I’m reading the book of Deuteronomy just as I finished watching Mighty Max and I’ve learned that Skullmaster is basically quoting Old Testament God’s promises of wrath and suffering.
Month: March 2022
New Fiction 2022 – February
The Bible, Douay-Rheims, Complete – “Genesis” ed. Richard Challoner (1752)
It was a rough start but Genesis comes around by the end. Joseph’s in charge, the 12 tribes of Jacob/Israel are doing well amid a famine, and Egyptians are selling themselves into slavery for food. On to Exodus, which will surely be a good time for the Hebrew people.
Rest assured that I am asking the important questions.
Now I can appreciate works like “Lot’s Wife” by Anna Akhmatova: https://poets.org/poem/lots-wife. “Yet in my heart I never will deny her,
who suffered death because she chose to turn.”
The Bible, Douay-Rheims, Complete – “Exodus” ed. Richard Challoner (1752)
Exodus starts with action and suspense (will Pharao let his people go?!). Good movie material. But that story has its climax in the first third of the book, after which it becomes God’s checklist for DIY tabernacles. Now it’s on to Leviticus and I have no idea what to expect.
The Bible, Douay-Rheims, Complete – “Leviticus” ed. Richard Challoner (1752)
Leviticus takes us through the continued trials of Moses and his dictation of the holy law of the land. Lots of accounting. Do not cheap out on tithes or God will have Words with ye.
The Bible, Douay-Rheims, Complete – “Numbers” ed. Richard Challoner (1752)
Numbers takes an interesting turn. “We were slaves and horribly mistreated by the Egyptians but God says this here promised land belongs to us now so you gotta die.” I keep remembering how this book is used to justify some awful stuff. Leviticus is the one where people pick and choose the rules that support their prejudices, and it looks like Numbers is the one where you can point and say “war is good!”
I also calculated that I’ll finish reading the bible in September 2024. It’s no wonder that Sunday schools and, uh, weekly church sermons just highlight the greatest hits.
“Los Espiritus Regresan a Casa” edited and translated by James D. Sexton & Freddy Rodríguez Mejía, adapted by Carolina Quiroga-Stultz (2018)
You should expect that you are not alone.
“Lo que los perros vieron” collected by Joseph D. Sobol & adapted by Carolina Quiroga-Stultz (2018)
We see little and know less.
“El Niño Que Vio Visiones” by Victor Montejo & adapted by Carolina Quiroga-Stultz (2018)
But would we want to see what’s really there?
“Las Memorias de los Muertos (La Misa Encapuchada” collected by Teresa Pijoan & adapted by Carolina Quiroga-Stultz (2018)
Seeking community in the hereafter.
“El maestro de escuela” collected by Teresa Pijoan & adapted by Carolina Quiroga-Stultz (2018)
The people who remain.
“La Flor Llameante” edited by J. Frank Dobie & adapted by Carolina Quiroga-Stultz (2018)
The universal fall from the ideal.
“Pachacamac y Wakon” based on work by Fran Gonzales & adapted by Carolina Quiroga-Stultz (2018)
Blessed are the believers.
Death on the Nile by Agatha Christie (1937)
The novel hits the high notes, but what’s even better is it has lines! And sticks the landing spectacularly in the final 3 pages. I haven’t written with intent for a while, but god, that’s what made it all worth it. Finding *the* line, the perfect final moment. The story’s title rounds out my holy trinity. This book’s title is on the nose but hey, you know what you’re gonna get.
“The most beautiful woman in town has issued an ultimatum” by Reggie (2022)
Challenge me.
“Curiosity Killed My Beia” by Hana Chatani (2021)
They would want this / they would not want this.
“Robin Robin” dir. Dan Ojari & Mikey Please (2021)
If you are, then you will be.
“Boxballet” dir. Anton Dyakov (2021)
Unlikeliest times and places.
“Affairs of the Art” dir. Joanna Quinn & Les Mills (2021)
Should it be perfect?
“Bestia” dir. Hugo Covarrubias (2021)
You choose your demise.
“The Windshield Wiper” dir. Alberto Mielgo (2021)
A big question with no answer.
“On my Mind” dir. Martin Strange-Hansen (2021)
When it has to be this and nothing else is enough.
“Please Hold” dir. KD Dávila (2021)
The inevitable.
“The Long Goodbye” dir. Aneil Karia (2021)
My backyard is my grave.
“The Dress” dir. Tadeusz Lysiak (2021)
Why even bother with men?
“Ala Kachuu—Take and Run” dir. Maria Brendle (2021)
Why should any of us want suffering for them? Why should we want our suffering to happen again and again and again?
Moonfall dir. Roland Emmerich (2022)
A pretty promise of more than this.
Death on the Nile dir. Kenneth Branagh (2022)
You strip the nuance like so much grease from the hide.
Blacklight dir. Mark Williams (2022)
Slumbering spy games.
Uncharted dir. Ruben Fleischer (2022)
A set piece doesn’t hit when it’s at the speed of a passive audience.
Cyrano dir. Joe Wright (2022)
A twisted web with little to gain but the hope of an accelerated heartbeat.
New Fiction 2022 – February
The Bible, Douay-Rheims, Complete – “Genesis” ed. Richard Challoner (1752)
It was a rough start but Genesis comes around by the end. Joseph’s in charge, the 12 tribes of Jacob/Israel are doing well amid a famine, and Egyptians are selling themselves into slavery for food. On to Exodus, which will surely be a good time for the Hebrew people.
Rest assured that I am asking the important questions.
Now I can appreciate works like “Lot’s Wife” by Anna Akhmatova: https://poets.org/poem/lots-wife. “Yet in my heart I never will deny her, who suffered death because she chose to turn.”
The Bible, Douay-Rheims, Complete – “Exodus” ed. Richard Challoner (1752)
Exodus starts with action and suspense (will Pharao let his people go?!). Good movie material. But that story has its climax in the first third of the book, after which it becomes God’s checklist for DIY tabernacles. Now it’s on to Leviticus and I have no idea what to expect.
The Bible, Douay-Rheims, Complete – “Leviticus” ed. Richard Challoner (1752)
Leviticus takes us through the continued trials of Moses and his dictation of the holy law of the land. Lots of accounting. Do not cheap out on tithes or God will have Words with ye.
The Bible, Douay-Rheims, Complete – “Numbers” ed. Richard Challoner (1752)
Numbers takes an interesting turn. “We were slaves and horribly mistreated by the Egyptians but God says this here promised land belongs to us now so you gotta die.” I keep remembering how this book is used to justify some awful stuff. Leviticus is the one where people pick and choose the rules that support their prejudices, and it looks like Numbers is the one where you can point and say “war is good!”
I also calculated that I’ll finish reading the bible in September 2024. It’s no wonder that Sunday schools and, uh, weekly church sermons just highlight the greatest hits.
“Los Espiritus Regresan a Casa” edited and translated by James D. Sexton & Freddy Rodríguez Mejía, adapted by Carolina Quiroga-Stultz (2018)
You should expect that you are not alone.
“Lo que los perros vieron” collected by Joseph D. Sobol & adapted by Carolina Quiroga-Stultz (2018)
We see little and know less.
“El Niño Que Vio Visiones” by Victor Montejo & adapted by Carolina Quiroga-Stultz (2018)
But would we want to see what’s really there?
“Las Memorias de los Muertos (La Misa Encapuchada” collected by Teresa Pijoan & adapted by Carolina Quiroga-Stultz (2018)
Seeking community in the hereafter.
“El maestro de escuela” collected by Teresa Pijoan & adapted by Carolina Quiroga-Stultz (2018)
The people who remain.
“La Flor Llameante” edited by J. Frank Dobie & adapted by Carolina Quiroga-Stultz (2018)
The universal fall from the ideal.
“Pachacamac y Wakon” based on work by Fran Gonzales & adapted by Carolina Quiroga-Stultz (2018)
Blessed are the believers.
Death on the Nile by Agatha Christie (1937)
The novel hits the high notes, but what’s even better is it has lines! And sticks the landing spectacularly in the final 3 pages. I haven’t written with intent for a while, but god, that’s what made it all worth it. Finding *the* line, the perfect final moment. The story’s title rounds out my holy trinity. This book’s title is on the nose but hey, you know what you’re gonna get.
“The most beautiful woman in town has issued an ultimatum” by Reggie (2022)
Challenge me.
“Curiosity Killed My Beia” by Hana Chatani (2021)
They would want this / they would not want this.
“Robin Robin” dir. Dan Ojari & Mikey Please (2021)
If you are, then you will be.
“Boxballet” dir. Anton Dyakov (2021)
Unlikeliest times and places.
“Affairs of the Art” dir. Joanna Quinn & Les Mills (2021)
Should it be perfect?
“Bestia” dir. Hugo Covarrubias (2021)
You choose your demise.
“The Windshield Wiper” dir. Alberto Mielgo (2021)
A big question with no answer.
“On my Mind” dir. Martin Strange-Hansen (2021)
When it has to be this and nothing else is enough.
“Please Hold” dir. KD Dávila (2021)
The inevitable.
“The Long Goodbye” dir. Aneil Karia (2021)
My backyard is my grave.
“The Dress” dir. Tadeusz Lysiak (2021)
Why even bother with men?
“Ala Kachuu—Take and Run” dir. Maria Brendle (2021)
Why should any of us want suffering for them? Why should we want our suffering to happen again and again and again?
Moonfall dir. Roland Emmerich (2022)
A pretty promise of more than this.
Death on the Nile dir. Kenneth Branagh (2022)
You strip the nuance like so much grease from the hide.
Blacklight dir. Mark Williams (2022)
Slumbering spy games.
Uncharted dir. Ruben Fleischer (2022)
A set piece doesn’t hit when it’s at the speed of a passive audience.
Cyrano dir. Joe Wright (2022)
A twisted web with little to gain but the hope of an accelerated heartbeat.