас.

Как насчет частного, не публичного несогласия? В эпоху застоя не могли посадить за анекдот на кухне, сейчас могут посадить за лайк в крохотной группе ВК, но все-таки есть какая-то претензия на публичность. За анекдот на кухне не посадят и сейчас, а за распространение самиздата даже в небольших масштабах можно было сесть в СССР эпохи застоя. Так что кажется примерно одинаковым. Сталинская эпоха тут тоже побеждает по зловещности, конечно.

Я прав/неправ? Эта попытка обобщить слишком наивна или в целом верна?

New Cover: “Fall At Your Feet”

Feb. 21st, 2026 05:20 pm
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Posted by John Scalzi

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Yes, I’ve been on a bit of a tear recently as far as covers go, but let’s just say I had a bit of a backlog from when I was writing the novel. Now that it’s been cleared off the table I have a little time to do this sort of thing. This is currently how I do my “me” time. It’s this or setting fire to things.

This song is one of my favorite songs from one of my favorite bands, and I had been meaning to get to it for a bit. Also for this one I had a technical project of trying to nail the vocal balance, which is for me the trickiest part of doing any of this. I think I did pretty decent job sitting it into the mix this time around. It’s fun to still be learning things.

Enjoy!

— JS

25 Years in Ohio

Feb. 20th, 2026 02:11 pm
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Posted by John Scalzi

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February marks an anniversary for us: in this month in 2001, Krissy and Athena and I moved to this house in Bradford, Ohio, so now we have been citizens of this village and state for 25 years. On the 20th anniversary, I wrote a long piece about moving here and what that meant to us, and that’s still largely accurate, so I’m not going to replicate here. I will note that in the last five years, we’ve become even more entrenched here in Bradford, as we went on a bit of a real estate spree, purchasing a church, a campground, and a few other properties, and started a business and foundation here in town as well. We’ve become basically (if not technically precisely) the 21st century equivalent of landed gentry.

It’s possibly fitting that after a quarter century here in rural Ohio, I finally wrote a novel that takes place in it, which will be out, as timing would have it, on election day this year. The town in the novel is fictional but the county is real, as it my own, and it’s been interesting writing something about this place, now — that also, you know, has monsters in it. I certainly hope people around here are going to be okay with that, rather than, say, “you wrote what now about us?” There is a reason I made a fictional town, mind you.

I continue to be a bit of an odd duck for the area, which I don’t see changing, and despite the fact the number of full-time writers in Bradford has doubled thanks to Athena. On the other hand, as I’ve noted before, my output is such that Bradford is the undisputed literary capital of Darke County, and I think that’s something both Bradford and Darke County can be proud of.

Anyway, Ohio, and Darke County, and Bradford, have been good to me in the last quarter century. I hope I have been likewise to them. We’re likely to stay.

— JS

The Big Idea: Gideon Marcus

Feb. 19th, 2026 06:55 pm
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Posted by Athena Scalzi

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On occasion, you know the ending of your story before you start writing. Most other times, you find the path as you go, each twisting turn appearing before you as you continue on your merry way. The latter seems to be the case for author Gideon Marcus, who says in his Big Idea that he wasn’t always sure how to wrap up his newest novel, Majera.

GIDEON MARCUS:

What’s the big idea with Majera? That’s a hard one, because there are lots of threads: the unstated, obvious, valued diversity of the future, which helps define the setting as the future. That’s a familiar technique—Tom Purdom pioneered it, and Star Trek popularized it. There’s a focus on relationships: found family, love in myriad combinations. There’s the foundation of science, a real universe underpinning everything.

But I guess what I associate with Majera most strongly is conclusion.

Starting an exciting adventure is easy. Finishing stories is hard. George R. R. Martin, Pat Rothfuss. Hideaki Anno all have famously struggled with it. When Kitra and her friends first got catapulted ten light years from home in Kitra, I started them on a journey whose ending I only had the vaguest outline of. I had adventure seeds: the failing colony sleeper ship in Sirena, the insurrection in Hyvilma, and the dead planet in Majera, but the personal journeys of the characters I left up to them.

I know a lot of people don’t write the way I do. I think writers mirror the opposing schools of acting: on one end, the Method of sliding deep into character; on the other, George C. Scott’s completely external creation of an alternate personality. In the Scott school of writing, characters are puppets acting out an intricate dance created by the author. In the Method school of writing, of which I am a member, the characters have independent lives. I know that seems contradictory—how can fictional agglomerations of words achieve sentience?

And yet, they do! I didn’t plan Kitra and Marta’s rekindling of their relationship. Pinky’s jokes come out of the ether. Heck, I didn’t even come up with the solution that saved the ship in Kitra—Fareedh and Pinky did (people often congratulate me on how well I set up that solution from the beginning; news to me! I just write what the characters tell me to…)

All this is to say, I didn’t know how this arc of The Kitra Saga was going to end. But I knew it had to end well, it had to end satisfyingly, for the reader and for the characters. There had to be a reason the Majera crew would stop and take a breather from their string of increasingly exotic adventures. The worldbuilding! All of the little tidbits I’d developed had to be kept consistent: historical, scientific, character-related. There had to be a plausible resolution to the love pentangle that the Majera crew found themselves in, one that was respectful to all the characters and, more importantly, the reader’s sensitivies and credulity.

That’s why this book took longer to put to bed than all the others. It’s not the longest, but it was the hardest. Frankly, I don’t think I could even have written this book five years ago. I needed the life experience to fundamentally grok everyone’s internal workings, from Pinky’s wrestling with being an alien in a human world, to Peter’s coming to grips with his fears, to Kitra’s understanding of her role vis. a vis. her friends, her crew, her partners. In other words, I had to be 51 to authentically write a gaggle of 20-year-olds!

Beyond that, I had to, even in the conclusion, lay seeds for the rest of the saga, for there is a central mystery to the galaxy that has only been hinted at (not to mention a lot more tropes to subvert…)

Conclusions are hard. I think I’ve succeeded. I hope I’ve succeeded. I guess it’s for you to judge!


Majera: Amazon|Amazon (eBook)|Audible|Barnes & Noble|Bookshop|Kobo

Author socials: Website|Bluesky

Cover Reveal: Monsters of Ohio

Feb. 19th, 2026 04:35 pm
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Posted by John Scalzi

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Just look at this cover for Monsters of Ohio. Look at it! It is amazing. I am so happy with it. It’s the work of artist Michael Koelsch (whose art has graced my work before, notably the Subterranean Press editions of the Dispatcher sequels Murder by Other Means and Travel by Bullet) , and he’s knocked it out of the park. I am, in a word, delighted.

And what is Monsters of Ohio about? Here’s the current jacket copy for it:

In many ways Richland, Ohio is the same tiny, sleepy rural village it has been for the last 150 years: The same families, the same farms, the same heartland beliefs and traditions that have sustained it for generations. But right now times are especially hard, as social and economic forces inside and outside the community roil the surface of the once-placid town.

Richland, in other words, is primed to explode… just not the way that anyone anywhere could ever have expected. And when things do explode, well, that’s when things start getting really weird.

Mike Boyd left Richland decades back, to find his own way in the world. But when he is called back to his hometown to tie up some loose ends, he finds more going on than he bargained for, and is caught up in a sequence of events that will bring this tiny farm village to the attention of the entire world… and, perhaps, spell its doom.

Ooooooooooh! Doooooom! Perhaaaaaaaps!

If that was too much text for you, here is the two-word version: Cozy Cronenberg.

Yeah, it’s gonna be fun.

When can you get it? November 3rd in North America and November 5 in the UK and most of the rest of the world. But of course you can pre-order this very minute at your favorite bookseller, whether that be your local indie, your nearby bookstore chain, or online retailer of your choice. Why wait! Put your money down! The book’s already written, after all. It’s guaranteed to ship!

Oh, and, for extra fun, here’s the author photo for the novel:

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Yup, that pretty much sets the tone.

I hope you like Monsters of Ohio when you get a chance to read it. In November!

— JS

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Posted by John Scalzi

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What is it? I can’t tell you! When will you be able to know? I can’t say! But when I can tell you, will I? We’ll see!

What I can tell you is that Athena is working on it with me, she’s been great to work with so far, and my decision to hire her at Scalzi Enterprises was pretty smart. Clearly I know what I’m doing all the time.

Anyway, my kid’s awesome and we’re doing cool stuff. I hope we get to share it with you. Eventually.

— JS

жванецкий

Feb. 18th, 2026 09:40 pm
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Попался мне на ютубе сборник "15 лучших монологов Жванецкого", и не успел оглянуться, как почти все прослушал.

Примерно половину помнил, хорошо или частично, половину нет.

Интересно, как по-разному они сохранились, некоторые при всем остроумии совершенно нерелевантны, другие вечнозелены.

Моим стопроцентным фаворитом остается "Рассказ подрывника" (24:20 в этом видео), на втором месте, пожалуй, "Нормально, Григорий? Отлично, Константин!" (05:43). А у вас?

RIP Scalzi DSL Line, 2004 – 2026

Feb. 18th, 2026 06:38 pm
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Posted by John Scalzi

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As most of you know, I live on a rural road where Internet options are limited. More than 20 years ago, DSL became available where I live, which meant that I could ditch the satellite internet of the early 2000s, which topped out at something like 1.5mbps and rarely achieved that, and which went out entirely if it rained, for a line that had a, for me, blisteringly fast 6mbps speed.

That was the speed it stayed at for most of the next twenty years, until my provider, rather grudgingly, increased the speed to 40mbps — not fast, but certainly faster — and there it stayed. Over time the DSL service stopped being as reliable, rarely actually got up to 40mbps, and, actually started going out when it rained, like the satellite internet of old, but without the excuse of being, you know, in space and blocked by clouds.

A few months back I went ahead and ordered 5G internet service from Verizon, because it was faster and doesn’t have usage caps, which had been a stumbling block for 5G service previously. It’s not top of the line, relative to other services that are available elsewhere — usually 120+mbps, where the church’s service is at 300+mbps, and Athena’s in town Internet is fiber and clocks in at 2gbps — but it’s fast enough for what I use the internet for, and to steam high-definition movies and TV. I held on to the DSL since then to make sure I was happy with the new service, because that seemed a sensible thing to do.

No more. The 5G wireless works flawlessly and has for months, and the time has come. After 20+ years, I have officially cancelled my DSL line. A big day in the technology life of the Scalzi Compound. I thank the DSL for its service, but its watch has now ended. We all most move on, ceaselessly, into the future, where I can download stuff faster.

I’m still keeping my landline, however, to which the DSL was attached. Call me old-fashioned.

— JS

Fun With Verbs

Feb. 18th, 2026 04:41 pm
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This should actually be titled fun with HTML lol. Come with me if you want to talk about Spanish verb tenses.
Read more... )

The Big Idea: Darby McDevitt

Feb. 17th, 2026 04:48 pm
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Posted by Athena Scalzi

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The intentions behind one’s actions speaks louder than words ever could. Author Darby McDevitt leads us on a journey through the exploration of intention, desires, and consequences in the Big Idea for his newest novel, The Halter. Take the path he has laid out for you, if you so desire.

DARBY MCDEVITT:

Many years ago I worked for a video game company in Seattle that shoveled out products at a rate of four to six games per year. Most of these were middling titles, commissioned by publishers to fill a narrow market gap and slapped together in six to nine months by teams of a dozen or two crunch-weary developers. We worked hard and fast, with passion and determination, but the end results never quite equaled the ambitions we had.

A common joke around the office, told at the end of every draining development cycle, went like this: “Sure, the game isn’t fun, but the design documents are amazing.” The idea of offering consumers our unrealized blueprints in lieu of a polished game was ridiculous, of course, but it came from a place of real desperation. We wanted our players to know that, despite the poor quality of the final product, we really tried.

The novelist Iris Murdoch has a saying that I repeat often as a mantra, always to guard against future disappointment: “Every book is the wreck of a perfect idea.” Here again is the notion of a Platonic ideal at war with its hazy shadow. How familiar all this is. Experience tells us that people falling short of their ideals is the natural course of life. We never live up to the best of our intentions.

In my new novel, The Halter, I compare this process of “intension erosion” to the more upbeat phenomenon of Desire Lines – footpaths worn over grassy lawns out of an unconscious need for efficiency. Desire lines appear wherever the original constraints of an intentionally designed geographic space don’t conform with the immediate needs of the men and women walking through it. In video games we use a related term – Min-Maxing – the act of looking for ways to put in a minimum amount of effort for maximum benefit. In both cases, the original, ideal use of a space or system is superseded by a desire for efficiency.

In The Halter, these same principles take hold on a grand scale inside an idealized “surrogate reality” metaverse called The Forum, where artists, scientists, and thinkers from all disciplines are invited to probe the deepest and most difficult aspects of human behavior and society. One Forum designer creates a so-called theater to explore the tricky business of language acquisition by sequestering one-hundred virtual babies together with no adult interaction. Another theater offers visitors a perfect digital copy of themselves as a companion, as a therapeutic approach to self-discovery. A third lets visitors don the guise of any other individual on earth so they may literally fulfill the empathetic idiom of “walking a mile in another man’s shoes.”

Noble intentions, arguably – yet in every case, after repeated exposure to actual human users, each theater devolves into something less than the sum of its parts. A prurient playground, or an amusing distraction, or a mindless entertainment. Shortcuts are taken, efficiencies are found, novel-uses imposed. The empathy theater is transformed into a celebrity-fueled bacchanalia; the digital doppelganger becomes a personal punching bag. The baby creche, a zoo. Each and every time, execution falls short of intention. Each theater crumbles, becoming a wreck of its original, perfect idea … and audiences are riveted.

The phenomena described here are common enough that several terms encompass them, each one differentiated for the situation at hand. Desire paths were my first exposure to the concept. The CIA calls it Blowback, when the side effects of a covert operation lead to disastrous results. Unintended Consequences and Knock-On Effects are cozier names, both of which can yield positive or negative results. And a Perverse Incentive is the related idea that the design of a system may be such that it encourages behavior contrary to its intended purpose. Taken together we begin to see the shape of the iceberg that wrecks so many perfect ideas.

I wrote The Halter to explore the highs and lows of these effects, and to shed light from a safe distance on the invisible forces that push and pull constantly at our behavior, often without our knowledge or consent. At one point in the middle of the novel, a collection of idealistic designers, most of whom have given years of their lives to the Forum designing and testing theaters of varying utility, commiserate on what they feel has been a collective failure. Their beloved theaters, they fret, have been co-opted and corrupted by The Forum visitors who have no incentive to behave or play along – they simply show up and engage in the simplest and most efficient way possible. How sad. How crushing. If only these morose designers could share their original design documents….

Their folly, in my view, was to treat their original intentions as merely a point of inspiration and not a goal to be achieved. Their error was to abandon their work in the face of a careless, sleepwalking opposition. The heroic path forward requires vigilance, not surrender, and if an outcome is unexpected, unwarranted, or undesirable, it may be more productive to tweak the inputs than blame the user.

We mustn’t fret that our perfect idea is laying at the bottom of the sea, five fathoms deep. We mustn’t fetishize our design documents – be it a holy book, an artwork, a game, a manifesto, or the U.S. Constitution – because design documents are merely static pleas for unrealized future intentions. They can always be corrupted, upended, misinterpreted. Have faith and patience. The hopeful paths are yet unmade, lying in wait for a thousand shuffling feet to score the way forward.


The Halter: Amazon|Barnes & Noble|Bookshop|Powell’s

Author socials: Website|Bluesky|Facebook

поцелуй

Feb. 17th, 2026 05:32 pm
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Пабло Пикассо, "Поцелуй", 1967

New Cover: “But Not Tonight”

Feb. 17th, 2026 02:14 am
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Posted by John Scalzi

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I was not expecting to make another cover so soon, so, uh, surprise: A cover of Depeche Mode’s most cheerful song, done as if Erasure decided to crack at it. Why did I do this? Because I was trying to clean up a previous version of this song that I did (it was sonically a little smeary and I hadn’t learned how to edit out when I loudly took in breaths), which necessitated laying down a new vocal track, and once I did that, one thing led to another, and here we are.

I am actually really happy with this one. I did harmonies! Intentionally! Also, I do think it really does sound kinda like Erasure covering Depeche Mode (if such a thing is a possible considering the bands share a Vince Clarke in common). I mean, I don’t sing like Andy Bell, but then, who does, so, fine. Good enough for an afternoon! Enjoy.

— JS

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