Fanfiction – In Love of Quidditch

Now for a bit of compare and contrast with a story that has some interesting characteristics.

In Love of Quidditch by Secondary Luminescence

This story shares a very similar premise to one of the best-written Harry Potter stories I’ve ever read… The Pureblood Pretense. In fact, judging by various plot elements, it’s actually a fanfic that does to The Pureblood Pretense what The Pureblood Pretense does to Tamora Pierce’s Song of the Lioness Quartet.

I don’t really want to call it a fix-fic, because I feel that doing so would be disrespectful to the amount of effort that went into changing things up. It’d be better to call it a different take on the same concept. An AU of an AU, per se. It’s not as original, even when you only consider the elements they don’t have in common, but it’s clear that Secondary Luminescence really tried their best. (The sequel has problems, but I’ll be covering it in a separate review.)

Now, given that Pureblood Pretense is richer and more engaging than some of the print novels I’ve read, while In Love of Quidditch is a good but otherwise ordinary fanfic, I’ll try not to compare them too much on how they achieved what they aimed for. Instead, I’ll focus mostly on what they intended to do and accomplishments that were attainable for both stories.

What makes In Love of Quidditch an interesting story to analyze is the way Secondary Luminescence used finesse to solve the large-scale weaknesses in The Pureblood Pretense’s plot, which murkybluematter just powered through on raw skill. (The latter being made even more impressive by the explanation I got from murkybluematter that those flaws exist because they weren’t taking it as seriously in the beginning when said flaws were established.)

Like The Pureblood Pretense, this story applies the broad strokes of Tamora Pierce’s Song of the Lioness Quartet to the Harry Potter setting: In an alternate wizarding world where a discriminatory law forbids her from pursuing her dream, a female Harry Potter trades places with a male relative in order to go to Hogwarts, disguised as a boy: In Pretense, studying potions under Professor Snape despite Hogwarts being for purebloods only. In this, playing quidditch despite women being forbidden from flying brooms.

In Pretense, Harry has a complete and loving family, which makes the deception more difficult to pull off while, in Quidditch, only James Potter and Remus Lupin are left, James cut off contact with Remus when the kids were 5, and Lily’s death has left him so distant and buried in his work as to be somewhat neglectful… making the deception much easier. (Though that does increase the risk of going in the other direction and making the story start to feel like hardship porn.)

Given that the most obvious form of discrimination was already taken by Pureblood Pretense, sports is a surprisingly well-considered alternative. There is a great deal of (under-taught) history surrounding sexist double-standards and outright prohibitions against women in the world of sports… not to mention that, for all it has appeared in artwork from time to time, riding a broom side-saddle as used to be expected of women on horses isn’t very practical.

That said, there is one major flaw which becomes obvious in hindsight later in the story. In Pureblood Pretense, Voldemort is still alive and reworked into the leader of the political party responsible for limiting Hogwarts to purebloods. It’s a clean and elegant way to justify a lot of other changes, and to shift many of the conflicts in the direction of political manoeuvring. In Love of Quidditch, on the other hand, makes a brief mention in chapter 1 that he hasn’t been sighted in six years and then reveals Quirrellmort, fairly unchanged and vulnerable to a similar “protection in Harry’s skin” despite Lily’s death being in childbirth, without any of the foreshadowing to justify that specific approach to things. This is sloppy compared to how well put together the rest of the story is and probably should have been my first hint at the flaws which crop up in the sequel.

Like both Pretense and Lioness, Quidditch only focuses on the experiential aspects of the gender-bending to the bare minimum necessary to hand-wave or justify bits of the plot. For example, mentioning her getting used to the feel of wearing boxers to set up how a prepubescent girl manages to get away with changing among the boys in the locker room.

(People who write gender-bending stories have a tendency to make the gender-bending itself the focus of the story and, while I do enjoy that too, it would be detrimental to the story in cases like this. Also, more generally, there’s a tendency for authors to lose perspective and have the story err too much on the side of gratifying what I refer to as their “non-sexual fiction kink”… a base interest that, while non-erotic, evokes similar emotional fixations. In other words, a strong antonym for “pet peeve”.)

As I mentioned in my review of it, the biggest weakness of The Pureblood Pretense is that “Rigel Black” is the type of literary hero who becomes a Mary Sue if written poorly. The success of the plot depends on her being the kind of prodigy that, while they exist (I was reading and understanding computer magazines at age 6), tend to feel uncomfortably convenient unless the author is so good that you’re having too much fun to question things. (thankfully, murkybluematter is that good.)

In Love of Quidditch does this differently, finding alternative plot points that are easier to justify. Here, the closest thing to being a hard-to-write prodigy that this Harry has is a love of flying stronger than in canon, a twin brother who was left terrified of it by a childhood accident, and a father who is so distant that, in the second book, it takes him a week to notice that she radically changed her hairstyle. (Even though it matters so much to him that, once he does notice, he grounds her until she agrees to use a hair regrowth potion… which she never does.)

Like canon Harry Potter, she’d do well in any house, but, unlike in The Pureblood Pretense, she not only refuses Slytherin because it would draw her father’s attention, she insists that the Sorting Hat use her memories of her brother to put her where it would have put him. Disgruntled, it shelves its second choice of Ravenclaw and puts her in Gryffindor. Also, like canon Harry Potter, she does accomplish things that hint at being magically powerful. (In canon, casting a patronus capable of driving off over a hundred dementors in his third year. In this story, casting a reparo powerful enough to fix the bathroom the troll trashed in her first year.) Both of these help to avoid the risk of her accomplishments feeling contrived when combined with her stated reasoning for studying like mad: To keep James Potter from having reason to come to Hogwarts and discover the deception.

Furthermore, unlike “Rigel Black”, she doesn’t keep her secret from everyone for years on end. Within the first few chapters, the Weasley Twins have figured it out (no doubt, thanks to the Marauder’s Map) and agreed to keep her secret in exchange for help in pulling off some of their pranks and getting material from the library. (After all, they did get banned from it for destroying some of the old newspapers that had her picture in them.)

By chapter 6, Madam Pomfrey has also found out, but her oaths prevent her from telling anyone and, during the encounter with Quirrellmort, he reveals the deception to Cedric Diggory, who is with Harry in this version of events, promises to keep her secret after it’s all over and done, and becomes more of a main character going forward.

This is a perfect example of the difference in approach. The Pureblood Pretense does what could be contrived, but you get so into the story that you don’t notice. This has the hero sometimes getting outplayed, but in ways where it makes perfect sense for it to further the plot, rather than ending it.

Now, there is a spot where the fic really convinced me of its intention to be an homage. In chapter 7, Harry’s efforts to be too perfect a student for James Potter to have reason to come to Hogwarts have caught Professor McGonagall’s attention. As a result, she gives Harry a book titled “Transfiguration Lessons for the Newfound Prodigy” and “his” thoughts on the matter are She knew she was good, but she wouldn’t have ever called herself a prodigy. That and the more subtle detail that, like Rigel, Harry’s effort to avoid drawing attention has backfired in some sense, are both elegant nods to murkybluematter’s work.

In a way, you could say that it’s like a fix-fic, but on a much more abstract level. It takes the concept of The Pureblood Pretense, and then does a good job of finding much less demanding ways to go about all the bits that make “Rigel Black” walk the line between a rough literary hero and an exceedingly polished Mary Sue.

Pretense definitely has a richer and more engaging cast of characters, but Quidditch isn’t exactly slacking and spends a fair bit of time exploring minor characters too. I especially enjoy how the Weasley twins wind up taking about as big a role in this as Ron did in canon and how Cedric Diggory starts to take on a significant role near the end. (The choice of the twins is quite the elegant one when you think about it. Not only are they Harry’s teammates, but it makes a surprising amount of sense for Ron to be rebuffed from befriending Harry by the amount of interest the Twins show in “him”.)

Some things are still a bit of a stretch, such as Harry learning sufficient legilimency so quickly after finding someone who can teach her, but it’s not immersion-breaking… especially in the context of Harry being a candidate for Ravenclaw and a voracious student. (And, also, it’s a side effect of borrowing a plot point from Pureblood Pretense which, in my opinion, cut off or postponed more productive elements of the narrative.)

On that note, now for the problems.

First, the most minor couple: I do think Hagrid’s accent is written a bit too thickly. I have to slow down and concentrate to make sense of what he’s saying on occasion and you don’t really want to pull the reader out of their immersion in the story like that. Also, the story uses “sorcerer’s stone” rather than “philosopher’s stone” which is a pet peeve of mine. Regardless of what American publishers say, the philosopher’s stone was the name of the real-life goal of real-life alchemy that Rowling was referencing.

Next, something that does work, but, as I mentioned, feels like it’s stifling stuff that the author had the potential to develop: While the mechanism and motive are different, it borrows the “sickness that traps people in their minds” idea from Pureblood Pretense (which it does make sufficiently fresh and interesting). The problem is how the side effect of doing so squashes the developing teacher-favoured student relationship between Harry and Professor McGonagall. Yes, it does make it easier to avoid Harry’s skill level feeling contrived, but I think what was lost was worth more than what was gained… especially when it could have instead been handled by reducing the progress Harry was making without the help a bit, so the results of the added help would be easier to justify to the readers.

This is the root of the biggest problem, as well as the core issue that causes so much trouble in the sequel: Secondary Luminescence seems to have trouble making the broad strokes of the plot truly original. Instead, borrowing bits from canon or bits from the Pureblood Pretense and reworking the details enough to keep them interesting.

In this book, the biggest problem manifests in the climax. For all the mystery built around the crisis of the year, the climax winds up being Quirrellmort, when there’s practically no mention of Voldemort or Quirrell in the story up to that point. That could still work… but not when you just assume details like Harry’s blood protection which depended on canon events which didn’t happen in this version of the story.

All in all, while it does stick closer to the source material than would be best for it, it mostly manages to form its own identity, leaving a sense that it’s adapting ideas from The Pureblood Pretense in the same way that The Pureblood Pretense adapts ideas from the Song of the Lioness Quartet.

It may not have murkybluematter’s “5 out of 5 is an understatement” writing skill, but, it’s still got an uncommon amount of novelty worked into the events and character relationships. Even with the “comes out of left field” aspect of some of the details from the climax, Secondary Luminescence has done a good job of switching up the “flavour text” enough to make familiar events interesting again.

(Including one change which is noteworthy enough that I want to mention it. When you’re writing an Alternate Universe fic like this one, you’re allowed some leeway to bend the “single divergence point” rule of good fanfiction as long as the changes feel sufficiently unimportant. In this case, it’s used to have Harry and friends assume that Fluffy is male but then have Hagrid correct them on that. It’s a nice little way to poke at the human tendency to make assumptions about gender based on preconceptions and unrelated characteristics as long as you don’t take such opportunities often enough for it to become gratuitous.)

I’d give it a 4.3 out of 5… and it would have been a 4.5 out of 5 with a fix to the climax. (And it definitely helps that, if you explain it to someone else, there’s no need for any “Trust me. The author makes it work.” justifications.)

Finally, to address the elephant in the room. Yes, the title does annoy the crap out of me. My inner pedant can’t help but scream that “In Love of Quidditch” is wrong and it should be “For Love of Quidditch”, dammit!.

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How to Copy-Paste YouTube Comments With Formatting in Firefox

TL;DR: Copy more. Extending your selection outside the comment body will prevent the bug from triggering.

For the last little while, I’d been suffering from an annoying bug where, if I tried to copy and paste YouTube comments, I’d lose all the line breaks and have one big ugly wall of text.

I finally decided to go to Bugzilla and report it, only to discover that someone else had reported it two years ago and there appeared to be no progress, so I decided to see if I could figure out what was going on… and not only did I narrow it down to something actionable, I realized why I had only started to suffer from it much more recently.

YouTube serves up its comments in a custom HTML element named <yt-formatted-string> and, in the DOM inspector, it looked like the element contained exactly the problem text I was getting when I tried to copy and paste.

At first, this had me worried, as visions of custom rendering and esoteric bugs danced through my head but, as I continued to poke around, I noticed two things:

First, it actually did have the line breaks… but as raw, plaintext newlines (\n in views showed all characters). That prompted a suspicion, which revealed the second thing…

They’re using white-space: pre-wrap to ask the browser to render that “plaintext” as it’s meant to be.

It was then I had a bit of a “No. It couldn’t be that simple.” moment.

Sure enough, when I popped over to jsBin and added these active ingredients, I was able to reproduce the bug:

  div { white-space: pre-wrap; }




Firefox has a bug with copying and pasting any text that’s set to white-space: pre-wrap;!

…but then why didn’t I trigger it before? I actually discovered that completely by accident, when I got a bit sloppy and impatient. If you begin your text selection outside the pre-wrapped element, then it copies properly!

For YouTube, I used to copy the entire comment, including the header, in one go, and then edit out all the cruft that got picked up in between the username and the content, which protected me from the bug.

In hindsight, that does make sense. This isn’t the only circumstance I’ve run into where Firefox may not give the clipboard what you expect if you begin and end your selection in the right place. (I’ve also seen it happen when copy-pasting fragments of <p> tags into my fanfiction quotes bin, which is from a normal website into a contenteditable element in a form, also being rendered by Firefox.)

EDIT: And I’ve now tracked down and reported that other bug too.

Posted in Web Wandering & Opinion | 2 Comments

Working around serde_json bug #464 (serializing pre-epoch mtimes)

You may not know this, but Rust’s serde serialization/deserialization library can panic if you happen to feed it a file modification time prior to the UNIX epoch.

I discovered this when it killed an application I was writing and, in a lapse of reason, reported it on serde_json rather than the Serde core, where the problem code resides. I then went on to file a bug on Rust’s standard library about the API in question being too easy to misuse like this, with the docs not drawing sufficient attention to that hazard.

However, while I’m waiting for them to resolve the problem, I still need to actually get work done, so I cooked up a custom timestamp type that I can #[derive(Serialize, Deserialize)] on instead, because I felt it was simpler, cleaner, more concise code than overriding the default serialization for something like the Rust SystemTime type which serializes to a non-primitive JSON type.

Here’s the code I came up with, in case anyone else needs it:

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Why you should ALWAYS practice defensive programming

Take a look at this Rust snippet for a moment and tell me whether you can find the reason it’s not safe to run.

After all, Rust is a language that makes comfortable safety its claim to fame, so it should be pretty obvious, right?

if direntry.path_is_symlink() {
    return Entry::Symlink {
        path: direntry.path().to_owned(),
        target: read_link(direntry.path()).unwrap()

Surprisingly enough, there are actually two ways this can fail, and both can be insulated against by this change… assuming it’s acceptable for the Symlink variant to store an Option<PathBuf> rather than a PathBuf:

if direntry.path_is_symlink() {
    let target = read_link(direntry.path()).ok();
    if target.is_none() {
        println!("path_is_symlink() but read_link() failed: {}",

    return Entry::Symlink {
        path: direntry.path().to_owned(),
        target: target

(In this case, the error resolution strategy is “surface the error in an e-mail from cron via println! so I can fix it when I wake up and send a ‘best effort’ entry to the index that this code populates”.)

The hint lies within that .unwrap() or, more correctly, in the nature of what’s being unwrapped.

Problem 1: Rust’s ownership model can only protect you from misusing things it can control

The first code snippet is susceptible to a race condition because there’s nothing Rust can do to stop another program on the system from deleting the symlink in between the entry.path_is_symlink() and the read_link(entry.path()).

No matter how much validation you do, paths are inherently weak references to resources you don’t have an exclusive lock on. Either handle potential errors each time you dereference them (ie. every time you feed them to a system call), or, if possible in your situation, open a file handle, which the kernel can impose stronger guarantees on.

In my case, opening a handle to share between the two calls was not possible, because the initial query is done by the ignore crate, but I then have to call read_link myself. (I’ll probably file a feature request for this, since it seems like an odd oversight in ignore‘s metadata support.)

(This is what makes proper use of the access(2) function in the C standard library such a niche thing. File permissions can change between when you check and when you try to take advantage of them, so it’s only really proper to use it as a way to bail out early when, otherwise, you’re at risk of performing some heavy or time-consuming task, only to fail for lack of permissions when it comes time to make use of the results.)

I’ve actually written a more thorough blog post on this approach to looking at types of data.

Problem 2: Programmers are fallible

The entry object comes from a WalkDir iterator from the ignore crate, and, for some reason, in my project, the root of the tree always returns true for entry.path_is_symlink() even though it’s not.

Likewise, my very first test with an EXE parser named goblin panicked, because I threw an EXE at it that the author hadn’t anticipated being possible. (I’ve reported the bug and it has since been fixed.)

No matter how good a programming language is, you and the people who write your dependencies are still using the good old Human Brain, which has been stuck at version 1.0, bugs and all, for at least 25,000 years.

As of this writing, I haven’t yet determined whether the symlink bug is in my code or ignore, but it does present a perfect example of why I wrap each unit of processing in except Exception as err: (Python) or std::panic::catch_unwind(|| { ... }) (Rust) in my projects, even if I feel confident that I’ve handled or prevented each failure case with more specific code.

In short, you want a thorough belt-and-suspenders approach to safety:

  1. Expected Errors: Study up on ways that calls can fail, so you can avoid unnecessarily throwing away progress or giving vague diagnostic information with a coarse-grained recovery strategy. (I actually tripped over just this problem with serde_json in the same project, where it was difficult to diagnose and report a bug because the panic message didn’t contain enough information.)Despite that, this still is one of Rust’s biggest strengths. For example, I never realized that getcwd could fail in over a decade of using it in Python.
  2. Unexpected Errors: Identify your transactional unit of work (eg. a step in a processing pipeline that writes its intermediate products to disk, a single thumbnail in a thumbnailer, a single file in a downloader, etc.) and wrap it up in the most general error handler you can write.

As your knowledge grows, the scope of expected errors will grow (filesystem race conditions being a good example of something people don’t usually learn early on), but you’ll never anticipate everything. (Nor should you. There’s a curve of diminishing returns at play, and you need to balance robustness against programmer time.)

Suppose you want to leave your computer to thumbnail thousands of images overnight. You don’t want to spend weeks perfecting code for a single night of use, but would you rather wake up to find thousands of thumbnails and a handful of error messages in the log, or a few thumbnails and a panic message dating to not long after you fell asleep?

UPDATE: It turns out that the bug is in ignore and I’ve reported it.

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How to Hide Firefox’s New “Saved to Library” Confirmation Popup

…and another quick userChrome.css hack, since I wasn’t able to use the Browser Toolbox to figure it out and had to be told on Bugzilla… Removing the “Saved to Library!” confirmation popup that now appears when you add a bookmark.

(In case, like me, you find it excessive and distracting, having already built a habit of watching the star icon fill in.)

/* Hide "Saved to Library!" bookmark confirmation popup */
#confirmation-hint { display: none !important; }

Thanks to Gingerbread Man on Bugzilla for tracking it down.

Posted in Geek Stuff | 1 Comment

How to Remove The Thumbnail in Firefox’s Bookmark Popup

I run Firefox Developer Edition and, a couple of days ago, they announced a rather head-scratching feature which I received today: In the popup from the bookmarking star, they’ve added a thumbnail for whatever page is visible, right there below said popup.

Given that the distance between the bookmark star and the action buttons does have significance for efficiency with highly practised users, and that, not long ago, they already made the popup taller and thinner by needlessly moving the form field titles from besides their associated fields to above them (introducing whitespace of questionable aesthetic value in the process), I wasn’t going to stand for this… so I cooked up a userChrome.css snippet to get rid of this newest ill-considered style-over-substance change:

/* Remove pointless thumbnail in the Bookmark popup */
#editBookmarkPanelImage, #editBookmarkPanelFaviconContainer {
    display: none !important;

If you want to get started making your own tweaks, here’s how I did it:

  1. Enable the Browser Toolbox
  2. Click Hamburger > Web Developer > Browser Toolbox (or press Ctrl+Alt+Shift+I) (Be mindful of bugs 1437239 and 1120863 if your Firefox has been running for a while.)
  3. Select the “Inspector” tab
  4. Enable “Disable popup auto-hide” in the overflow menu on the right end of the Developer Tools tab bar.
  5. Click the bookmark star
  6. Click the “Pick an element from the page” button in the Developer Tools
  7. Click the unwanted thumbnail
  8. Note that it’s <box id="editBookmarkPanelImage"></box>
  9. Repeat the process with the favicon overlay and note that it’s inside an <html:div id="editBookmarkPanelFaviconContainer">...</html:div>
  10. Turn “Disable popup auto-hide” back off
  11. Write CSS to force those two IDs to display: none !important

Further Resources:

  • /r/FirefoxCSS has a tutorial that also covers live-debugging of userChrome.css tweaks.
  • has a link list with community sites and code repositories if you want to get advice or see how other people accomplished various effects.
Posted in Geek Stuff | 2 Comments

Novel – Nightfall

Since I was re-reading it anyway, I thought I might as well review one of my old sci-fi favourites:

Nightfall by Isaac Asimov and Robert Silverberg.

Originally written in 1941 as a novelette and one of Asimov’s earlier works and expanded into a novel by Asimov and Silverberg in 1990, this is a classic example of sci-fi imaginativeness combined with a nice touch of literary pragmatism.

Beginning with the beautifully well-chosen first sentence “It was a dazzling four-sun afternoon,” the story takes places on the planet Kalgash, where the six suns ensure that there’s never less than one sun in the sky. As such, the people have evolved with darkness as one of their deepest instinctual fears.

Ironically, it was written at the prompting of Asimov’s editor, in disagreement with the following Ralph Waldo Emerson quote:

If the stars should appear one night in a thousand years, how would men believe and adore, and preserve for many generations the remembrance of the city of God!

Now, before I get into the plot, I should explain what I mean by “literary pragmatism”. The book begins with a foreword which can be summed up as follows: This is an alien world and these people aren’t human… but the languages and physical forms of the characters are irrelevant, so we wrote them as humans to save effort and reduce the load on your memory. Feel free to imagine more alien appearances and words if you want.

To be honest, I wish more sci-fi authors did that. Prioritize the details that are important to telling the story. If there are details that are dear to you but irrelevant, write another book in the same setting or include some supplementary artwork or an appendix.

When it comes to the narrative itself, Nightfall does something else that I don’t see enough of, but which is nothing new for Asimov (For example, he also did it in Foundation): The first few chapters introduce several different groups of characters, each interesting enough that many authors would (and have) let the whole book revolve around them… and then we watch as the narrative slowly leads them to meet.

In this case, different professionals following small pieces of evidence (a psychologist, an archaeologist, and an astrophysicist) which will lead them to the same horrible truth: That, in less than a year, a quirk in their orbital system will bring about the first bout of darkness in two millennia, and their civilization will tear itself apart.

It’s a concept with a ton of potential, but there are two things which really make it satisfying to me:

First, despite the rough details sounding like yet another take on the spate of post-apocalyptic survival shows and other media that have become popular lately, this doesn’t pump the character drama to the detriment of the story. (And, yes, I’m aware that’s neither a recent thing nor an objective sign of bad writing. Poul Anderson’s Tau Zero was written in 1970 and nominated for the Hugo award, but, to me, it read like a soap opera about boring characters set in a context that should have been interesting.)

Second, the convergent narrative really makes the story. Rather than getting bogged down in showing a long build-up as a single character or set of characters plays detective, the reader is treated to the best parts of multiple different ways of arriving at the same conclusion… each with its own pleasant sprinkling of flavor text.

Finally, despite it feeling very contemporary to the 1940s in style, it still remains engaging, with characters I enjoy reading about and enjoyable world-building details, such as talk of the “Beklimot culture” which was being researched at the site where evidence of prior civilization is revealed. With Asimov’s skill at writing engaging characters and effectively managing reader expectations, even the heavy character interaction meant to drag out the build-up to the eclipse still avoids the “dull soap opera” feel I got from Tau Zero.

The story is broken down into three parts: Twilight (the build-up to the realization, months before the eclipse), Nightfall (the day of the eclipse), and Daybreak (the aftermath)… and I agree with the general consensus that Daybreak, which wasn’t part of the original novelette, is the weakest part. While Twilight and Nightfall are tightly written and punchy, Daybreak feels like it doesn’t quite know what kind of pacing it wants to follow, and comes across very much like a modern post-apocalyptic survival TV series.

Beyond that, the ending has a sense to it that the author shouldn’t have set out to portray Daybreak, because there wasn’t really a good way to live up to the standard set by the first two parts within the constraints given.

That said, it’s still an excellent story and I’d certainly give the first two parts a 5 out of 5 rating. Maybe a 4.8 for the story as a whole.

Finally, after having read so much fanfiction and other electronic fiction recently, the feeling of re-reading that inherently sub-optimal ending made me realize something: There’s nothing quite like the sense of completion you get from finishing a print novel. With a computer screen, or an eReader, the end is just a milestone like any other, marked by nothing unique except the removal of the “Next” button, which could also merely signify an incomplete work. …but with a book, you’ve felt the balance of pages under left and right hands slowly change for hours. Finally, you reach the last page, you read the last word, and then you close the back cover… and contemplate.

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