The essay about the fairy tale influences on the Little House series goes into great detail about all the fairy tale elements of Little House in the Big Woods, and mentions how the series ends with Laura marrying her "Prince Charming", but I'm disappointed that it completely failed to mention:
Mr. Edwards is portrayed as almost a magical helper. His "wildcat from Tennessee" characterization draws from tall tale traditions like Davy Crockett--a distinctly American legendary figure come to help the frontier family. The fact that he's portrayed as literally meeting and collaborating with Santa Claus. The way he shows up several books later as a deus ex machina to help Pa get his homestead--almost like the fairy tale trope of the magical creature getting help from the hero early on and then coming back to help the hero.
The moment with the wolves on Silver Lake that's portrayed like a mystical encounter with some grand and tragic fairy king.
The moment in the fairy ring at the end of Silver Lake, and how these two moments create a fairy tale theme about the tension between the magical and the mundane as the prairie is settled.
Cap Garland having an almost magical sense of direction that helps him to reach the town and get help when the schoolteacher is leading the rest of the students the wrong way.
Almanzo and Cap going on a fairy tale quest to find the potentially-mythical supplies that could save the whole town.
On this anniversary of the 9/11 tragedy, we present some original etchings and poems by Michael Kuch from the 2002 Falling to Earth, a letterpress artist's book issued in Northampton, Massachusetts by Kuch's Double Elephant Press in an edition of 110 copies. The book is a reaction to the terrifying and tragic collapse of the World Trade Center Towers and the ensuing bombing campaign by the United States. Kuch responds with fourteen poems and twenty-one intaglios. The book's imagery uses the metaphor of falling to examine the human and spiritual costs of violence. Mythological and biblical narratives are evoked in a modern framework to provide perspective on the then raw and recent events. Using the metaphor of falling to evoke the human and spiritual costs of violence, the volume is also frequented by angels, giving a vantage from above.
The copper-plate etchings were printed by Michael Kuch and by Arthur Larson under the artist's tutelage, with Larson printing the text. David Wolfe of Wolfe Editions cast and set the fourteen point Emerson type. The paper is an abaca & cotton blend handmade for this project by Shannon Brock at Carriage House Paper in Brooklyn, New York. A prototype of the binding (below) was constructed by Shoshannah Wineburg and carried out by Barry Spence for this edition. Our copy is another gift from the estate of our friend Dennis Bayuzick.
brocedes stepford wife type marriage. could be het, or not
i love your fics btw!
Not really stepford wives but robot nico???
"I've updated his language model and increased his audio processing speed," says Lewis, gesturing at the cracked-open shell of electronics on the table. It doesn't really look like Nico now, but as soon as his circuits get stuffed back inside where they're supposed to be and his titanium ribs are snapped shut, he'll look just like the boy Lewis followed to MIT when he was eighteen years old. He's not nearly as smart, or as funny, or as insufferable, but he seems to charm his customers just the same.
"And what is your progress on removing the accent?" says Toto. "I understand modelling a convincing human voice can be difficult but--"
"Zero percent progress," says Lewis. "I'm not doing it, just like I'm not designing a fucking companionship mode, because he is a state of the art robotic assistant, and not a robot girlfriend."
"At the going price," says Toto, arms crossed, "you could double your revenue by adding a companionship mode."
"He can affect politeness. That's the best I'll do."
Toto throws his hands in the air. "Frankly, I don't understand your hang-ups about AI companionship. It's the done thing now, and your models are the best on the market. You could change the game, if you weren't so--"
"I said no," says Lewis.
Toto lifts an eyebrow. "I suppose your gifts are reserved just for you? Your prototype--" He points in the direction of other robot-Nico, the prototype Lewis is always tinkering with, sitting placidly on a rather avant-garde armchair in the corner of the lab. "--behaves awfully affectionately, don't you think?"
Lewis frowns, assessing proto-Nico's idle seat. The cycle of his breath is so natural Lewis could almost be fooled into thinking he was real, if he didn't feel the swell of pride in his chest at the fact that he made proto-Nico, made him almost as good as the real thing. "He's experimental. Not--not ready for the market."
Saw a lovely post about House being "at the top of his profession," and I just want you to know that House made up "Diagnostician" as a specialty. As of 2004 (and maybe still), no doctor specialized in just the diagnosis aspect of medicine. He invented the job.
House is board-certified in nephrology and infectious disease. Typically he would be in one of those departments, but he decided to create his own that would use his talents to their utmost... and let him have the extreme autonomy he needs to function.
(Oh. Does House have a very high level of demand avoidance? Wow, yes, he does, although in 2004 we called that "being a contrary pain in the ass" or more neutrally "a high drive for autonomy.")
Another way Greg House follows from Sherlock Holmes!
Hope is the worst of all evils, for it prolongs the torment of men.
Joffrey had no choice but sat there, naked, his legs spread wide, the wrist of his dislocated arm chained to the wall. He didn’t know how much time had passed until Daeron cheered and clapped his hands.
“There! Like my work?” Daeron grabbed Joffrey’s greasy hair and pulled harshly, forcing the omega to look down.
Joffrey’s inner thigh was bloody, but blood was not the only color. There was a phrase branded on his skin in green ink.
Apparently one of the most contentious issues during the writing process of Little House in the Big Woods was whether they could call Laura's parents Ma and Pa. The line about "children didn't call their parents Mother and Father, they called them Ma and Pa," was there from the earliest draft, and it must have drawn attention to the issue, because editors objected immediately. Apparently, it was "too colloquial", and they worried that the world of children's books was "too snobbish" to accept children's books with parents called anything other than Mother and Father. They went back and forth, but eventually decided it was important to the atmosphere of the time and let them keep it. And thank goodness.