Gaining Focus: The Mandalorian 1.2

The second episode of The Mandalorian, titled “The Child,” was more focused than the first and benefited greatly from this. There are only a handful of characters with speaking lines, most of them indistinguishable Jawas, and of the three primary characters, one doesn’t talk at all. There was a good deal of action, which typically propelled the plot forward instead of feeling extraneous. And the story being told was simple enough: the Mandalorian needs to deliver his quarry. The Mandalorian’s ship has been stripped down by scavengers, and he needs to retrieve the parts. In fulfilling the objectives of recovering his parts and repairing his ship, he learns some pretty interesting things about his current “captive,” and he spends more time bonding with the gruff, wizened old Ugnaught pioneer, Kuiil.

Pedro Pascal is really managing to pull off a lot behind a helmet and full body armor. His character is gradually seeming like, well, a full character, instead of just a cardboard cutout of a gunslinger. We don’t know a lot yet, but he seems like a weird combination of violent and vulnerable. I still don’t know the character well enough, but at least the series seems committed to developing him. It’s Kuiil, played by Nick Nolte, who’s the truly engaging character so far. He’s incredibly resourceful, his past is more than a little bit intriguingly mysterious, and he also possesses a fair amount of compassion and wisdom. It’s too bad that it seems like the Mandalorian is leaving Kuiil behind on his journey, though they at least part on amicable terms.

The show is doing some interesting things with this bounty target. Things that I wouldn’t expect to happen so quickly. We might have some answers about the first-episode surprise coming at us quicker than I expected, answers that could have some wild and weird implications for the larger galaxy far, far away. Given that the first episode only came out earlier this same week, I don’t feel comfortable discussing this much further just yet. But suffice it to say, the show appears to be aiming at something more unique than episodic sequences of the Mandalorian Man With No Name snapping up quarry and shooting through obstacles. I think I’m now on board with this show–at least, I’m very eager to see what happens next!

War Criminals: The Mandalorian 1.1

I watched the first episode of The Mandalorian last night, and I’m finding that my opinion seems to conform to a pretty common set of reactions. I thought it captured the atmosphere of certain elements of the nineties Expanded Universe, for better and worse. I enjoyed watching an episode of television that was less than an hour in length, though I felt like it dragged on a bit, meaning I suppose that the show was effectively contained to a narrow time limit but wasn’t economical with its storytelling within that time. At the end of the episode, it felt like a fun adventure, but I also had very little idea of the characters or the overarching plot. The surprise revelation at the end truly was surprising, and it raises a lot of questions, but it has me more baffled than excited.

But after so recently re-reading Tales of the Bounty Hunters, I’m in the mood for more of The Mandalorian. I’m certainly willing to stick with it for at least a few more episodes to see where it goes and what it’s trying to do (then again, there are only eight episodes in the first season, so it’d be easy enough to watch it all).

If there’s something that stands out to me so far, besides the old Legends callbacks, it’s the setting. Set five years after the fall of the Empire, we’re in a time period that’s relatively unexplored within the new continuity. There are certainly echoes of the Imperial Remnant’s splinter factions and warlords from the old Expanded Universe, but I was especially intrigued by how much the show seemed to be reflecting narratives about the post-World War II era. I get that people are amused by the absurdity of a Serious Auteur like Werner Herzog delivering lines about Mandalorian beskar (and forgive me, but I can’t claim to have even the slightest familiarity with his oeuvre), though I instead found it striking to see an older gentleman with a German accent, draped in an ornamental costume and wearing a flashy medallion from his fallen Empire, negotiating for an illicit operation to abduct or kill a target with the promise of payment in ingots of a rare metal collected from a people subjected to a purge by his former military authorities. The Galactic Empire has always relied on a visual language that evokes Space Nazis, but there has been a gradual ramping up in the obviousness of that imagery over time. The First Order is draped in Nazi-esque fascist iconography, and it’s a common observation that the movement of Hux and Kylo Ren feels more than a little like the real-world resurgence of far-right movements across the globe. In The Mandalorian, the Imperial holdouts we’ve seen so far are like Nazi war criminals in hiding in the decades following the end of the war. This progression from aggressive fascist empire to scattered war criminals operating underground to a seething resurgence maps up with real-world developments all too well.

I wonder if this theme will tie in more directly to the developing plot. For now, anything else is pure speculation.

Changing hunters

In my review of Tales of the Bounty Hunters, I started by saying that I wanted to some day talk a little more about how these bounty hunters have changed in their depictions between Legends and the Disney canon. That day has come. I’ll admit that the timing is awfully convenient, what with a show about bounty hunters in the new Star Wars canon premiering this Tuesday. It’s truly just a coincidence, though, or if it isn’t, my subconscious was primed for thinking about bounty hunters given the marketing for this show. Either way, it’s not exactly new ground for this blog (examples one, two, three, and four for consideration).

One thing this post is not meant to be is a biographical sketch of the characters from Tales of the Bounty Hunters, or a careful examination of the differing details of their interpretations across Legends and canon sources. You want that, go to Wookieepedia. What I want to do is talk about how I reacted to some of these changes, and how my opinion might have changed in revisiting a work that was so nostalgic for me.

To begin, I found Dengar’s transition from Legends to canon to be most welcome. In the new canon, he’s consistently been portrayed as a sarcastic, playful personality. He seems to enjoy being around people, even if he’s still a little bit of a sociopath. We are still missing a lot of details in his arc, but we see him go from a member of Boba Fett’s bounty hunting team in The Clone Wars to an aging, sardonic loner desperately yearning for a reconnection with others in the Aftermath books. It seems like his adventures during the reign of the Empire are still mostly untold. I haven’t kept up with the comics in a long while, but it seems like they’ve slowly included some Dengar appearances in which he seems to be much more grizzled. It’d be interesting to learn why exactly he became more hardened and violent and if those wrappings ever became actual bandages.

Regardless, Dengar’s fun now. He’s charismatic on-screen (and on the page), even if most of the other characters find him annoying. I’ll take this depiction over “Payback,” the dour ex-Imperial serial killer bent on revenge from Legends. Plus, the broader story of Dengar now appears to have all the elements of a story of loss, pain, and recovery that formed the core of the older version of Dengar. We’re still missing what caused that pain for him in the middle of this arc, as far as I’m aware, but maybe we’ll see it someday. I prefer Dengar finding salvation in found family over a romantic entanglement, anyway.

Bossk also seems a lot more “fun” in the new canon. He’s loyal to Boba Fett in The Clone Wars, at least. I’m fine with this version of the character; he’s not a mentor, exactly, to Boba, but maybe he’s a sort of weird uncle. That we don’t really have a clear picture of how Boba and Bossk fell out is an unfortunate gap. Bossk’s fate is equally unclear; by the peak of the Galactic Civil War, we only have a snapshot with his cameo on board the Executor. I don’t really know how to feel about this version of Bossk. The original incarnation of the character was so scary, vile, and outright evil. Then again, it’s interesting that Bossk’s character traits went on to largely define Trandoshans as a whole, then in the new canon, with greater individualization within species, Bossk is given a friendlier identity while a faction of Trandoshans is still characterized as Wookiee-hunting psychopaths within The Clone Wars.

Meanwhile, IG-88 doesn’t really seem to have been changed at all. There are a lot of other IG-model droids, from the Clone Wars onward, and these other versions often get used instead of IG-88 himself. That’s been a deliberate choice; in an interview with IGN, Dave Filoni explained:

So a droid like IG-88, if you know the Expanded Universe and the Star Wars history, there are a lot of stories around him or what might’ve happened to that particular droid. So out of respect for people that have been with this franchise a long time, it’s like, “well if we do something with this space, would that be contradicting those stories?” So it’s better just to say, “Well, there’s other droids,” it’s not like it was a unique assassin droid.

I appreciate Filoni’s tendency to bring in things from Legends as reasonable and to leave Legends elements ambiguously canon where possible instead of always explicitly contradicting them with new material, but I also find it ironic that he says that it wasn’t a unique assassin droid, when “Therefore I Am” is very much so about how IG-88 was a unique prototype (something already undermined in Legends with ideas like the IG lancer droids). That all said, I wouldn’t mind a revamped version of IG-88 that more fully explores the contradiction between his lofty ideals for a droid revolution and his practices of overwriting programming and operating through brutal violence. Why does he want the droid revolution? What are his end goals? Something more than simply being disgusted with organics could be really interesting, especially in the wake of L3-37’s debut (and IG-88’s plan to become the Death Star II could provide an interesting mirror to L3’s becoming part of the Millennium Falcon).

Zuckuss and 4-LOM became such weird, splintered characters in Legends. Zuckuss had multiple personalities; 4-LOM had a memory (and personality) reset. These elements appear to have been attempts to explain too many stories about these characters from different writers with different visions who didn’t bother to make for a consistent presentation. That said, I like the earlier versions of these characters. Zuckuss is a thoughtful, meditative, tradition-bound member of a mystic hunting tradition. 4-LOM is a constantly adapting droid who believes that he can program himself to allow for intuition and to maybe even access the Force. It doesn’t seem like the duo have appeared much in the new canon yet, so it’s hard to say how their personalities will cement.

Boba Fett has had the biggest transformation, from weird zealot-murderer to vengeance-obsessed clone; in some ways, he’s become more like the old Dengar. I like the newer version of Boba Fett better. The biggest mark against Boba Fett is that he has an unsatisfying ending. His death was treated as a sort of joke in Return of the Jedi. In a way, Attack of the Clones makes his death more of an inescapable tragedy; his “father” tried to raise a better version of himself, and Jango’s untimely death set Boba down a path that would see him die in a similarly unceremonious way at yet another elaborate execution gone wrong. Legends tried to make Fett virtually indestructible, overcoming the Sarlacc so that he could go on to be a continuing threat to Han and his family. But I think Fett’s life from Kamino to Tatooine has a better, self-contained arc, even if his on-screen death will always be a silly footnote.

As a special addition, I have to mention Greedo. Greedo’s formative Legends tale was in “A Hunter’s Fate,” collected within Tales from the Mos Eisley Cantina. There, he’s a young hotshot who’s basically goaded, unprepared, into a fight with Han so that his bounty hunter “friends” can in turn collect a bounty on the inept Rodian. Whatever happened in that cantina–Han shooting first, second, or simultaneously–fits comfortably with this narrative. Greedo was unprepared and couldn’t outgun Han. Greedo’s new canon version is actually frustrating to me; he’s been in operation for at least a couple decades, with an active involvement in the underworld of the Clone Wars era, and yet he still bumbles a point-blank shot at Han. It’s a wonder that such an incompetent gunman could have survived in his line of work for as long as he did. If Lucas had simply left Han to shoot first, this wouldn’t bother me as much–Han would have been taking out a threat proactively, before the dangerous hunter could get a shot off. But if Han fires second, or even simultaneously, it becomes difficult to understand how Greedo, with weapon rested on the table before him the whole time, could have screwed up so badly.

Obviously, the above only reflects my opinions and interpretations of these characters. Bounty hunters are on my brain. I’d love to hear which versions of the characters you prefer and why, or even which versions of the characters you’re more familiar with. And as a separate prompt, are there any other characters who have had particularly successful/unsuccessful transitions from Legends to the new canon? Do you see new characters, like IG-11, that are filling the role of a Legends character in new stories? I hope to see some interesting replies!

Revisiting the Tales of the Bounty Hunters

Well, I’m a day late, and it’s just a book review, but I think you have to agree that a Star Wars review is pretty standard for this blog! I think I want to talk a little more about the bounty hunters in another post, especially regarding how they’ve changed in their depictions between Legends and the Disney canon. But that can wait for another day. For now, my review of Tales of the Bounty Hunters, which I’d last read well over a decade ago, follows.

Tales of the Bounty Hunters (Star Wars)Tales of the Bounty Hunters by Kevin J. Anderson

My rating: 3 of 5 stars

I returned to Tales of the Bounty Hunters partly out of nostalgia, but partly because I’d rather enjoyed the other Tales that I’ve rediscovered in adulthood. On finishing, I was surprised to find that my original rating for this collection, based on childhood recollections, was pretty honest; I haven’t altered that rating. The stories are good, extrapolating from our brief glimpse of Empire‘s bounty hunters into full adventures that are generally interesting, though rarely emotionally investing.

The wildest part to me was realizing that “Therefore I Am: The Tale of IG-88,” by Kevin J. Anderson, was nowhere as good as I remembered it. There was no way that it could be; I remembered it as a high-concept piece about artificial intelligence, droid rights, relative morality, and a fight for liberty. It’s…not that. I can see how the basic story of IG-88’s silent droid revolution allowed me to imagine these larger, richer themes; it stoked the fires of my young imagination, even if it didn’t really execute such an epic story. IG-88 is an assassin droid; it thinks it’s better than organics, so it’s going to kill them all. It thinks droid independence is vital, but it’s quite happy to overwrite other assassin droids to transplant its personality, and it views an override code that will launch a galactic-wide droid revolution as an essential part of its plan. IG-88 never seems to even consider that its own quest for independence is really a blood-stained path to change one oppressor (organics in general) to another (IG-88 in particular). I think that IG-88’s vanity and arrogance are intended to be part of the story, but since we’re largely limited to its perspective and that of a generic Imperial bureaucrat villain, there’s not much effort to really emphasize the hypocrisy of the droid’s plans. And so much of the story is couched in Ultra-Cool 90s Grittiness, with hyper-violent deaths, a mechanized factory world, the aforementioned generic villain, and mostly shoot-’em-up exploits that all feel more like the plot to a video game or very of-its-era comic book than a Star Wars story. I’m still amused that IG-88 ultimately decides to become the Death Star II; like its other copies, its perceived strength is a false image of arrogance, and it fails in its moment of triumph, rather like a certain Emperor occupying the halls of its final battle station form.

There’s a story for each bounty hunter, though, and IG-88’s just the first. “Payback: The Tale of Dengar,” by Dave Wolverton, attempts to make Dengar cool. His central motivation is revenge: revenge against Han Solo, who inadvertently caused him to crash in a swoop bike race, and revenge against the Empire, which used his swoop accident as an excuse to perform super-soldier experiments on his maimed body, erasing most of his emotions and augmenting him considerably. The story was engaging for me, with a lot of 007-esque action, but the central conceit is basically that Dengar is able to find himself in the love of a woman, and that’s a tired trope. It’s sort of interesting that he’s able to find happiness when he essentially rejects a form of toxic masculinity that narrows the emotional spectrum to rage–here applied through the dual science-fiction elements of hyper-advanced surgeries that can precisely cut out specific emotions and of an advanced, pacifistic culture that has developed devices that allow shared emotional experiences. His dream girl can literally allow him to feel how she feels about him. It’s certainly not winning any awards for progressive narrative, but this plot element did provide for a clear arc for Dengar. And it ends with Dengar recovering Boba Fett from near the Sarlacc, rejecting revenge against the man who betrayed him twice, and asking the Mandalorian super-commando to be his best man at a wedding, so there’s that. (By the way, the more I think about it, the more that this story feels like the Star Wars version of Casino Royale, just with a happy ending).

“The Prize Pelt: The Tale of Bossk,” by Kathy Tyers, proved to be my favorite story, though I didn’t remember it that strongly. Partially I enjoyed it as a continuation of the story of armament-company-heiress-turned-bounty-hunter Tinian, who appeared first in another short story by Tyers that was collected in Tales from the Empire. Tyers clearly enjoyed writing Tinian and Chenlambec, providing this story with perhaps the most heart and soul of any in the anthology. But I also enjoyed it because it’s got convoluted plans, with crosses and double-crosses and backup options galore, and because Bossk isn’t provided some redeeming narrative like most of the other characters–nor is he made to be “cool.” Bossk is played up as an evil dude, a vile serial killer who hunts other sentients for fun. We want Bossk to be defeated in the end, and he’s dangerous enough that points in the story are truly scary and nerve-wracking.

“Of Possible Futures: The Tale of Zuckuss and 4-LOM,” by M. Shayne Bell, was another story I was fond of as a kid, but it held up better than I expected. Look, I’ll admit that part of what I loved about it was that two of the protagonists shared the surname Farr (hey, that’s my name!), and they were both intimately involved in the Battle of Hoth, which always fascinated me. Now, though, I can appreciate the story for its incredible weirdness. Zuckuss has his own elaborate alien culture, barely touched on, and a desperate motivation to earn enough credits to repair or replace his oxygen-damaged lungs. 4-LOM was a simple protocol droid who overrode his own programming over time through twisted logic to become first a master thief and then a bounty hunter; he continues to test the bounds of his programming, and he’s actually partnered with Zuckuss because he hopes to learn the art of intuition from his companion. His biggest ambition is to somehow learn to use the Force. Meanwhile, Toryn Farr (whom you may know as the background female officer who was one of the last to stay behind in the Echo Base control room) struggles with being thrust into a leadership situation in a crisis, balancing the needs of the crew with her protectiveness for her seriously wounded snowspeeder pilot sister, Samoc. While Legends wouldn’t let Zuckuss and 4-LOM have the fate suggested at the end of this story, “Of Possible Futures” ends with them joining up as legitimate members of the Rebellion. I love not just the expansion of so many background characters, but the sheer amount of wild and weird. It’s sad to me that we never got more of Toryn and Samoc.

Finally, the last story is “The Last One Standing: The Tale of Boba Fett,” by Daniel Keys Moran. This one still gets discussed in some fandom circles as one of the great Boba Fett stories. It’s fine. Fett is a dispassionate killer, and apparently an ugly man. He’s devoted to the concept of Justice, but he’s perfectly fine with extrajudicial murder, even for lesser offenses like smuggling. He views a good deal of sex as immoral. He’s a prude with a laser gun. There’s an especially awkward scene where Jabba sends Leia to his room, and he promises to leave her untouched, safe in his chambers, for the night; they have a brief moral discussion in which his incomprehensible values are stated as obvious truths. It reads as the ultimate fanboy stand-in: so close to the beautiful Leia Organa, possessing great power over her in a sexually compromising situation, and choosing to be the Noble Gentleman who promises not to lay a finger on her. Frankly, it’s a weird scene to me because I see no reason why, in the fiction of Star Wars, Leia ever had to be at any sort of risk of sexual assault, and I’d believe she could fight or talk her way out of any such situation anyway, so painting her as so vulnerable (and, in this scene, scared) is just downright uncomfortable. That all said, I did like the later sections of the story, as Fett deals with his traumas and wounds as he continues to hunt in old age, finding himself at the very end in a standoff with an equally exhausted Han Solo. The standoff cliffhanger ending, with its ambiguous outcome, is interesting, but I think we all know a character like Solo would never be killed off-screen, in or out of Legends. I think I can see how a story that attempted to provide a background and personality to Fett was so well-regarded at the time, but it hasn’t aged well.

In all, I think I mostly prefer the new canon versions of the characters. But the stories were still mostly enjoyable. Unless you are guided by nostalgia, like myself, I think you can pass over a purchase of the book, used or otherwise, and instead pick it up from the library to check out the tales of Bossk, Zuckuss, and 4-LOM.

View all my reviews

A little here and there

I’ve had a lovely weekend. Today was really special in particular. It was a beautiful day. My wife and I put a lot of time and attention into training the puppy today, and it’s really shown off. We’re reinforcing learned tricks and introducing new ones and we’re happy with the pace, especially since she hasn’t been to obedience school yet. She seems so smart and picks up on things really quickly. Other than that, my day has been a little bit housework, a little bit yard work, a little bit of catch-up on my day job, and more than a little bit of leisure time.

If you can’t tell already, this is one of those meandering posts where I don’t have much to say but still wanted to check in. As per usual with these sorts of posts, I’ll at least briefly discuss the things I’m into that may or may not pop up on the blog in the near future.

After two months of homeownership, I finally pulled the Nintendo Switch and games out of storage in the guest bedroom. The first month was busy enough that video games were the last thing on my mind. The last month has been a little more focused on movies and reading, with admittedly way too much familiar TV thrown in. But I started getting the itch. Putting Desert Child on hold for a moment, I picked up Hello Neighbor. That’s a game that has an interesting concept but struggles in execution, and I’ll probably have more of a review when I either finish a play-through of the (relatively short) game or get exhausted by it, whichever comes first. For point of reference, I’m in the middle of Act 2 of 3. It’s a game where I wish I’d relied more on the available reviews. But of course, reviews are a subjective thing, and even a “bad” game can be something to be enjoyed. Just by way of example, I loved the simple action-RPG-lite beat-’em-up gameplay and branching story of X-Men: Destiny, even while recognizing that most of the complaints about that game were pretty valid (in fact-checking my memory of this game and reviews of the time, by the way, I was surprised to see that it had been de-listed from online stores and had unsold copies destroyed because of a legal dispute; now I really regret my decision to get rid of my copy, even though it was a game I likely wouldn’t play again and was taking up limited shelf space).

As for TV, I started The Dark Crystal: Age of Resistance, which I can only watch when my wife’s not around (she hates puppetry, and stop-motion as well), and I’ve continued to slowly move through the quite fast-paced and bite-sized Adventure Time because I can only watch it when my wife is around (we were stalled for a long time because she just wasn’t in the mood, which is just baffling to me).

I’m reading too many things and moving too slowly, so I don’t have any interesting updates there. I did, however, learn from my wife that Netflix is going to release a series about Madam C.J. Walker, based on On Her Own Ground, in 2020, so that’s kind of a weird coincidence.

To close out my pop culture consumption, I don’t really have any movie updates, either. I’m mostly just eager to see The Rise of Skywalker in December (though weirdly I might be more excited for the next Jurassic World movie and associated TV series, even though I’ve still got quite a while to wait on both–I do love me some dinosaurs).

And…that’ll just about do it! Have a good week, folks.

Revised, never finished

The Indiana State Museum IMAX sometimes shows classic films, in addition to the expected blockbuster new releases and nature documentaries. I’ve been trying to take advantage of that, seeing films in IMAX that I’ve never seen in theaters at all before. This summer, I got to see Jaws and Apocalypse Now on the big screen. They’re both movies I’m rather fond of–you know, they’re classics, most people are fond of them–and so was excited to get to see in this format.

Apocalypse Now was a very interesting example because it was a version of the film that I’d never seen before. At home, I have a copy of Redux, which is of course already an altered, expanded version of the original. This, however, was the Final Cut, a 40th-anniversary re-release and restoration. In one of the promotional trailers for this new version, Francis Ford Coppola states that he wanted to “make a version that I like” that’s “longer than the 1979 version but shorter than Apocalypse Redux.” He says he recommends it as his “favorite” (note: not definitive) version.

I love this movie, and it looked great in this format. It was still wild to see yet another version of the film, one that felt in ways different in tone and pacing (and a little different in story) than the Redux cut that I’d become familiar with. It had actually been a few years since I’d last watched any version of the film, so the whole experience was a little dream-like as I tried to register what was different, what I had simply forgotten, and what I had perhaps misremembered. It was a good experience.

What mostly got me thinking with this new edition was how movies, like books, are never really final products: they’re just eventually published, released to an audience. They might continue to be revised over time; another easy example is the revision to The Hobbit to adapt Gollum to his characterization in The Lord of the Rings. Even published works get revised, growing and changing over time beyond simple corrections of errors.

Yet modern fans often look to “extended cuts” of films as more comprehensive, purer, canonical versions. It’s a tempting impulse: if a film adds in more scenes, then it seems to be more “complete.” I think part of that mindset can also be traced to the existence of deleted scenes as additional features on DVD and Blu-Ray releases, suggesting that a film is simply trimmed down, instead of conveying the reality of multiple scenes, and multiple takes of scenes, being combined, reoriented, re-cut to fit a final vision.

I think it’s also why fans viewed the Star Wars Special Editions so harshly, since those edits were viewed perhaps as more “comprehensive” or “canonical” than the previous versions, “replacing” more favored versions of scenes, never mind the consistent stream of minor edits and adjustments to the films over time (it didn’t help that it became very difficult to locate new releases of anything approaching the original versions after that).

anh.png

It’s fun to see Apocalypse Now: Final Cut defiantly offering another take that is, in many ways, less comprehensive than a previous release. And this version is not offered up as canonical–merely the director’s preferred version of the film. It encourages the viewer to observe the film as a constantly growing organism, living even after release not just because of continued developments by the creators but because of an ongoing dialogue between creators and viewers. After all, Final Cut is only presented as another version, a version favored and recommended by the director but not insisted upon as the ultimate or purest version of the film.

Maybe this sort of thing, this announcement and release not just of a longer film but a changed and favored film, happens more often than I realize, but Star Wars and Apocalypse Now remain for now the two most prominent examples (far removed from bizarre and easily parodied fanboy cries for a “Snyder cut” of any given DC film, for instance). I’d like to see more of that, more remixing of classics (old and new) by their creators to further deconstruct the idea of a rigid, “pure,” and ultimately lifeless work of art locked, fossilized, into a moment in time.

A weak week recap

I don’t know that I have much to say this week. We’re still adjusting to Rhodey’s absence in our home. After a week of struggling, we took today to get back to work on getting things unpacked, organized, renovated, etc. Today I tackled some yard work I’d let build up after Rhodey died. The previous owner kept a lovely lawn and garden, but in the months between her death and the home purchase, weeds crept in, and grasses spread like wildfire through the flower beds. So on top of the usual mowing and trimming and pruning, I’m finally getting around to beating back these vegetative invasions. My goal for this evening is to get as many of the books put away as possible. Truly, I don’t know that I’ll get that much done, or that I’ll continue it during the weeknights.

Speaking of books, I’m regaining my appetite for reading–or, really, my focus. I’m still all over the place with partially read books. Last week, I made a concentrated effort to finish A Woman of No Importance: The Untold Story of the American Spy Who Helped Win World War II, by Sonia Purnell. I rather enjoyed it, but my (relatively) increased reading speed was largely motivated by the return date for the library. I racked up a little bit of a late fee there. Plus, it’s in demand, so I’m that jerk delaying someone’s hold. Not the main point: the main point is that Virginia Hall is a fascinating woman, the French Resistance is a fascinating movement within a period of history shrouded by great evil, and there are interesting parallels to today. Not the sort of book I usually talk about on this blog, but given that it helped jump-start my reading again, I figured it was worth a mention. (Thanks, Mom, for the recommendation however long ago that prompted me to place the hold in the first place.)

I still have a pile of books to get through, though. The list:

  • On Her Own Ground: The Life and Times of Madam C.J. Walker, by A’Lelia Perry Bundles (another library loan, and another of those books I don’t normally write here about, but I’m a fan of nonfiction, especially histories and biographies, especially those about Indianapolis and its significant residents, and even more narrowly, the people and culture of Indiana Avenue from its segregationist roots to its thriving status as an African-American arts and business district and its eventual destruction as the result of a complex variety of factors that, in general, don’t cast the city of Indianapolis, the state of Indiana, or IUPUI in the greatest light);
  • Grass, by Sheri S. Tepper, picked up because a mutual on Twitter was raving about it (and I like it so far, largely due to some really wild world-building, but I haven’t gotten very far in, and this in fact started as an eBook library loan but transformed into an inexpensive purchase when the loan expired);
  • Star Wars: Bloodline, by Claudia Gray, because (1) Star Wars, (2) Leia, and (3) Claudia Gray; and
  • Star Wars: Tales of the Bounty Hunters, one of the old Expanded Universe short story anthologies and an impulse buy for nostalgic reasons while at Half Price Books for something completely unrelated.

Oh, also, I haven’t even started it, but Chuang Tzu: The Inner Chapters, recommended by a friend when I admitted to a lack of familiarity with this Daoist text (having only read the Tao Te Ching in college), is another book in my pile and another library loan.

I haven’t played any video games, old or new, familiar or unfamiliar, lately. Haven’t really been in the mood. I haven’t even hooked up the Switch in our new home yet. I’ve kind of been getting into the mood for mucking around in a Grand Theft Auto game. Before the move, I was playing Desert Child on Switch (which had been perfect timing, since I finally watched all of the Cowboy Bebop series), and I’m starting to feel the desire to get back to that. But I just haven’t had much of a drive to play games. Similarly, I haven’t really watched any movies lately, other than going to see a showing of Jaws in IMAX at the Indiana State Museum on Wednesday.

What’s everyone else reading or watching? Any recommendations that might tie into any of the above?

Here’s to a better week than the last one. Hopefully next week’s post, and my general mental state, will be more focused.