• Farragut’s thoughts: We’ve read Sterling before in Science Fiction. Eddy is a misguided libertarian creep who won’t stop hitting on his German bodyguard and is too dumb to understand the philosophical points that the Cultural Critic is making (for that matter, I’m too dumb to understand, too). He survives his time in Germany, but has learned nothing of value for his punk attitude. What’s the point of rebelling if you don’t understand why? The naivete and creepiness were a little too much for me.
  
• fanny’s thoughts: This did not work for me. Eddy is creepy and annoying. He keeps hitting on the bodyguard and she makes it VERY clear she is only there in a professional context. Eddy also seems to generally not have any clue what he is doing. He is libertarian and against something but no one seems to know what. He doesn't even seem to know what he delivered to the Cultural Critic.
  

• Special Guest Ruin: This was a fascinating story to read. The way the narrative segued from a discussion on poetry to a darkly comedic look at a Russian city was remarkable. The author seems to like to start or lead with a theme or themes which seem to be only tangentially related to each other such as for example the name of the computer virus, or Gerasimov and his dog. But both elements circle back into the story and are crucial to its structure. As for the content of the story itself, I amused myself by imagining the events as being a movie that blended the stylistic elements of Tarantino and Wes Anderson. So we have brutal, bloody violence in increasingly absurd settings and the way it is all described makes it easy to imagine it all taking place amidst the highly stylized sets and characters we would expect in a Wes Anderson movie. Overall, I really enjoyed this story.
  
• Farragut: We’ve read Pelevin before in Modern Fantasy. First of all, this is a fantastic title for a story, period. Second of all, I just enjoyed Pelevin’s style here (via Shvartsman’s translation), with an omniscient narrator telling us about a completely ridiculous situation. It gets a little cagey with the identity of the perpetrator and the ending, but I’m very curious as to how darkly I should read it (now that I think about it, it’s directly connected to the original, so I should read it very darkly indeed). Shvartsman’s occasional footnotes were very helpful, however, especially with the context surrounding Gerasim(ov) and Mumu.
  
• fanny: Ruin's review is so good, I am not sure what to add. The style of this story fit the elements so well. It starts with a poem whose themes carry through the story. The footnotes were a really great addition and helped contextualize. The narrator keeps upping the ridiculousness until we get to the end and everything gets wrapped up.
  

• Farragut: Bef is a Mexican SF writer, a crime writer, and a graphic novelist, and honestly his whole bibliography sounds cool as heck. Told in a series of diary entries with some small interruptions, we follow a kid whose life is like a Mexican kid’s sugar-fueled dream. The reason for its inclusion in this thematic section of the anthology becomes clear however, and I yelled, “Noooo!” at the ending. Sigh. It’s very good!
  
• fanny: I am a sucker for diary entry style stories and this was no exception. Lalo’s life seems almost perfect, but it feels so off. The story feels progressively more off until we start to question everything. Also, yelled “Nooo!” at the ending. Very good. Absolutely loved.
  

• Farragut: Langford is famous for having the most Hugo wins (29), mostly for the Fan Writer category, but also Short Story (not this one) and Best Related Work (not this one either). This is a delightful story that made me think of it as a precursor to qntm’s later story “Lena” from Week 5 (though obviously only in general form). Apparently I love the faux-nonfiction style where some of the horror and plot is between the lines. The final FAQ about Microsoft was darkly funny.
  
• fanny: This was fun and very short. The FAQs related to basilisk and writing were great. It goes between funny, dark humor, and just dark. I liked the commentary on technology and software. I also really appreciate the standard response answers explaining they should post someone else. This is something I deal with often and this was great.
  

• Farragut: Çakan is a German writer from Hamburg, and after reading this story, I’d say Shurin made hamburger out of me, too. The main thing I got out of this story was that Spider really wanted something, maybe. I thought it was drugs, but he got angry at his dealer and then got super weird with his friend’s girlfriend? And then there was a Silver Spider, who wasn’t him, but maybe he plugged himself in to replace her? What is happening?
  
• fanny: Spider definitely wanted drugs from his dealer, Ant. I think. Ant got annoyed at something then Spider got into a voyeur situation (maybe). There is a Silver Spider in his dreams that makes him feel better. I couldn't tell if this was dream or drug induced or technology induced. The end is super weird and makes even less sense than the story. Spider might have done a murder on himself? I have been confused before in this anthology, but not to this level.
  

History parallels

Geopolitics

Separatist Region

Characters

Wisci and Gamsakhurdia

• Both first presidents.
• both were authors and wrote poems.
• Famous father and son.
• Came with Revolution (definetly with a blast).
• was couped.
• had tragic and undeserving death.

Tarquil Soll and Eduard Shevardnadzee

• both were experienced statesman.
• ended anarchy and stabilized country.
• Saviours of Government at first, but Authoritarians at the end.
• Protectionist politics.
• Created Constitution.
• the way game describes vibe of soll is same as Shevardnadze (Abstract I know but both had same presence in room trust me).
• Was ousted by Inexperienced Reformist.
• Have not been seen after resignation and were isolated.
• had protection status (somethin like member of honour).
• had immense power and infuence even after resignation.

Ewald Alphonso and Mikheil Saakashvili

• Both were Reformist within Party (Ewald in USP and Saakashvili in UCG (Union of Citizens of Georgia).
• Implimented Free-market reforms.
• Privatization and Tax cuts.
• Pro-wester capitalists
• Radical reforms that hindered public opinion.
• Ties to Businessmans.
• Constantly in a battle against Old Guard.
• Tried to hurt authoritarian nature of previous leader.

Conclusion

The Legacy of Pyotr Ilyich Tchaikovsky: An In-Depth Analysis of His Music and Influence

Active Years

Musical Characteristics

Cultural Impact

• Ballet Music: Tchaikovsky's ballets, such as Swan Lake, The Sleeping Beauty, and The Nutcracker, revolutionized the genre and remain central to the ballet repertoire worldwide.
• Global Popularity: His music's emotional accessibility and melodic appeal have made Tchaikovsky one of the most popular classical composers globally.
• Influence on Russian Music: Tchaikovsky played a crucial role in establishing Russian classical music on the world stage, influencing subsequent generations of Russian composers.

Notable Works

1. Symphony No. 6 "Pathétique" (1893): His final symphony, noted for its profound emotional depth and innovative structure.
2. Piano Concerto No. 1 (1875): One of the most famous and frequently performed piano concertos, known for its powerful opening and lyrical second movement.
3. Swan Lake (1876): A ballet score that has become a cornerstone of the ballet repertoire, renowned for its beautiful melodies and dramatic music.
4. The Nutcracker (1892): Another iconic ballet, especially famous for its suite, which includes the "Dance of the Sugar Plum Fairy" and the "Waltz of the Flowers."
5. Violin Concerto (1878): A virtuosic and expressive concerto that is a favorite among violinists and audiences alike.
6. Symphony No. 4 (1877): Known for its dramatic intensity and use of the "Fate" motif, reflecting Tchaikovsky’s personal struggles.
7. The Sleeping Beauty (1889): A lavish ballet score that showcases Tchaikovsky's gift for melody and orchestration.
8. 1812 Overture (1880): A concert overture written to commemorate Russia's defense against Napoleon, famous for its use of cannon fire and Russian folk themes.
9. Romeo and Juliet Fantasy Overture (1880): A symphonic poem based on Shakespeare’s play, noted for its beautiful love theme and dramatic structure.
10. Serenade for Strings (1880): A graceful and lyrical work for string orchestra, beloved for its elegance and charm.

Doctoral Theory Analysis

Of thy morning feats art thou proud, but the future thou knowest not wholly; Doleful thine home-coming is: thy mother, me thinks, is dead.

Three good dwellings methinks, thou hast not; Barefoot thou standest and wearest a beggar’s dress; Not even hose dost thou have.

Ill for thee comes thy keenness of tongue, if the water I choose to wade; Louder, I ween, than a wolf thou cryest, if a blow of my hammer thou hast.

Sif has a lover at home, and him shouldst thou meet; More fitting it were on him to put forth thy strength.

I. Veidt is mentally unwell.

• Dan: “I mean, who’s qualified to judge something like that? This is the world’s smartest man we’re talking about here, so how can you tell? How can anyone tell if he’s gone crazy?” (Chapter XI, page 3).
• Veidt: “By day I imagine endless faces. By night… well, I dream, about swimming towards a hideous… No. Never mind. It isn’t significant.” (Chapter XII, page 27)
• Veidt tells his life story to a bunch of dead bodies. (Chapter XI)
• Veidt: “I don’t mind being the smartest man in the world. I just wish it wasn’t this one.” (Chapter XII, back matter)
• Veidt is mirrored by the mariner in the Black Freighter, who has visibly gone mad by the time he embarks on the raft and is raving by the time he arrives home.
• We see a reference to Tarkovsky’s iconic film The Sacrifice (Chapter XII, page 31), which also features a character going insane in an attempt to prevent nuclear war.
• Veidt’s plan is, in essence, a form of projection: the squid makes people go insane, have constant nightmares, and kill each other out of fear. The squid is, itself, a nightmare given form.
• Graffiti (Chapter I, page 24) reads “One in eight go mad.” Of the eight Minutemen, Mothman was put in an asylum. There were eight attendees of the Crimebusters meeting. After 11/2, the graffiti has been modified (Chapter XII, page 31) to read “One in three go mad.” Only three of the attendees remain: Veidt, Dan, and Laurie.
• Just look at his expression while killing the Comedian. (Chapter XI, page 26)

II. Veidt is detached from humanity.

• In present day, we only see Veidt in his personal skyscraper or thousands of miles from New York at his private Antarctic fortress -- never on the street.
• Pulling at the Tales of the Black Freighter parallels again, the mariner is marooned and goes mad because he has nobody else to talk to.
• Veidt refers to “stepping back” from humanity: “My first step was to stand back as far as I could, to view the problem from a fresh perspective, my vista widening with my comprehension. [...] I took another step back, and thought again.” (Chapter XI, page 21).

III. Veidt is obsessed with media and pop culture, and it deeply influences his worldview.

• Veidt is constantly engaged with his “multi-screen viewing” (Chapter XI, page 1), which we see originating in 1963 with just a few screens (Chapter XII, page 18). For 20+ years, Veidt has been gleaning a lot of his understanding of humanity from obsessively watching TV.
• The squid is straight out of sci-fi, with Veidt literally hiring famous artists, writers, etc. from literature, comic books, and so on to design the squid and the nightmares planted within it.
• We also know that Veidt has read Tales of the Black Freighter, not just because he hired Max Shea to help with the squid, but also because he references it twice: “I dream, about swimming towards a hideous…” and “I know I’ve struggled across the backs of murdered innocents” (Chapter XII, page 27). The mariner literally sails on the bloated corpses of his innocent crew, and at the end, swims towards the Black Freighter.
• Veidt makes frequent media references: William S. Burroughs (Chapter XI, page 1), Man From UNCLE (Chapter XI, back matter), a bunch of musicians (Chapter XI, back matter) -- there are definitely more.
• Nova Express, heavily implied to be owned by Veidt, is another Burroughs reference.
• Veidt takes personal investment in forming narratives in his advertising, micromanaging plots in TV shows, toys, etc. (Chapter X, back matter).
• Veidt is mirrored by Bernard, the newsstand owner. Both Veidt and Bernard’s parents moved out of Germany during Hitler’s rise to power. Both Veidt and Bernard think they understand the world because they see a constant stream of media (Veidt with his TVs, Bernard with his newsstand) and are terrified of impending war. Both cite popular culture as evidence of impending war despite themselves selling to those audiences (Veidt via his advertising and publications, Bernard via his newsstand). Note Veidt’s obsession with finality and Bernard’s frequent refrain: “... inna final analysis.”

IV. Veidt undercuts his plan for his ego.

• Veidt is careful to distance himself from most of his assassinations, but kills the Comedian by hand -- something he’s not prone to doing. (Dan: “This is Adrian, for god’s sake! We know him. He never killed anybody, ever.” [Chapter XI, page 3]) This immediately clues in both the detectives (“No way this is a straight burglary… somebody really had it in for this guy.” [Chapter I, page 3]) and Rorschach.
• Veidt does this because of his ego: “Recognizing me, he attacked anyway, ‘mistaking me for a criminal.’ I studied his limitations: skillful feint, devastating uppercut; little else… He won. In the short term. [...] I also swore that when next I met Blake or any other foe, though perhaps not on my territory… it would certainly be on my terms.” (Chapter XI, page 19).
• Veidt makes his password “RAMESES II”, leaves lots of clues (“Pyramid Deliveries”), and only teleports the squid when he sees Dan and Rorschach approaching (Chapter XI, page 4). The title of Chapter XI is “Looks on my works, ye mighty”. Veidt wants an audience of his peers. If he had teleported the squid earlier, Rorschach likely would have died.
• Along similar lines, Veidt leaves the Comedian alive for as long as possible and doesn’t kill Rorschach -- sloppy choices, born out of his need for peers who know his plan.
• Both in his self-planned assassination attempt and at Karnak, Veidt risks being shot because he's sure that he could catch a bullet. He attempts it at Karnak despite having easy other options: he's faster and stronger than Laurie, and he's in his own fortress. He takes a plan-destabilizing risk purely to satisfy his own ego and showboat in front of others. "There," Veidt says, "Something else I wasn't sure would work." (Chapter XII, page 12). [Credit to u/spinbutton for this one!]

V. Veidt’s plan is doomed and ill-conceived.

• Veidt idolizes Alexander the Great, who failed. Veidt: “Amongst [Babylon’s] ruined ziggurats, I saw at last his failings… He’d not united all the world, nor built a unity that would survive him.” (Chapter XI, page 10)
• Veidt named himself after Ramesses II (aka Ozymandias), famous from the Shelley poem about the impermanence of greatness, which the comic also references. (“And on the pedestal, these words appear: / My name is Ozymandias, King of Kings; / Look on my Works, ye Mighty, and despair! / Nothing beside remains. Round the decay / Of that colossal Wreck, boundless and bare / The lone and level sands stretch far away.”)
• Dr. Manhattan: “Nothing ends, Adrian. Nothing ever ends.” (Chapter XII, page 27)
• Tales of the Black Freighter shows the mariner accidentally attacking his home to save it from a threat he thinks has already arrived, only to discover that the threat was in his head and he had become the thing he feared. Veidt, similarly, was so terrified of nuclear war that he became the threat.
• Rorschach’s journal is the last panel, implying that Veidt’s artificial peace will soon begin to deteriorate.

VI. Veidt's relationship to the Comedian is crucial, and Veidt may be the comic's true "comedian."

• Veidt’s complicated admiration for Blake extends to early in his career, in the mid-50’s: “As intelligent men facing lunatic times, we were very alike, despising each other instantly.” (Chapter XI, page 18).
• Rorschach says of the Comedian: “No one else saw the joke. That’s why he was lonely.” (Chapter II, page 27). But Veidt did: “Too cowardly to confront my anxieties, I had life’s black comedy explained to me by the Comedian himself [...] [He] opened my eyes. Only the best comedians accomplish that. [...] I swore to deny his kind their last black laugh at Earth’s expense. [...] I would trick [the world]; frighten it towards salvation with history’s greatest practical joke. That’s what upset the Comedian: [...] professional jealousy.” (Chapter XI, pages 19-24)
• In fact, though, it ends up being Blake who doesn’t get the joke. When Blake confesses to Moloch, he says of Veidt’s plan: “I mean, this joke, I mean, I thought I was the Comedian, y’know? [...] I mean, what’s funny? What’s so goddamned funny? I don’t get it. Somebody explain… somebody explain it to me.” (Chapter II, page 23)
• Veidt’s likely namesake is Conrad Veidt, perhaps most famous for his haunting, insane-looking grin in “The Man Who Laughs”.
• We see the relationship between comedy/laughter and mental instability explored in Rorschach’s joke: “Man goes to doctor. Says he’s depressed. Says life seems harsh and cruel. Says he feels all alone in a threatening world where what lies ahead is vague and uncertain. Doctor says ‘Treatment is simple. Great clown Pagliacci is in town tonight. Go and see him. That should pick you up. Man bursts into tears. Says ‘But, doctor… I am Paglacci.’” (Chapter II, page 27). On the surface, this appears to be about Blake -- but by the end, we can see that it applies just as much, if not more, to Veidt.

VII. Veidt is a Hitler analogue.

• Veidt is a German immigrant whose character design is straight out of a Nazi propaganda ad.
• Veidt idolizes Alexander the Great, a Greco-Roman would-be world conqueror. Nazis frequently invoked Greco-Roman design motifs and obviously had similar goals of conquering the world.
• Dan: “He’s such a caring, conscientious guy. He’s a pacifist, a vegetarian…” / Rorschach: “Hitler was vegetarian.” (Chapter XI, page 15)
• Veidt: “Hitler said people swallow lies easily, provided they’re big enough.” (Chapter XI, page 26)
• 11/2 is Veidt’s personal Holocaust. Over the scenes of carnage in New York, we see the Madison Square Garden sign: “KRYSTALNACHT” (Chapter XII, page 2). Highlighted among the millions of dead: the concertgoers (alternative/punks), Joey and Aline (lesbians), Bernard (whose father fled the Nazis), and a number of Black people (Malcolm, Gloria, Bernie, and the watch salesman). Joey’s posted for Gay Women Against Rape features the band Pink Triangle, a symbol which originated as a badge to identify gay people in Nazi concentration camps.
• Veidt, fundamentally, is obsessed with finding a “final solution” to bring peace -- even if it costs millions of lives.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

• Discussion Questions:
  1. What intrigues you about the intricate structure of sestinas?
  2. How does the repetition pattern contribute to the unique rhythm of sestinas?
  3. Can you think of any famous sestinas or poets known for this style?

• Discussion Questions:
  1. How does the repetition pattern influence the overall rhythm and impact of sestinas?
  2. What themes or emotions are effectively conveyed through this structured form?
  3. Share your thoughts on the significance of word repetition in sestinas.

• Discussion Questions:
  1. How have modern sestinas evolved in terms of themes and structure?
  2. In what ways does the fixed pattern of word repetition challenge or enhance creativity?
  3. Share examples of themes or emotions suitable for a sestina.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three stanzas of a sestina?
  2. How can you establish thematic threads through word repetition in this section?
  3. Share examples of themes or emotions you might explore in a sestina.

• Discussion Questions:
  1. Why is the envoi and final three stanzas crucial in providing resolution in a sestina?
  2. How can a sestina evoke a sense of completeness within the repeated words?
  3. Share and discuss individual sestinas, highlighting successful elements.

• Discussion Questions:
  1. What interests you about the visual creativity of concrete poetry?
  2. How might the arrangement of words visually enhance the poetic experience?
  3. Can you think of any famous concrete poems or poets known for this style?

• Discussion Questions:
  1. How does the visual arrangement of words contribute to the overall impact of concrete poetry?
  2. What unique perspectives or insights can arise from the visual creativity in these poems?
  3. Share your thoughts on the relationship between form and content in concrete poetry.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in concrete poetry?
  2. In what ways does the incorporation of visual arrangements broaden the possibilities in written expression?
  3. Share examples of visual arrangements that you believe would inspire compelling concrete poems.

• Discussion Questions:
  1. What challenges do you anticipate in selecting a theme and arranging words visually for concrete poetry?
  2. How can you ensure that the visual arrangement enhances the meaning of your poem?
  3. Share examples of themes or concepts suitable for a concrete poem.

1. Clerihew:

- *Definition:* A whimsical, four-line biographical poem with irregular meter. - *Example:* Craft a clerihew about a famous historical figure or a friend with a humorous twist. 

1. Quatrain:

- *Definition:* A stanza or poem consisting of four lines, often rhymed. - *Example:* Write a quatrain reflecting on the beauty of simplicity in everyday life. 

1. Double Dactyl:

- *Definition:* A light, humorous poem with strict structure and two quatrains. - *Example:* Create a double dactyl capturing a comical moment or character. 

1. Terzanelle:

- *Definition:* A hybrid of the terza rima and villanelle, with 19 lines and a specific rhyme scheme. - *Example:* Craft a terzanelle exploring the cyclical nature of seasons and life. 

1. Haibun:

- *Definition:* A combination of prose and haiku, often describing a journey or experience. - *Example:* Write a haibun narrating a meaningful travel experience, complemented by haikus. 

1. Golden Shovel:

- *Definition:* A form where the last word of each line is taken from an existing poem. - *Example:* Create a golden shovel poem using a line from your favorite poem or song. 

1. Villancico:

- *Definition:* A Spanish poetic and musical form, often festive and celebratory. - *Example:* Craft a villancico capturing the joy of a special occasion or holiday. 

1. Tercet:

- *Definition:* A stanza or poem consisting of three lines. - *Example:* Write a tercet expressing the beauty of resilience in the face of adversity. 

1. Sevenling:

- *Definition:* A seven-line poem with a specific pattern and often narrative in nature. - *Example:* Compose a sevenling reflecting on a vivid childhood memory. 

1. Palindrome Poetry:

- *Definition:* A poem that reads the same backward as forward. - *Example:* Write a palindrome poem exploring the balance between chaos and order. 

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change.