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@coimeas.bsky.social

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ph.d. ann an litreachas coimeasach (fantasachd is ficsean-saidheansa). sgrìobhadair. e/esan | ph.d. in comparative literature (fantasy and sci-fi). he/him https://anduilleaggheal.neocities.org/

album cover for the original motion picture score for Private Romeo, music composed by Nicholas R. Wright.

clawr Dirgelwch yr Wylan Ddu, gan Idwal Jones.

cover of 2014 North American edition of Sabriel, by Garth Nix. the title, an image of a Charter mark (a stylized T in a circle of flame) and the author's seal are gigantic; below them are a tiny landscape with a figure.

When I say it is impossible to vary the form without varying the information, I do not mean any formal change (e.g., the shuffling of a few words in a novel) must completely obviate the entire informational experience of a given work. Some formal changes are minimal; their effect on a particular collection of words may be unimportant simply because it is undetectable. But I am trying to leave open the possibility that the change of a single word in a novel may be all important.

Every generation some critic states the frighteningly obvious in the style/content conflict. Most readers are bewildered by it. Most commercial writers (not to say, editors) first become uncomfortable, then blustery; finally, they put the whole business out of their heads and go back to what they were doing all along. And it remains for someone in another generation to repeat:

Put in opposition to "style," there is no such thing as "content."

Hockey Night in Canada

It is not justified by the men being beautiful
or their faces showing agony. If you love men
they are beautiful in the street and everywhere.
I'm not talking about when we play soccer by Trout Lake
on Sunday afternoons.
It's not justified by someone pointing out that what's going on
a million miles below in the rink is a mini-order
reflecting the order of the universe.
The relations down there are the same as the relations
of production throughout capitalism. This is hidden
by announcing tonight's attendance over the public address system.

It isn't justified by the moment of beauty being swallowed up
in the roar of the crowd.
It isn't justified by the beauty of a perfect play.
The athletes are used up and left with scars. The men
I slept with were always more beautiful than the most beautiful.
This surprised me, but I didn't stop to understand.

It isn't justified. No capitalist sports are justified.
If you weren't tricked into cheering for something else
there would probably be some loss of beauty
but there would be a gain of truth. Turn off the
set.
I'm willing to sacrifice the beauty that occurs in these lines,
even go without beauty for a while (though it would hurt) to gain
the truth that will have a beauty that's unknown right now.
Anything human beings do against human beings defending capitalism
is justified.
Remember the hot night they were playing in Philadelphia
the ice fogged up engulfing the players and they had
to stop the game. It was beautiful.

August 16, 1975

cover of Mus of Kerbridge, by Pauli Kidd.

cover of Counterweight, by Djuna.

cover of The Extravaganza Eternia, by Kristin Osani.

còmhdach Blood of the Old Kings, le Kim Sung-il.

cover of Cadáver exquisito, by Agustina Bazterrica.

cover of Ringworld, by Larry Niven.

còmhdach The Seer of Kintail, le Elizabeth Sutherland.

cover of The Ministry of Time, by Kaliane Bradley.

cover of Imaro, by Charles R. Saunders.

cover of The Raven Tower, by Ann Leckie.

cover of Red Ants, by Pergentino José.

cover of In the Eye of the Sun, by Francis Ebejer.

cover of Les voyageurs malgré eux, by Élisabeth Vonarburg.

cover of Taaqtumi: An Anthology of Arctic Horror Stories, edited by Neil Christopher.

cover of Tu sueño imperios han sido, by Álvaro Enrigue.

còmhdach L'or des mélèzes, le Carole Labarre.

cover of The Library Thief, by Kuchenga Shenjé.

cover of Gate of Ivrel, by C.J. Cherryh.

còmhdach Ch'ayemal nich'nabiletik / Los hijos errantes / The Errant Children, le Mikel Ruiz.

cover of Deep Wheel Orcadia, by Harry Josephine Giles.

cover of Le rêve d'un Groenlandais, by Mathias Storch.

cover of The Fortunate Fall, by Cameron Reed.

a screenshot of the Oxford English Dictionary entry for "fey", sense 5: "Disordered in mind like one about to die; possessing or displaying magical, fairylike, or unearthly qualities. Now frequently used ironically, in sense 'affected, whimsy'." the first attestation is from John Galt's The Entail, vol. 1, viii.62: "Surely the man's fey about his entails and his properties."

In the holy name bang! bang! the flowers came
With the marvellous touch of fingers
Gentler than the fuzzy goats
Moving up and down up and down as if in ecstasy
As the cowboys rode their girl-sleek horses
Over the barbarous hills of California.

(text from A.J.M. Smith's News of the Phoenix, published in 1943)

còmhdach Blood for the Undying Throne, le Kim Sung-il (aithnichte an seo mar "Sung-il Kim"), air eadar-thenagachadh le Anton Hur // cover of Blood for the Undying Throne, by Kim Sung-il (identified here as "Sung-il Kim"), translated by Anton Hur

còmhdach The Seer of Kintail, le Elizabeth Sutherland. tha fear le falt is feusag dubha ag amharc a-mach. tha seud-mhuineil le spliùcan air, is chan eil lèine air, ach peiteag-bhèin is rudeigin a tha coltach ri pàirt de dh’fhèileadh-mòr. / cover of The Seer of Kintail, by Elizabeth Sutherland. a man with black hair and beard stares out. he is wearing a necklace with a leather pouch on it. he has no shirt on but instead a vest and something that looks like part of a fèileadh-mòr.

cover of Notes of a Crocodile, by Qiu Miaojin, translated by Bonnie Huie.

cover of The Scar, by Marina and Sergey Dyachenko, translated by Elinor Huntington.

cover of Honford Star edition of Cursed Bunny, by Chung Bora, translated by Anton Hur.

cover of Memories of Tomorrow, by Mayi Pelot, translated by Arrate Hidalgo

cover of Penguin Classics edition of "Sultana's Dream" and Padmarag, by Rokeya Sakhawat Hossain; Padmarag is translated by Barnita Bagchi.

cover of Yankees in Petrograd, by Marietta S. Shaginyan, translated by Jill Roese.

cover of La Bastarda, by Trifonia Melibea Obono, translated by Lawrence Schimel.

cover of Fon t-Slige / Under the Shell, by Anna Frater, translated by Anna Frater.

cover of Imaginary Maps, by Mahasweta Devi, translated by Gayatri Chakravorty Spivak.

cover of 2007 edition of Nada, by Carmen Laforet, translated by Edith Grossman.

cover of Homo sapienne, by Niviaq Korneliussen, translated by Inès Jorgensen and Jean-Michel Huctin.

cover of Terminal Boredom, by Suzuki Izumi, translated by multiple translators.

cover of bilingual edition of To the North the Antillean Sea and The Insurgent / Por el norte el mar de las Antillas y El insurgente, by Esdras Parra, translated by Jamie Berrout.

cover of I Am Ariel Sharon, by Yara El-Ghadban, translated by Wayne Grady.

cover of Things We Lost in the Fire, by Mariana Enríquez, translated by Megan McDowell.

cover of Natural Consequences, by Elia Barceló, translated by Yolanda Molina-Gavilán and Andrea Bell.

an image of a futuristic cityscape with flying cars, captioned "The world if Celtic studies conferences were hybrid or entirely online"

cover of I Will Not Fold These Maps, by Mona Kareem, translated by Sara Elkamel.

cover of Granada, by Radwa Ashour, translated by William Granara.

cover of Reluctant Voyagers, by EÉlisabeth Vonarburg, translated by Jane Brierley.

cover of Air Mo Chuairt / My Journey, by Ealasaid Chaimbeul, translated by Mary Flora Galbraith.

cover of Edo's Souls, by Stella Gaitano, translated by Sawad Hussain.

cover of The Song the Owl God Sang: The collected Ainu legends of Chiri Yukie, translated by Benjamin Peterson.

an edited meme. a photograph of a shirtless man looking at the camera, captioned: "Nooo don't introduce intellectual property law into your fantasy legal thriller your so sexy aha"

cover of Other Press edition of Bad Girls, by Camila Sosa Villada, translated by Kit Maude.

cover of Kalpa Imperial, by Angélica Gorodischer, translated by Ursula K. Le Guin.

cover of Canuck and Other Stories, by Camille Lessard-Bissonnette, edited by Rhea Côté Robbins and translated by Sylvie Charron, Sue Huseman, Jeannine Bacon Roy, and Madeleine C. Paré Roy.

cover of Mitiarjuk Nappaaluk's Sanaaq, translated by Peter Frost and Bernard Saladin d'Anglure