#at first i wanted to make this into a substack series but it doesn't really warrant that. i tried to keep my thoughts short

[kopw]

top watches for september

from this month:

will ospreay vs naomichi marufuji, noah naomichi marufuji debut 25th anniversary show 09/17 — not only my favorite match of the month but my most anticipated one as well! i think it's always interesting to see ospreay be taken out of his usual pace and perform with more breathing room between spots (even if his snappier sequences are what drew me in initially). there are a lot of quiet moments in this match, mixed with that devoted eagerness that ospreay had while he was a junior. it's also a match that is able to tap into something very special thanks to the emotional padding behind it that i think ospreay's other big match from this month (vs yota tsuji) is unable to match

syuri vs mayu iwatani, stardom 5star grand prix day 14 09/03 — syuri is my favorite joshi to watch currently! she wrestles such a loud, hard-hitting style that still feels fresh in the technical scene and she has great in-ring chemistry with mayu here. mayu's reversal of the syu-sekai though... gah! a relatively short match and one of my favorites from the entire gp

bryan danielson vs ricky starks, no disqualification strap match, aew all out 09/03 — the singular non-puro match on this list, which should already give you an idea of how truly great it is. ricky has been a highlight on collision pretty much since it began airing, and the natural charisma that shined through there is ever-present in his recent matches. bloody, brutal, and better than the follow-up texas death rematch in terms of cohesion

zack sabre jr. vs ryohei oiwa, njpw road to destruction 09/08 — i was ecstatic to have boltin oleg in a high-profile match! ...and then it didn't happen. but worry not! oiwa stole the show. it definitely didn't feel as one-sided as it would've if it was oiwa pre-excursion pitted against zack. excited to see more from him

takayuki ueki vs baliyan akki, baka gaijin + friends vol. 8 09/20 — the mad doctor takes on akki, returning superstar of the show, after mecha mummy fails to drill a hole through harashima and is subsequently defeated. it's as silly as it sounds

back catalogue:

shinsuke nakamura vs the great muta, noah the new year 2023 — positively overwhelming presentation in terms of the entrances. misting as a metaphor for relatedness rather than corruption. unstoppable force meets immovable object, up until the object embraces the force. a sentimental finish that stuck with me

katsuyori shibata vs kazuchika okada, njpw sakura genesis 2017 — a holistically tactile bout full of sweaty contact and undying resolve. okada finds himself in the rare predicament of not being the fan favorite! practically impossible to look away during this one

pheromones (danshoku dieno & yuki iino) & shunma katsumata vs akito, kazuki hirata & yuya koroku, ddt sweet dreams! 2023 tour in shinjuku ~ fire! ~ — a typical pheromones match in that it contains loads of their trademark spots (synchronized striptease routines, dramatic jockstrap reveals, "accidental" ass to mouth action) however! this time shunma is there to act as their pup (which he is very much into). a must-watch for fans of public kink in wrestling

atsushi onita vs hayabusa, no ropes barbed wire current mine explosion time bomb deathmatch, fmw 6th anniversary show 1995 — hayabusa comes off as a trapped animal within onita’s environment, only delaying the inevitable with each move. feels and looks like a horror movie, with the counter droning on in the first half and the smoke wafting through the cage of barbed wire in the second. explosions galore!

shotaro ashino vs koji doi, wrestle-1 grand prix 2018 finals — this was my first exposure to ashino and let me tell you... he's so good. his entrance is fuel by metallica, he's cocky, he goes hard in the ring. i'm genuinely shocked he's not a bigger name internationally. nothing too extravagant aside from a few high-impact spots but worth a watch

[lettersregardingjeeves]

My Man Jeeves vs. Carry On, Jeeves: A Choice On the Basis of Charm

So as I was having a go at putting the letters together with Mr. Wooster, I realized that the versions of the early New York saga on Standard eBooks, where I sourced the text, were taken from the 1919 collection My Man Jeeves, rather than Carry On, Jeeves - the latter being how I presume the majority of fans read the stories. Naturally, I figured that I really ought to get the most recent public domain versions of the stories, to best represent the current nature of the series. So I had a look at Carry On, Jeeves, curious about the differences therein. And the ones I found were... kind of disappointing.

So, if you haven't read the stories, or just aren't bally interested, then I'll just say that I think the versions present in My Man Jeeves are an awful lot more fun than their rewrites, and am making the executive decision as Woosterian Substack Secretary to use the old instead of the new. For those who are bally interested, I'll chat a bit more under the cut.

All in all, the differences aren't extreme. None of the plot elements have changed, most of the lines haven't changed, and really, if you know one version of the story, you won't have trouble conversing with someone who knows the other. But I find the changes made in the nature of baffling. Some are very tiny changes, but odd nonetheless. Here's Bicky in "Hard-Boiled Egg", talking about why he doesn't want to go in for ranching, in the original My Man Jeeves.

And here's the same passage in Carry On, Jeeves.

Why cut the line about Bicky hating horses because they bite? It gives a more interesting context to why he doesn't want to ranch than the one in Carry On, Jeeves. He doesn't just not want to do the work out of laziness - he's afraid of horses! It's an unexpected and interesting thing for him to say, and it builds a sort of unique speech pattern of short, snappy sentences that fire one after another. It's such a tiny thing that I'm not even sure why it was deemed necessary to cut, unless there were length requirements, but it sands Bicky down a bit.

However, some of the other changes are much more considerable. Take the intro to "The Aunt and the Sluggard" in My Man Jeeves...

...and compare it to the intro in Carry On, Jeeves.

Not even close! What possessed anyone - Wodehouse or editors - to make this sort of cut? On some level I suppose I could understand it if it were purely for the sake of not needing to introduce the character partway through a book, when you'd certainly need to in a magazine, but clearly My Man Jeeves didn't see a problem with having Bertie repeatedly introduce Jeeves this way - and as a reader, neither did I! It's a very charming paragraph full of Bertieisms, and the nervous sort of hesitation upon wishing to call him a friend is even more endearing. Sure, the "guide, philosopher, and friend" quote is later used in the first chapter of 1923's The Inimitable Jeeves, so I can see why Wodehouse and/or editors might have thought the sentiment too repetitive to stick in a collection published afterwards, but the two are subtly different. Here, Bertie is unsure that he can call Jeeves a friend, but in The Inimitable Jeeves below, he says it with surety.

It's especially sweet with the knowledge that My Man Jeeves was published before The Inimitable Jeeves, because that shows this as growth! He's more willing to let himself acknowledge their friendship, and that's a wonderful thing! And even without that linearity, it's just so much weaker of a start. You aren't as drawn in by the significant blander intro as you are by the acquainted birds of poet Johnnies, or the "guide, don't you know" that Bertie relies on at every turn. It's more conversational, engaging, and just plain fun.

But that's not even really the most egregious removal. No, the biggest difference is the excising of the entire intro to "Leave It to Jeeves".

This whole section, which later segues into a sum-up of the events of "Extricating Young Gussie" and a description of New York, is just plain gone in "The Artistic Career of Corky", which this story has been renamed in Carry On, Jeeves. No "Melonsquashville, Tennesee", no horses named Banana Fritter, no Bertie trying to give Jeeves racing tips because he's fond of him. It's peak Bertie silliness, and I remember that I really loved reading it. And yes, again, maybe it was cut just because it follows "Jeeves Takes Charge", which already introduces the character, but I certainly don't see a reason why none of it could be kept - especially since the conceit of the series tends to read as if being told aloud to someone else, and thus it makes sense to repeatedly introduce the character in such a way to new listeners and audiences. Instead, we are given this by way of introduction.

This goes straight into the "Gussie" sum-up and the description of New York, as well as the subsequent description of Corky. All that fun before, reduced to a paltry bit of introductory exposition before the exposition that already happened in the original. Was it cut merely for length? Why else could this possibly have happened? Why remove all that delightful humor and prose in favor of something so much weaker and less interesting? It boggles the mind - boggles it.

In short, I've decided to keep the My Man Jeeves versions of these stories as they are. While some of the changes I saw weren't bad - saying that Rocky's poem went on for "three more verses" got a chuckle out of me, I will say, and the connective tissue with the other stories wasn't bad, either - it was not enough to sacrifice all this. Bertie's narration is always a delight, and I think that delight should be preserved. But if anyone has rebuttals as to why they think the Carry On, Jeeves versions should be used instead, I'd honestly love to hear them!

Thank you for reading!

[marlowe1-blog]

Book Review: Lost Souls by Poppy Z Brite

Still the most disturbing vampire novel

Recently Billy Martin, aka Poppy Z Brite, announced that he was back to writing. He sold a short story to a friend's anthology and he was writing another one. This was met with a great deal of excitement. For Generation X, Billy was the greatest. Then a few days later, dispirited and depressed, Billy wrote on his Patreon that he was no longer writing. He wrote a story for another editor and that editor rejected the story.

On Facebook, the outpouring of love and support for Billy was amazing. Billy has been through a lot and around Hurricane Katrina, he gave up on writing. HIs restaurant books were not selling and his publisher was demanding more horror. He was depressed from a great deal including gender dysmorphia (he still presented as female at the time) and eating disorders.

The support was either "We REALLY want to see you writing again, because you inspired us" or "take care of your mental health first".

Writing is a tough gig. It's hard to make money at it. It's hard to believe in yourself. It's almost impossible to sustain that belief over the years. The doubts set in. The rejections pile up. The occasional acceptance can feel false. Like ok, this editor is saying that my story is great and wants to pay me money. What's wrong with them? Most writers build up calluses, stop putting their self-worth in the next acceptance, struggle with the feelings that they suck. We read old stories that we thought brilliant and wince with embarrassment, but also take pride in how far we've come.

Billy didn't benefit from these experiences. He was an overnight sensation. Yes, he wrote a lot of garbage as a teenager like we all do and he had some disappointments and rejections, but he sold his stories to a zine when he was young and then when there were enough stories, got a collection published. Harlan Ellison read those stories and got very excited. So did Dan Simmons.

Then came Lost Souls. Billy was in his early 20s when he wrote this book. Most writers are writing trunk stories and embarrassing manuscripts at that time. Billy wrote the nastiest vampire book of its time, inspiring horror writers - especially splatterpunk and extreme horror writers - ever since.

Unfortunately for modern readers who might love to see anything new from Billy, Billy had to deal with all the self-doubt and struggles afterwards. On Livejournal, I criticized a media tie-in book he wrote for the Crow series and he was pissed. We both apologized for the incident (or at very least the nasty feelings from the incident) years later and we're friends now - well online friends - but it was very confusing at the time.

I was a nobody. I mean I'm still a nobody with a few books published through Dybbuk Press and some stories in anthologies. But back then I was even more of a nobody. I had maybe Teddy Bear Cannibal Massacre published and as far as my stories were concerned, I had sold a few of them and made maybe $20 total. That's $20 spread out over 4-5 markets.

So why was anything I said getting under the skin of the guy who wrote Lost Souls?

T-Nightingale at Devientart

When I revise this for Substack, the above is going to be seriously edited down.

Anyhow, Lost Souls came at a strange time. Anne Rice had written two amazing vampire books, one pretty good vampire book that got real dumb in the last third (Seriously Queen of the Damned has a woman thousands of years old deciding to create world peace by killing all the men? REALLY? That bullshit wouldn't fly in an Introduction to Women's Studies class). Francis Ford Coppola turned Dracula into a comedy. Vampires were more popular than ever, but defanged.

When Molochi, Twig and Zillah come to the French Quarter looking for absinthe and fucks they are fucking intense. Christian, the bartender and the one vampire that might walk through an Anne Rice novel, doesn't like these vampires, but they are fellow vampires. What are you going to do.

Within a few pages, the vampires are revealing their identity to a vampire groupy and Zillah is fucking her in the backroom. Mardis Gras is over and that girl is doomed.

Because in the world of Poppy Z Brite, vampires aren't made by other vampires. You don't become a vampire by drinking vampire blood. You don't kiss your new master and then sink your teeth into his new cut. No. Vampires are born.

Vampires are born by eating their way out of their mothers.

Later on Christian fucks a goth boy who wants to become a vampire. Christian drains him and feels bad about it, but it's not Christian's fault if the normies don't understand vampires.

This scene sets the tone for a book that has zero chill. Nothing, the sad goth boy (and vampire who doesn't realize that he's a vampire) would be a parody of teen angst in another book. Then there's Steve and Ghost, semi-adult band members who have a tangled history and a lot of heartbreak between them. They run the band that gives the book its name but they are also messy characters. Steve is borderline abusive to his girlfriend while Ghost protects Steve.

They are the nicest characters

Nothing is a big fan.

An aside: the writing style is fucking poetry. Seriously check this out

The, last dying days of summer, fall coming on fast. A cold night, the first of the season, a change from the usual bland Maryland climate. COLD, thought the boy; his mind felt numb. The trees he could see through his bedroom window were tall charcoal sticks, shivering, afraid of the wind or only trying to stand against it. Every tree was alone out there. The animals were alone, each in its hole, its thin fur, and anything that got hit on the road tonight would die alone. Before morning, he thought, its blood would freeze in the cracks of the asphalt.

That was later an issue with Billy's writing as Billy did not like editors telling him to change his sentences.

Ok. More tomorrow. I need to actually talk about the book itself past the prologue, but I also have a paper to finish (800 more words to go) and I need to wake up early tomorrow for jury duty.

Fuck Jury Duty.