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Increased productivity continues! In fact, I was SO productive this month that I'm posting an update two months in a row. I hope this increased productivity/posting rate will continue for at least a while, though life has a way of throwing curveballs. If this means you want to reduce your pledge amount, I understand. Honestly, I'm thankful that anyone at all helps fund my weird obsessions…

·        Updated the Dragaera Timeline to cover information from Bryan Newell's version of The Map of Dragaera. While this mostly consisted of small tweaks, there were two books involving movements of multiple armies which required nearly-complete rewrites: The Lord of Castle Black and Sethra Lavode. The principal battles in these books were sufficiently multi-threaded and complex that, in addition to estimating dates, I also found it necessary to estimate time of day. In the course of this, I also had cause to write two new supplementary essays:

o   Pel's machinations in The Lord of Castle Black – In the first half of the novel, while Pel is playing both sides at once, I infer a lot of interesting actions which Paarfi deliberately elides.

o   Disposition of forces before the Battle of Dzur Mountain – In the lead-up to the battle, there are 3 armies and 2 smaller troops moving around, and it can be difficult to keep track of who is where. This overview should help.

·        Annotated the wonderfully detailed new cover for the 25th Anniversary edition of Alan Moore's first novel, Voice of the Fire. Highlights:

o   Directly underneath the title is a small string of Enochian text.
"Alan’s favourite Elizabethan magus, Dr. John Dee, is present (albeit offstage) in the Angel Language chapter. To acknowledge this I placed an inscription in Enochian—Dee’s “Angel Language”—underneath the title."
Enochian should read right to left, but this text reads left to right. The small dots are used by Coulthart to demarcate words; they are not typically used in other Enochian writing. The letters read "BYA K A MALPRG", which translates roughly to Voice of the Fire.

o   As evidenced by the title, fire is of central importance to this text, and literally takes up the center of the cover. The hottest portion of the fire is obscured, however, by the body of the shaman. Is there meant to be a symbolic meaning to this, maybe that shamans obscure as much as they reveal?

o   The cover contains many human figures, but surprisingly few human faces. Several of the figures have their backs to us; one has their head turned; one has a hood obscuring the face. A few faces are visible. There are two human skulls, both facing us, which might perhaps be counted as faces. An Imp is facing us, with its human-like face on a ferret-like body. There are two indirect faces, where the cover depicts an object that itself depicts a face: the carved figure in the upper left, and the coin with Diocletian's profile at lower left. It may be that all these facial absences are meant to draw the viewer's attention subconsciously to the symbolically depicted face of the large horned shaman which is semi-hidden as a central design element.

·        Continued contributing to the Little Nemo in Slumberland deep read on Twitter.

·        Answered some questions for Steven Brust.

·        Integrating reader comments on various projects.

Projected for next time: Finishing Jerusalem, chapter 2, and all of chapter 3.

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I am resistant to most pain medication. This proved to be extremely problematic in the immediate aftermath of open-heart surgery last Spring. While it was necessary and life-saving, it was still major surgery, and my body was complaining a LOT. Without any working painkillers, I was getting quite sleep-deprived.

Making the best of a bad situation, I listened to audiobooks at night. Audiobooks of books that I already knew and loved, so that if I DID manage to sleep for a few hours, I wouldn't miss vital plot points.

Over the course of recovery, I tried a bunch of different painkillers, in the hope of finding one that worked at least a little. A housemate had acquired a bottle of marijuana gummis (the theoretically non-psychoactive kind) in an (unsuccessful) attempt to treat their own chronic pain, and offered them to me. I had never had marijuana (or any other "recreational" drug) before, but if there was ever a time for it, this was it. I tried one of the gummis, and it had no appreciable effect. My wife suggested that maybe I should try taking a dose of two of the gummis. I grumbled and declined, feeling that there when one didn't do anything at all, two was unlikely to help.

A few days later, in a fog of pain and sleep deprivation at bed time, I thought, "What the heck, let's try taking THREE gummis". I did, then got in bed and put in my headphones. By this point, I was working my way through the Vlad Taltos audiobook series, by Steven Brust.

Now, a bit of necessary background: There's a thing that Brust likes to do in these books. In almost every book there will be one or two sequences where Vlad is either casting a spell or in some other state of altered consciousness. During these sequences, Brust likes to play formal games with the prose, as a way of conveying that altered states of mind. While this started out as basically stream-of-consciousness, and still tend to look that way on a surface level, there is often some clever formalism hiding underneath that.

I was listening to a relatively new book (_Hawk_, IIRC), so it was one that I was a bit less familiar with. And shortly after I went to bed, it got to one of those spellcasting scenes. Now, audiobooks often turn out to have surprisingly different impacts than prose. (My favorite example of this is Neil Gaiman's _American Gods_, where a subtle clue on page 1 becomes a blatant spoiler when read aloud.) So I wasn't TOO surprised when I was listening to the spellcasting scene and went, "Huh. This is totally in the rhythm of 1950s Beat poetry. Weird choice for a fantasy novel, but I think it works."

A few minutes later, however, I realized that the spellcasting scene was over, and now we were in a normal dialogue scene – and it still sounded like Beat poetry. I remembered taking the triple-dose of marijuana gummis and started to get scared. I grew up with a very Cartesian philosophy, identifying my self strongly with my mind, and now my mind was behaving strangely, which was effectively an existential threat. On the other hand, there was the mitigating factor / additional symptom that it was also HILARIOUS!

I went downstairs and talked to some still-awake housemates and my wife for the next few hours. (My wife was VERY grumpy with me. "What happened to TWO?!") Intriguingly, I had no visual symptoms at all, it was only the language processing centers of my brain that were effected. The parts of my brain that perceived poetry, song, and humor had been dialed up WAY higher than normal. People mostly weren't (perceived as) talking to me, they were singing! Even when they attempted to speak as simply as possible, that just came through as blank verse. Also, almost everything was a joke!

I had trouble speaking myself. I normally speak with longish pauses, as I search for the proper phrasing for what I want to say. But my mind was now quicksilver, and would go off on such racing tangents thinking of different words, that I would lose track of the semantic content of what I was trying to say. Or just break up laughing.

Eventually, my wife felt I was safe enough that I could be sent to bed. About six hours later, the effects finally faded away. So that's the story of my first inadvertent drug trip.

Postscript: DID it work as a pain killer? I have no idea. It certainly distracted me from the pain for a while. But it wasn't an experience I was particularly eager to repeat. And anyways, my wife had taken the bottle of gummis away from me :-)

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Alexx Kay

February 2025

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