Kojève and Koyré.

Apr. 1st, 2026 08:10 pm
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Posted by languagehat

I find Jonathan Rée’s LRB review (5 February 2026; archived) of two books on Alexandre Kojève interesting on a number of counts. For one thing, he had the unusual duality of being both a well-known philosopher (Hegelian variety) and an important figure in French governments (Rée’s piece begins “The​ obituary in Le Monde was unequivocal: the death of Alexandre Kojève on 4 June 1968 had deprived France of one of its greatest civil servants”). Of more Hattic relevance is his name; he was born Aleksandr Vladimirovich Kozhevnikov (in Moscow), but at some point (neither English nor French Wikipedia is clear about this) he adopted the snappier Gallicized version Kojève. Here is a piquant account of his adventures after leaving Russia:

After a hard journey, including a spell in a Polish prison, Kojève reached Berlin in July 1920 and a few months later came into possession of a large stash of diamonds, sent illicitly from Russia by his mother. He was just eighteen and found himself, as he recalled, ‘at the mercy of money and the pleasures of life’. His extravagances and indiscretions may have been extreme, but they did not stop him taking courses in Sanskrit, Tibetan and Chinese, and devouring, as he put it, ‘everything worth reading in philosophy’. He also registered at Heidelberg to pursue research on Vladimir Soloviev, whom he regarded as ‘the first Russian thinker to devise a universal philosophical system’. He commended Soloviev’s vision of an ‘end of history’ in which humanity would rally to the feminine figure of Sophia, or absolute wisdom, but criticised the irrational attachment to Christianity which, he said, prevented Soloviev from winning through to ‘a new stage in the evolution of thought’.

Kojève finished his dissertation in 1924 but didn’t stay in Heidelberg long enough to qualify for a degree. Berlin was far more exciting and before long he was involved with a glamorous Russian woman, Cécile Shoutak. She was already married, and her aggrieved husband persuaded his older brother, Aleksander Koyra, to remonstrate with Kojève. The scheme misfired, however: Koyra came away convinced that his sister-in-law was ‘absolutely right’ and that Kojève was ‘much, much better than my brother’. He then returned to his home in Paris and persuaded the scandalous couple to join him there in 1926. They married and lived in conspicuous luxury in the Latin Quarter, while Kojève took up an inquiry into determinism and modern physics. But the Crash of 1929 wiped out his investments, which put an end to his high living, his marriage and his work in natural science, though not to his friendship with Koyra.

Koyra was one of the most celebrated intellectuals of the Russian diaspora. He had studied philosophy in Germany and France before joining the Foreign Legion, fighting on the Eastern Front and taking French citizenship under the name Alexandre Koyré. He completed a state doctorate in 1922, at the age of thirty, and was appointed to the École Pratique des Hautes Études, where he started trying to rehabilitate Hegel in France. The ‘traditional interpretation’, he said, was completely wrong: Hegel was not the ‘absurd dialectician and outrageous reactionary’ portrayed in patriotic French textbooks but a ‘singularly attractive’ thinker, more interested in ‘experience’ than ‘method’. Early in 1933, Koyré gave lectures on ‘Hegel in Jena’ in which he evoked ‘a human Hegel, vibrant and vulnerable’. He admitted that Hegel’s notion of an ‘end of history’ looked preposterous, even self-contradictory: how could abstract philosophical reasoning adjudicate on questions of historical fact and how could there be a ‘future’ in which there is ‘no longer any future’? But the difficulties disappear, according to Koyré, once you realise that Hegel was talking not about history as such, but about the way philosophy reflects on it. ‘Philosophy always arrives too late,’ as Hegel once put it. ‘When philosophy paints its grey on grey, a form of life has grown old,’ or in other words, the ‘owl of Minerva’ – symbol of philosophical insight – ‘takes flight only at dusk’. The notion of an end of history is therefore hypothetical rather than categorical: it means that philosophy will not be complete until history is finished, or conversely, that if philosophy is complete, then history must be over. Koyré seems to have thought that no one in their right mind could imagine that these conditions would ever be fulfilled; but he conceded rather sorrowfully that, in Jena in 1806, ‘Hegel himself may well have believed it.’

So there’s another odd onomastic change: why did Koyra (Койра) choose to become Koyré ([kwaʁe])? Is this what studying Hegel does to people? (Kojève’s innamorata Cécile Shoutak also has an odd name — Russian sources call her Цецилия Леонидовна Шутак, and what kind of Russian name is Цецилия?) Anyway, the whole review is worth reading if you care about this stuff, and I’ll quote another Hattic bit: Kojève “took some pride in having defied taboo by encouraging smoking and using colloquial French.”

April 2026 Patreon Boost

Apr. 1st, 2026 02:51 pm
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You too can help fund James Nicoll Reviews!

April 2026 Patreon Boost
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Posted by William Shaw

Make-Believe And Artifice coverReading Make-Believe and Artifice, the new short story collection by Rose Biggin, I often found myself thinking about confectionary. Looking at the reviews, it seems I wasn’t the only one. Runalong The Shelves calls the book “a pure delight of storytelling.” Nick Hubble describes it as “an irresistible chocolate box of artful confections.” Some of this can be chalked up to the book’s literal contents—in these fifteen stories one finds, among other things, a talking chocolate cake and a “dashing gentleman thief” named Gelato Parlour. But more important than the individual details is the book’s overwhelming mood of joyful fantasy. Even the darker moments feel like they add depth of flavour to a frothy, toothsome whole. Of course, any baker worth their sugar will tell you that creating a satisfying sweet is harder than it looks. While it’s easy to be swept up in the delight of these stories, their sweetness and light belie Biggin’s fundamental skill.

As good as the individual stories are, I find myself wanting to assess Biggin’s craft at the individual sentence level. This is a book where lime tarts glow “like the finest arsenic wallpaper”; where a smug man looks “like the cat who had obtained access to an entire dairy”; where a relieved actor can proclaim: “Thank goodness we got through the rest of the play without any drama.” These are sentences which embody a historical period; which crack open an idiomatic phrase and allow it to expand like a frying egg; which are just plain fun to read. Biggin’s jokes are rarely less than chuckle-worthy, and even the more ostentatious puns raise a smile for their sheer cheek. My favourite comes in “The Diamond Twenty Thousand Times Bigger than the Ritz,” when the protagonists approach the mansion of a wealthy eccentric:

I heard Pearl laughing as I gasped with recognition. That neat grid of numbers and letters, the Table I’d been familiar with all my life, was suddenly rising up before me — transformed into the front plan of a building.

“How often does he host the Elemental Ball?” I asked, finding my voice again.

“Oh, you know, now and then,” she said. “Periodically.”

These inventive, finely worked sentences are the foundation on which all Biggin’s stories are built.

Almost all the stories in this book make use of pre-existing characters, from Helen of Troy to Chanticleer the rooster to Frankenstein’s monster. These frequent literary riffs, combined with the loving wordplay and Biggin’s stated background as a performer, sometimes make the book feel like a natural extension of the sketch show. Make-Believe and Artifice is the sort of book one can imagine John Finnemore enjoying, if not actually writing. Like Finnemore, Biggin demonstrates a deep love for the traditional ghost story, even as she exploits its comic potential. In “The Ghost of Cock Lane,” a séance-cum-murder trial is attended by Samuel Johnson (described as “that pedantic bloke who knows about spellings”), who manages to turn the tables on a charlatan landlord seeking to frame his own tenant. It’s a well-plotted little caper, made especially memorable for being narrated by a ghost, who describes themselves as “so tempted to deliver a single knock” and throw off Johnson’s rationalist trap, and who signs off with the exhortation: “Beware landlords!”

Similarly sketch-like is “Miss Scarlett,” which delves into the inner life of the titular Cluedo character. Trapped with her chromatic companions in a murderous, endlessly repeating game, the story starts out amusing (“Look at her, in that lipstick: no doubt she could love and kill the same person on the same night”) but becomes sadder and more existential as it goes on. The characters’ motives can never be fathomed, even by themselves, and soon enough things start to feel downright Beckettian: “Why is a black hole around which the suspects all spin, pulled along by its gravity, unable to reach a centre. They can never know each other that way.” This is what the best sketch comedy does: defamiliarise the popular culture we take for granted, allowing us to see it, and enjoy it, anew. Of course, there’s also the simple pleasure of repetition. “The Gunman Who Came in from the Door” takes Raymond Chandler’s advice for crime writers and stacks up repetitions of “A man came through the door with a gun in his hand,” until pretty soon it’s standing room only. It’s an efficient, sprightly piece, which builds up to an absurd punchline; pure pleasure to read.

Naturally, some pieces are more pleasurable than others. Among the less successful stories is “A Map to Camelot,” a Pratchettesque travel guide for would-be fantasy protagonists. While there are, as ever, some lovely jokes—under the heading “On Breaking Curses,” for instance, the reader is instructed to “[a]sk yourself: do you really feel cursed, or are you merely succumbing to a placebo?”—the overall effect is rather dry. “Helen/Hermione” presents a bittersweet dialogue between Helen of Troy and her daughter, and though the character dynamics are touching, the piece is a shade too slender to make the most of its concept.

At the opposite end of the spectrum is “The New Woman.” At forty-eight pages, it is by far the longest story in the book, and its premise is a doozy. In “[t]he final days of the nineteenth century,” a lesbian couple comprising a doctor, Christine, and an artist, Frances, set out to reanimate the corpse of a burlesque dancer, creating a bejewelled female version of Frankenstein’s monster. Of course, they decide to call the creature Eve. Tensions are heightened when Eve shows a greater degree of trust in Frances than in Christine. Things are further complicated by a visit from the original Frankenstein’s monster, and by plans to show Eve off at a new year’s party. As that summary implies, this story has a lot going on. Add in a self-consciously eclectic set of inspirations including Oscar Wilde, Charlotte Perkins Gilman, and Robert Louis Stevenson, and things start to feel decidedly heady. It’s not that any one of these components is bad in itself, but—ironically, given the longer page count—the piece feels overstuffed. A novella or even a novel might have proved a better container for such a rich set images and incidents. As it is, the plot moves along too quickly, and the story’s ending aims for tragedy but winds up feeling arbitrary. For a story long on human hubris, it’s perhaps fitting that the result feels like a sadly failed experiment.

The book’s most memorable stories, on the other hand, are unambiguous successes. Make-Believe and Artifice contains two pieces adding to the Sherlock Holmes canon, “The Modjeska Waltz” and “The Chandelier Bid” (the latter co-written with Keir Cooper). Both stories are taken “[f]rom the private papers of Irene Adler.” As this choice of protagonist suggests, both provide sly commentary on a man’s world of crime. In “The Modjeska Waltz,” Adler is approached by a brilliant but socially awkward man named Professor Moriarty. Moriarty wants to infiltrate a high society ball where he can steal a precious stone of outstanding mathematical interest. The wrinkle comes when he explains why he needs Adler’s help:

“I need to get to the Ball, Miss Adler, and I need to remain there long enough to acquire the brooch. I need to appear to belong at the ball. Miss Adler, I need to know the Modjeska Waltz.”

I waited for more, but he sat back … and waited.

Finally, the ha’penny dropped. “Professor Moriarty,” I said, “are you asking me for ... dancing lessons?”

Moriarty’s education in choreography is one of the story’s many pleasures. The richest, though, is that Adler manages to get one over on the Professor, just as she did with his archrival.

Said archrival makes an appearance in “The Chandelier Bid,” along with a self-consciously bumbling Watson. Holmes enlists Adler to help investigate a fraud in the art world; lacking any aesthetic sense himself, he is forced to rely on Adler’s “artistic eye.” It’s a solid comic foundation for a story that builds to a clever Doylean reveal, and there are several touches that will please a long-term Holmes fan. When Holmes lays out his plan to Adler at an art auction, she says “I understand.” This flummoxes Holmes, who hastily replies: “My apologies … Usually I’m speaking with Watson and that’s not the response one generally receives.” Later, when Holmes complains about Adler throwing off his concentration, she tells us that “Watson caught my eye and winked. We both knew that if Holmes wanted to focus, even the auction house catching on fire would not have stopped him.” These small beats in both stories demonstrate a real affection for the characters, as well as serious thought about how to get them to do novel things in the framework of a pastiche. They help to make the two Irene Adler stories the most pleasing of a collection already filled with pleasing stories.

Like any tray of sweets, Make-Believe and Artifice may be best enjoyed in moderation. After 227 pages, I felt satisfied rather than desperate for more. But with stories as artfully constructed as this, it’s difficult to feel bad. For any lover of fantasy or comic fiction, this book is a treat to be savoured.


Err Supply

Apr. 1st, 2026 01:00 pm
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Posted by john (the hubby of Jen)

I know just how to ice it


And I know just how to sell


I know just how to read instructions


And I know just how too spell!


I know how to make a moose head

 

And I know how to make a bear


I know just how to write "Amurersary"


And I know what to do with hair!


And I know just how to stack cake...


And I know when I've gone too far!

AND I'M PROBABLY GONNA CHARGE YOU EVEN THOUGH

IT TOPPLED OVER 'CAUSE I REALLY HAVE TO

PAY FOR MY CAR!

 

 But I don't think you should judge me

Just because it's hard to read my scra-ah-awl...

 

'Cuz you know I'll always be here

Making caa-aake

Look like nothing at all

{Making cake!}

 

Look like nothing at all

{Making ca-ay-ake!}

 

Look like nothing at all

Ahhh-awwww-AH!

 Ahhhh-awwww-AH!

 AHHHHHH!!

 AHHHHHH!!!

THIS LOOKS LIKE NOTHING AT ALL!

 

Thanks to Kimberly M., Justine T., Kate L., Lauren B., Krista K., Beth W., Meghan M., Margaret, Amy C., Anony M., Fred M., Kris D., Beth, Kate H., & Chelsea V. for helping us write the longest CW post in CW history.

*****

P.S. Since this saved my butt during a long painting day recently, I have a random product recommendation:

No Buckle No-Show Stretch Belt

This is my new favorite belt, y'all. It basically turns anything with belt loops into an elastic waist. So comfy I forget it's on, slimline so it doesn't show under my t-shirts, and NO BELT BUCKLE to dig into my belly or unbuckle for bathroom breaks. Woohoo!

You know how stretch jeans are forever sliding down when you sit or bend, so you have to keep hitching them back up? No more! I wear this with all my jeans now. It's entirely elastic, so it moves and stretches with you, zero painful digging. I HIGHLY recommend for anyone well endowed with squish in the belly area.

*****

And from my other blog, Epbot:

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Master Nankai hosts a discussion between the idealistGentleman and pragmatist Mr. Champion over the course Japan should take in the 20th century.

A Discourse by Three Drunkards on Government by Nakae Chomin (Translated by Nobuko Tsukui)

2026 Solstice Award

Apr. 1st, 2026 02:53 am
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Posted by SFWA Communications

FOR IMMEDIATE RELEASE:
Celebrating David Langford, SFWA’s Kate Wilhelm Solstice Award Recipient for the 61st Annual Nebula Awards

San Francisco, CA – March 31, 2026

The Science Fiction and Fantasy Writers Association is pleased to announce that the Kate Wilhelm Solstice Award will be presented this year to David Langford at the 61st Annual SFWA Nebula Awards® ceremony on June 6, 2026.

The Kate Wilhelm Solstice Award is bestowed by SFWA upon a person who has made significant contributions to the community sustaining science fiction, fantasy, and related genres. The award was created in 2008, with Wilhelm named as one of the three original recipients, and it was renamed in her honor in 2016. Our latest recipient joins a storied list of winners, including Greg Bear, Ben Bova, Octavia Butler, Neil Clarke, Gardner Dozois, Joanna Russ, Stanley Schmidt, Nisi Shawl, Arley Sorg, and Sheila Williams, among many others.

How does one do justice to the work of a science-fiction creator whose wide-ranging pursuits, publications, and accolades include the long-standing and ongoing curation of The Encyclopedia of Science Fiction (SFE) itself?

As SFWA President Kate Ristau notes, “With his work on The Encyclopedia of Science Fiction, Langford has not only built, supported, and challenged the field of SFF; he has literally helped to define it. His decades of work have made science fiction a richer and more inclusive field. We are more than happy to present him with the Solstice Award in recognition of his career filled with positive, focused, and uplifting contributions.”

A Pillar of Service to Community

Those decades of service to our genre have taken many forms, all necessary for a thriving ecosystem in SFF publishing. Published authors of science fiction and fantasy are made possible by avid readers, equally avid commentators, fans dedicated to the cultivation of spaces to share and discuss great work, historians and archivists marking down events in genre of note, non-fiction writers offering supplement and story-seed to all our fantastic prose, editors sharpening one and the same, and publishers painstakingly building homes for all of the above.

Langford has been all of these, and more. He has handily merited his record-holding 29 Hugo wins out of 55 nominations, among a wealth of other honors in genre. Nor has his service to our ever-expanding community reached an end; along with SFE, Langford continues to sustain Ansible, a UK newszine covering SFF events and happenstance.

Langford’s dedication isn’t just known through titles, either, but also in his tonal range. Here is a commentator who would make readers laugh on one genre outing, then inspire serious reflection with the next. For decades, Langford’s editorial work took care where care was needed with the living history of our medium. His fan-community work brought joy where joy was needed in SFF, too.

“I am delighted to celebrate David Langford as the Science Fiction and Fantasy Writer’s Association 2026 Kate Wilhelm Solstice Award recipient,” says SFWA Executive Director Isis Asare. “His witty sense of humor and encylopedic knowledge of speculative literature has fostered an international discourse on science fiction. The measure of Langford’s impact cannot be overstated.”

The Celebration Continues

Please join SFWA in celebrating the achievements of David Langford, and all our other special guests and Nebula finalists, this June 3-7 at our 61st Annual Nebula Awards Conference in Chicago, Illinois. Conference prices for in-person tickets rise May 1, and Banquet tickets for the acclaimed Nebula Awards Ceremony on June 6 are in limited supply.

Be part of our ongoing history, in a genre that dedicated community-builders like David Langford have curated for us for so long, and so well.

The post 2026 Solstice Award appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

March of the Harmattan

Apr. 1st, 2026 04:00 am
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Posted by Lauren Dauphin

Morning
Afternoon
A light-brown dust plume with a defined front spreads over northwestern Africa in the late morning.
A light-brown dust plume with a defined front spreads over northwestern Africa in the late morning.
NASA Earth Observatory / Lauren Dauphin
By afternoon, the plume has shifted southwest, partly extending over the Atlantic Ocean.
By afternoon, the plume has shifted southwest, partly extending over the Atlantic Ocean.
NASA Earth Observatory / Lauren Dauphin
A light-brown dust plume with a defined front spreads over northwestern Africa in the late morning.
A light-brown dust plume with a defined front spreads over northwestern Africa in the late morning.
NASA Earth Observatory / Lauren Dauphin
By afternoon, the plume has shifted southwest, partly extending over the Atlantic Ocean.
By afternoon, the plume has shifted southwest, partly extending over the Atlantic Ocean.
NASA Earth Observatory / Lauren Dauphin
Morning
Afternoon

March 30, 2026

Saharan dust spreads across northwestern Africa on March 30, 2026, in these images acquired in the morning (left) by the MODIS (Moderate Resolution Imaging Spectroradiometer) on NASA’s Terra satellite and in the afternoon (right) by the VIIRS (Visible Infrared Imaging Radiometer Suite) on NOAA-21.

In early spring 2026, a dry, dust-laden wind known as the harmattan swept across northwestern Africa. Cold temperatures, high winds, and blowing dust prompted officials to issue an alert for several regions of Morocco due to the low visibility and harsh conditions.

Satellites tracked the wall of dust over the course of the day on March 30 as it moved southwest from the Sahara Desert and toward the Atlantic Ocean. The left image, captured by NASA’s Terra satellite, shows the dust at about 10:00 Universal Time (11 a.m. local time in Morocco). The NOAA-21 satellite captured the right image about four hours later.

Meteosat-12, a satellite operated by the European Organization for the Exploitation of Meteorological Satellites (EUMETSAT), captured another view of the dust storm. The geostationary weather satellite showed the dust’s movement as it moved closer to the Canary Islands.

According to Spain’s state meteorological agency (AEMET), the harmattan winds blow from the northeast between November and April, often producing dust storms as winds lift dust particles from the Sahara. During the March 30 event, AEMET noted that conditions were right for a harmattan surge, which happens when winds get stronger near the ground with the passing of a cold front. That day, winds converged perpendicular to the High Atlas mountain range before shifting southwest.

Forecasts called for the Saharan dust to ultimately engulf the Canary Islands, triggering what islanders know as calima. The dust episode was expected to worsen air quality and visibility across the islands through April 1. A separate storm earlier in March also sent dust toward the Canaries, along with another plume that dispersed widely across Europe.

Researchers using NASA data have previously reported that the most intense Saharan dust storms occur in the spring, when dust is typically lifted from the sand seas, or ergs, of central North Africa and areas along the Mediterranean coast. In the warmer months, another peak occurs in the central Sahara.

NASA Earth Observatory images by Lauren Dauphin, using MODIS and VIIRS data from NASA EOSDIS LANCEGIBS/Worldview, and the Joint Polar Satellite System (JPSS). Story by Kathryn Hansen.

References & Resources

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Posted by Planetside Crew

by Ben Nadler

Series banner for Writing from History with Planetside logo
Read by Maggie Ayala.

Although Abraham Lincoln’s life was cut short by a pro-Confederate terrorist in 1865, he has found continuing afterlives as a speculative fiction character trope. Over the past century, this figure has appeared in works by a range of writers, including Vachel Lindsay, George Saunders, Philip K. Dick, Rod Serling, and Tony Wolk.

Each of these works contains a different Abraham Lincoln. They are not the same character. Still, these Lincolns share a common origin, as each of their authors has found a way to use speculative fiction conceits to build their own Lincoln from historical record. What’s more, these conceits offer ways to displace Lincoln from history and bring him into contact with different times and realities. These encounters provide readers and writers of speculative fiction with new understandings of the past, present, and future of this country.  

Sepia portrait of Lincoln standing by a chair, Smithsonian Institution from United States, via Wikimedia Commons
Abraham Lincoln, 1863. Photo from the Smithsonian Institution from United States, via Wikimedia Commons

Why Lincoln?

It is not incidental that Lincoln, of all US historical figures, has taken on this role. “The Great Emancipator” has long functioned as a liberatory figure in American culture. Historian Nina Silber notes that during the Great Depression, Lincoln “offered an imaginative repository” for hopeful responses to the era’s crises. He has filled a similar function for authors in the intervening decades. 

Exploring how different writers have deployed Lincoln in their fictional narratives provides an understanding of Lincoln’s enduring cultural role. At the same time, comparing uses of this character trope by very different authors also provides insight into methods available to speculative fiction writers when working with the past. In these Lincoln examples, we see how the genre devices of hauntings, robotics, and time travel can all be used to access history. 

To and From the Cemetery

In his 1914 poem “Abraham Lincoln Walks at Midnight,” Vachel Lindsay writes: “Here at midnight, in our little town / A mourning figure walks, and will not rest.” The long-dead president, unable to sleep in his tomb, walks into downtown Springfield, Illinois. The current unfolding of World War I troubles him: “It breaks his heart that kings must murder still.”

A century later, the prominent slipstream writer George Saunders uses a similar conceit in his award-winning 2017 novel Lincoln in the Bardo. Saunders’s Lincoln leaves the White House in 1862 to enter a Georgetown cemetery inhabited by ghosts. The most recent arrival is Lincoln’s 11-year-old son Willie, killed by typhoid. The grieving president visits Willie’s crypt, holding him one last time. The ghosts observe the president throughout the night. Ultimately, the spirit of a formerly-enslaved man inhabits Lincoln’s body.

Black and white drawing of Lincoln and his family together in a room, Popular Graphic Arts, via Wikimedia Commons
President Lincoln and Family Circle. Photo from Popular Graphic Arts, via Wikimedia Commons.

A key problem that a fiction writer working with a well-known historical figure has to address is how to build an original character from historical records. Saunders has two solutions. In the cemetery chapters, the ghosts perceive Lincoln without preconceptions, such as when one observes: “An exceedingly tall and unkempt fellow was making his way toward us through the darkness.” In other chapters, however, Saunders leans into the textual record, montaging historical quotes (actual and fictive). For example, one chapter is constructed entirely of negative statements made about Lincoln by his contemporaries. This move plays with the tension between the historical Lincoln, the myth of Lincoln, and Saunders’s own character of Lincoln.

Your Next Stop: The Twilight Zone!

Saunders’s fiction is indebted to the uncanniness of the original Twilight Zone TV series. Bardo, in particular, recalls the 1961 episode “The Passerby”, which depicts Northern and Southern soldiers trudging home at war’s end. The protagonist is a Confederate who comes to realize—in a classic Twilight Zone twist!—that he and everyone else on the road were killed in the war. Eventually, Lincoln himself rides down the road and tells a resistant Confederate widow, “I’m dead too. I guess you might say I’m the last casualty of the Civil War.” The conflict can finally be laid to rest.

Photo of Lincoln's Tomb, Springfield, Illinois (approximately 1879).
Lincoln’s Tomb, Springfield, Illinois (approximately 1879). Photo from Toledo-Lucas County Public Library, via Wikimedia Commons.

“The Passerby” aired as the Civil Rights Movement was gaining ground. Host and scriptwriter Rod Serling comments on the 20th-century end of segregation through his 19th-century characters, just as Lindsay comments on the violence of WWI through his wandering Lincoln. Because Serling’s Lincoln is a ghost who now exists outside mortal time, he can speak to audiences in different eras.

Mechanical Statesmen

Not all speculative depictions of the Abe Lincoln character rely on the supernatural. In Philip K. Dick’s 1972 novel We Can Build You (originally serialized in Amazing Stories as A. Lincoln, Simulacrum), Lincoln and his Secretary of War, Edwin Stanton, are recreated as androids by an electronic piano company. This connects to Dick’s use of androids in other works, notably Do Androids Dream of Electric Sheep (1968), as well as to the real-world Lincoln robot Disney debuted at the 1964 World’s Fair.

Three black-and-white panels of a photo of Edwin M. Stanton. Secretary of War between circa 1860 and circa 1865.
Edwin M. Stanton. Secretary of War (between circa 1860 and circa 1865). Photo by Mathew Benjamin Brady, via Wikimedia Commons.

Dick’s near-future novel touches on issues such as housing justice, corporate power, and lunar colonization, but its primary subject is mental illness (particularly schizophrenia). This concern is embodied in the robotic Lincoln, who exhibits the president’s notorious “melancholy.” “Lincoln was this way,” argues one of the android’s engineers. “He had periods of brooding.” Like Saunders’s, Dick’s depiction of historical figures draws directly on historical record: The androids are programmed with punch-tapes of real sources, such as Carl Sandburg’s exhaustive Lincoln biography.

Fourscore and Seven Years into the Future

Rather than androids, Tony Wolk’s 2004 Abraham Lincoln: A Novel Life (the first in a trilogy), uses another established sci-fi mechanism to bring Lincoln into the 20th century: time-travel. Wolk is not as well-known as Dick, but he has his own role in sci-fi history, such as co-teaching workshops with Ursula K. Le Guin.

At the beginning of Wolk’s novel, Lincoln finds himself transported in the middle of the night from 1865 Washington, D.C. to 1955 suburban Chicago. “Suddenly,” Wolk writes, “there he was, on Howard Street, reeling, as if he were perched on the edge of a cliff, peering over.” As in many time-travel novels, such as Octavia Butler’s Kindred, the temporal leap isn’t fully explained, but the reader follows along for the journey.

The time-travel allows Lincoln to experience a few last moments of reprieve before his assassination. It also allows him to perceive Cold War America. Early on, he tries to wrap his mind around the atomic bomb by comparing it to a Civil War battle: “He was picturing the disaster with the Petersburg mine, but now above ground and engulfing a whole city, a Philadelphia, a Boston.” 

To the Ages

As we enter new eras of American political and social life, the Lincoln trope will no doubt continue to be deployed by authors trying to make sense of our conditions. We will have to see what new Lincolns are brought to life in the decades to come. When the historical Lincoln was assassinated, Stanton famously stated, “Now he belongs to the ages.” Through his role in speculative fiction, he truly does.

Explore more articles from Writing from History

Author photo of Ben NadlerBen Nadler is a writer working between New York City and the Philadelphia area, where he teaches English at Widener University. He is the author of The Sea Beach Line: A Novel and Punk in NYC’s Lower East Side 1981–1991. His next novel, Prairie Ashes, is forthcoming from American Buffalo Books. More at bennadler.com.

The post A. Lincoln, Simulacrum: Approaches to Reanimating the Great Emancipator appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

Next Week in Upper Arlington, OH

Mar. 31st, 2026 07:19 pm
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Posted by John Scalzi

I’m popping up to the Columbus area next Monday at 6pm to take part in an event sponsored by the Ohioana Library, celebrating 100 years of Ohio authors (of which I count as one, considering that 95% of my novels, including my debut novel Old Man’s War, were written here in this state). In my event we’ll talk a bit about me and also a bit about Roger Zelazny (born in Euclid, OH), making a throughline about science fiction in Ohio. It’ll be fun! Plus I’ll probably sign books and may even talk a bit about my upcoming novel Monsters of Ohio. It seems appropriate.

In any event: See you at Storyline Bookshop in Upper Arlington, April 6 at 6pm!

— JS

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The 2015 DELUXE rulebook plus many solitaire and gamemaster adventures. First of two T&T Bundles.

Bundle of Holding: Tunnels & Trolls (from 2018)

AND

Eighteen Tunnels & Trolls solo modules plus five GM adventures. Second of two offers.

Bundle of Holding: T&T Adventures (From 2021)

The Big Idea: Annye Driscoll

Mar. 31st, 2026 03:36 pm
[syndicated profile] scalziwhatever_feed

Posted by Athena Scalzi

Feeling crafty? Cosplayer and author Annye Driscoll has got you covered, with their newest book showing you how to work with pretty much every material you could ever hope to sew. Grab a thimble and check out the Big Idea for Ultimate Encyclopedia of Fabrics & Unconventional Materials.

ANNYE DRISCOLL:

“Can you expand it to include… everything?”

Ominous words from my editor that led to the biggest and best thing I’ve ever made. 

(And I’ve made some really cool stuff! Including a six-foot-long hot dog on a fork and a suit of armor for a spider.)

When I pitched what would become my third book, I called it “Sewing with Difficult Fabrics” and it was targeted firmly at the cosplay sewist. Sequins, faux leather, plastic fur—these are the weirdo kinds of materials that costumers struggle with, but that the average sewist will use very rarely. My goal was to help my fellow weird-thing-makers!

When I’m not an author and cosplayer, I’m a software developer. I’m very familiar with scope creep: when the project expands and expands and balloons out of control. I’m comfortable with my boundaries and I have no issue pointing out and turning down scope creep, when I need to.

With Fabrics, what happened wasn’t so much scope creep as…scope jump scare. Scope avalanche. My editor saw my outline, added a few things that fit the theme, and then added basically everything else. She liked the concept of the book and my previous work, and thought we had a chance to make something big, comprehensive, and seriously cool.

The resulting book is a literal encyclopedia: Ultimate Encyclopedia of Fabrics & Unconventional Materials. I researched, practiced with, and then explained how to work with over a hundred kinds of fabric, and then added in some weird materials for the costumers. (Like paper! A surprisingly satisfying material to sew with.) 

(And, although I want to boast, there’s no way to say something like “it includes every kind of fabric.” Fiber arts are literally thousands of years old; there are—and have been—thousands of variations of fabrics and textiles.)

I got confused a lot. Did you know that sometimes two-way and four-way stretch fabrics are referred to as “one-way” and “two-way” fabrics? So if you’re trying to buy a two-way fabric, you may see it labeled as “two-way” or “one-way”. 

And oh my gosh, the language differences. What I in the United States call a muslin—a practice piece for a future project—is actually a type of fabric in British English. A muslin is also often referred to as a toile… which is a second, completely different kind of fabric. I had to decide, at one point, that I was writing the book from my own, American English perspective, and that I’d just do what I could to anticipate and reduce confusion.

All that to say: writing an encyclopedia was really hard. It was, by far, the hardest I’ve ever worked on a single project. Over 500 of my own photographs are in the book. I messaged, wooed, and profoundly thanked a little over fifty guest makers (imagine wrangling release signatures out of fifty artsy-fartsy folks!). I had to keep a list of “I decided to spell words this way” to try to maintain consistency (I went with nonslip over non-slip, for example).

And it was worth it. I am so proud. Writing and photographing Fabrics made me a better teacher, photographer, and maker. It pushed my limits and tested my tenacity. I am so so proud of it.

I can’t wait for folks to learn from it, to be inspired by it, and to make cool stuff with it!


Check out excerpts from the Supplies and Knits chapters of the encyclopedia here.

Ultimate Encyclopedia of Fabrics and Unconventional Materials: Amazon|Barnes and Noble|Bookshop.org|Waterstones|Indigo| signed copy on the author’s website

Author’s socials: Website|Instagram

Covering All The Bases

Mar. 31st, 2026 01:00 pm
[syndicated profile] cakewrecks_feed

Posted by Jen

Because you can never be too safe, that's why.

Famous for their Dance Dance Revolution play-offs...offs.

You tech guys know a PEBKAC when you see one, right?

That's "Problem Exists Between Keyboard And Cake."

By the way, here's a tip from a former tech support phone operator*: if you're ever told you have an I.D. ten T. error, get a second opinion. Unless, of course, you're using your CD-ROM tray as a cup holder or mouse as a foot pedal**. Then it's an accurate assessment.
* That would be me.

**Yes, it's happened.

Moving on...

If only this had said "Patti Love heart <3 you"...

then it still wouldn't have made any sense.

"Let's see...I could write 'Amanda' in the Happy Birthday bubble, OR..."

Poor Adamwithblueflowers. Grade school musta been murder.

Ashley R., Tara C., Simon P., Amanda L., & Dana G., I would like to thank Ashley R., Tara C., Simon P., Amanda L., & Dana G. In italics.

*****

P.S. I have the kind of insomnia old-timey bards would write songs about, so let me again sing the praises of my amazing sleep headphones:

Bluetooth Sleep Headphones

I listen to boring audio books on these every night to keep my brain from spinning out of control, which works wonders. Lately I've been wearing them like a sleep mask - like the model here - and WOW, that's helped even more than when I wore them like a headband! These things have been a life saver: comfy enough for side sleeping, not too loud like some of my old speakers, and they only cost $20 Prime.

Note that they do run on the big side, but that works out great if you have a big head like me. :D
*****

And from my other blog, Epbot:

I’m, Like, “Please.”

Mar. 31st, 2026 01:36 pm
[syndicated profile] languagehat_feed

Posted by languagehat

Time for another episode of Ask the Hatters! I was reading Jill Lepore’s New Yorker piece “Does A.I. Need a Constitution?” (March 23, 2026; archived) when I found myself flummoxed by the quote at the end of this passage:

A.I. companies’ democratic experiments quickly came to an end. This has made many people more rather than less anxious about A.I., especially in the past few months, owing not least to the newsworthy departures from leading A.I. companies of a number of high-profile safety and alignment researchers. “‘Shoot, the world is not paying enough attention to this’ is a way we all used to feel,” [Divya] Siddarth told me. “Now my mom calls me and says, ‘I saw on the Indian news that some guy resigned from Anthropic,’ and I’m, like, ‘Please.’”

I like to think I’m pretty well versed in the ways of spoken and written English after many decades of speaking and reading it, and I can usually interpret from context what an expression means even if it’s used in an unexpected way, but I have absolutely no idea what the purport of “I’m, like, ‘Please’” might be. Is it “Please, why are you telling me this?” Is it “Please, that’s bullshit”? Is it “Please, that’s not even news”? What’s it all about, Alfie?

March 2026 in Review

Mar. 31st, 2026 08:46 am
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22 works reviewed. 11.5 by women (52%), 10 by men (45%), 0.5 by non-binary authors (2%), 0 by authors whose gender is unknown (0%), and 9 by POC (41%).

March 2026 in Review
[syndicated profile] earthobservatory_iod_feed

Posted by Lauren Dauphin

February 28, 2026
March 29, 2026
Plains in western Nebraska, divided by the North Platte River, appear in light shades of green and brown in a false-color satellite image.
Plains in western Nebraska, divided by the North Platte River, appear in light shades of green and brown in a false-color satellite image.
NASA Earth Observatory / Lauren Dauphin
A burned area on the plains of western Nebraska appears as a large tan area in a false-color satellite image.
A burned area on the plains of western Nebraska appears as a large tan area in a false-color satellite image.
NASA Earth Observatory / Lauren Dauphin
Plains in western Nebraska, divided by the North Platte River, appear in light shades of green and brown in a false-color satellite image.
Plains in western Nebraska, divided by the North Platte River, appear in light shades of green and brown in a false-color satellite image.
NASA Earth Observatory / Lauren Dauphin
A burned area on the plains of western Nebraska appears as a large tan area in a false-color satellite image.
A burned area on the plains of western Nebraska appears as a large tan area in a false-color satellite image.
NASA Earth Observatory / Lauren Dauphin
February 28, 2026
March 29, 2026
Acquired with the VIIRS (Visible Infrared Imaging Radiometer Suite) on the NOAA-21 satellite on February 28 and March 29, 2026, these false-color images (bands M11-I2-I1) show grasslands in western Nebraska before and after several wildland fires spread through the area. NASA Earth Observatory/Lauren Dauphin.

On the afternoon of March 12, 2026, a wildland fire ignited in Morrill County, Nebraska. Within 12 hours, high winds had propelled flames approximately 70 miles (110 kilometers) east-southeast across the prairie. The Morrill fire would burn over 640,000 acres (260,000 hectares) within a week, becoming the largest wildfire in the state’s history.

This image (right) shows the extent of recently burned areas near the North Platte River in western Nebraska on March 29. By this time, authorities reported the Morrill fire was 100 percent contained. However, crews were working to contain two smaller blazes immediately to the northeast, the Ashby and Minor fires, which ignited early on March 26. For comparison, the left image was acquired on February 28, before the fires. Both are false-color to better distinguish the burned areas.

The fires occurred amid an active start for wildfires in the U.S. in 2026. The National Interagency Fire Center (NIFC) reported that 15,436 fires had burned 1,510,973 acres nationwide as of March 27. That’s far higher than the 10-year average—9,195 fires burning 664,792 acres—for the same period.

The Great Plains have been particularly prone to fire in early 2026. Exceptionally dry fuels contributed to rapid fire growth and other unusual fire behavior for the time of year, according to the NIFC. Throughout the winter, much of the region saw warmer and windier-than-average conditions, as well as less than 50 percent of average precipitation over a 90-day period, leading to low soil moisture and grass fuels that were primed to burn.

The fires in western Nebraska affected large areas of ranch and pasture lands, destroyed homes, barns, and fences, and injured or killed livestock, according to news reports. The Morrill fire also burned much of the Crescent Lake National Wildlife Refuge in the Nebraska Sandhills, an area of grasslands, wetlands, and dunes used by migratory birds. Despite the fires, reports indicate that hundreds of thousands of sandhill cranes are still making their annual migration through the Platte River valley.

NASA Earth Observatory images by Lauren Dauphin, using VIIRS data from NASA EOSDIS LANCEGIBS/Worldview, and the Joint Polar Satellite System (JPSS). Story by Lindsey Doermann.

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March Marches On

Mar. 30th, 2026 11:36 pm
[syndicated profile] scalziwhatever_feed

Posted by Athena Scalzi

March was a much busier month than I expected it to be, but it also flew by and I feel like I can’t even keep track of what all happened. I don’t know how we’re at the end of March already, and yet the trip to Colorado I took at the beginning of the month feels very far away. Somehow there’s never enough time to do anything, and when I look back at what I have done it feels like nothing got accomplished at all. It’s like every single day I have no free time and am always running around doing something, but then at the end of the day it feels like nothing even got done.

This past month I’ve truly felt so overwhelmed by everything. And when I say everything I mean any and every little thing stresses me out in a disproportionate way. It’s like my brain doesn’t know the difference between a small problem and a catastrophic one, and so my response to either ends up being the most extreme reaction possible and results in a meltdown and a paralysis of my ability to function.

Every issue is day-ruining, every problem brings me to tears, nothing feels possible to overcome, whether it be the laundry, grocery shopping, or calling the plumber for the tenth time because of leaking in the basement. Everything takes so much longer to accomplish than I think it will. I am either not managing my time well or maybe just not budgeting for things correctly in the first place. Surely it’s a combination of both.

There’s always something more to do. It never ends. There is never a moment of “whew, I got everything done!” The satisfaction of completion, of achievement, never comes. The stress doesn’t end, it continues from one day into the next. I go to sleep anxious and stressed about the problems tomorrow me will face, and then tomorrow me wakes up and is stressed about the problems that have to be taken care of that day. It feels like a vicious cycle and I feel like I’ll never be free.

I keep thinking it will get better, but it hasn’t.

But if I explain the things that are causing me so much stress, I just sound ridiculous and more than a little pathetic. I mean, everyone has bills. Everyone has dishes and laundry to do. Everyone has appointments to keep. Everyone has to grocery shop and cook for themselves. These are very normal, well known life things that everyone does and manages on a day-to-day basis. So why am I drowning? I don’t even have a 9 to 5 or kids or anything that makes my life so much harder and more overwhelming than everyone else’s. In fact, I have the opposite! I have financial security and a WFH job and supportive family and friends, and I still feel suffocated by the menial, tedious, repetitive tasks of daily life.

Every task takes so much amping up for me to do. I cannot simply do a task, I have to work up to said task. I have to prepare mentally to accomplish the task. I need proper motivation, and I so rarely have it.

There are so many things within the house I thought would be done by now, like furnishing the sun room, painting the walls, fixing up the guest bedroom, and yet none of these have been accomplished despite having moved in in November. I just thought these things would be done by now. Or at least started. But they’re not. And my Christmas tree is still up.

Plus, nothing feels like it matters in the face of what’s happening in the world, but that’s a tale as old as time and told by everyone at this point. It hardly feels like an excuse anymore. Oh no, I’m witnessing unspeakable horrors all day every day! Well, time to do the dishes. At least I still have running water, unlike people near data centers. Oh, they’re building a data center twelve miles away from me? Right, right. Well, I guess I’ll just go ahead and do my taxes. Oh, the US is committing horrific acts of war with our tax dollars? Again? Right, right.

I know I’m sounding very doomer, and I rarely bring these types of thoughts here, but good lord March was heavy and I can’t really figure out why it was so bad. But it was, and I posted pretty much zero content. I don’t want to feel like my writing doesn’t matter, and I don’t want to feel like the things I do in my day to day life don’t matter, but that’s where I’m at right now. I know a lot of people feel the same way.

I’m hoping to catch up with a lot of posts, as I have been doing really fun and exciting stuff. And as frustrated as I am that all the good things in life are continuously tainted by the fact we live in a world run by the most evil people imaginable, I am still looking forward to sharing those good things with y’all. Because they do exist, despite it all.

-AMS

[syndicated profile] languagehat_feed

Posted by languagehat

Danny Bate featured here just a couple of weeks ago, but he’s got another post I can’t resist sharing: The Armenian Who Learned Greek in Ancient Egypt. This is another “who knew?” moment for me:

Written in Armenian letters for an unknown individual navigating the Greek-speaking society of Roman Egypt, this document is an absolute goldmine of historical and linguistic information. It’s both a testament to a multicultural Mediterranean world, and a valuable early witness to the Armenian language and its speakers. This is in spite of the fact that it doesn’t contain a single word of Armenian. […]

This document, cautiously dated to around the 5th–7th century AD, is a very early example of the Armenian alphabet, and the only one written with papyrus for its material. Yet it doesn’t come from anywhere near lands ever known as ‘Armenia’, nor does it write down Armenian speech. Its provenance is unclear. The French scholar Auguste Carrière bought the parpyrus from a dealer at the end of the 19th century. Scholars worked off a photograph of just one side until the original was rediscovered in 1993 by historian Dickran Kouymjian at the French Bibliothèque Nationale (designation: BnF Arm 332). Before Carrière, the trail goes cold, but the arid, papyrus-preserving climate of Egypt is the likeliest resting place. As for its language, the document is nothing but words of Greek.

Line after line, the document faithfully renders nouns, adjectives, verbs, phrases and whole sentences of Greek in Armenian letters. […] Now, I see two seams of information to be excavated from the papyrus: one about historical language (quelle surprise), but another about historical society. Let’s dig into the first.

The thing is, the papyrus is an excellent acoustic witness to how Greek sounded back then. The language, caught between its Koine and Medieval forms, is plentifully attested in historical sources from Late Antiquity, but such sources are necessarily silent. We know that Greek speech has undergone many changes down the millennia, but pinpointing when (and where) these changes occurred tends to be imprecise – we say things like ‘Oh, that consonant shifted during the Koine period’, which narrows things down to about nine hundred years. […]

Alternative scripts are therefore of great importance for the historical linguist. Rendering speech in new letters is not bound to any archaic spelling and established standard, but instead is accurate to sound. This Armenian spelling of Late Antique Greek lifts the veil on the spoken language, giving us a precious glimpse of what changes had (or hadn’t) occurred. […]

The active choice of Armenian letters offers us whispers of the accent behind the words. For example, the alphabet has Բ, which stood and still stands for the voiced stop sound /b/. Greek words spelled with B are here mostly Armenian-ised with Բ, rather than another letter that would indicate a thorough shift towards the voiced fricative /v/, such as the W-letter Ւ. There are a couple of spellings that hint at the shift’s onset, though. For instance, “ՍԱՒԱՆ” (‘sawan’) spells σάβανον ‘linen cloth’.

The consonant behind the Greek letter Χ has also changed over the centuries, from an aspirated /kʰ/ to a fricative /x/, as in Scottish loch. The Armenian alphabet could provide suitable letters for both the older and the younger sounds (namely, Ք and Խ). We observe that Χ-words in usual Greek writing are spelled in the papyrus with Ք, indicating the older sound.

Relatedly, Armenian has a letter for the breathy /h/ sound in hat: Հ. The author of the papyrus often uses it at the start of Greek words that have since dropped their Hs. It’s there in “ՀԷՄԱ”. This is the Ancient Greek word for ‘blood’, αἷμα, the origin of English haemo-. It’s pronounced like a breathless ‘ema’ in Modern Greek, but was ‘hema’ still for our author. That said, the Հ is absent from other possible places. The variability gives the impression that H-dropping in Egyptian Greek was common, but not yet ‘good’ Greek.

These features together give the Egyptian accent of Greek behind the papyrus a fairly conservative, quasi-classical feel. Many of the sound changes that are standard and normal in Greek today don’t seem to have been fully present in Late Antique Egypt.

There’s considerably more at the link, including evidence for incipient iotacism and -ίον diminutives, and it ends by trying to answer the questions “What was the purpose of the papyrus? And who was it for?” I hope they turn up more such documents with foreign evidence for the state of ancient languages.

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