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Before I start talking about Victor LaValle's beautiful book, a point of housekeeping: Now that an eon has passed, I've finally updated my praise and awards page for Jane, Unlimited. I have a bad habit of never getting around to this task until it's time to start clearing things out for the new book. The nice thing about it is that I get to revisit a book that's dear to me, years after I've stopped thinking about it. Jane is a book that divides readers for sure. I want to thank everyone who got that book and took it into your hearts and brains. If you don't know about Jane, Unlimited, here's a quick intro: An orphan named Jane arrives at an island mansion owned by a friend, then quickly starts to get the sense that strange things are afoot there. At a certain point, when Jane needs to make a decision, the book breaks off into five different decisions she could make — and each decision takes her into an adventure in a different genre. There's a mystery story, a spy story, a horror story, a sci-fi story, and a fantasy. They're all connected and interwoven; and yes, the multiverse exists :). It's a weird book and I'm very, very proud of it! If you're curious, I'll point you to the NYTBR review, which is concise and generous and does a good job expressing its flavor.


So. Today I want to talk about the craft of using existing, well-known stories to fortify your own story — thus building ready-made narrative magic into your story's foundations.

Reimagining a classic story is, of course, an age-old tradition. There was a time when I read all the King Arthur retellings I could find, though this list shows me that I missed a great many. Some of my all-time favorite books come from this tradition: Tam Lin by Pamela Dean, a retelling of the old Scottish ballad that takes place in a fictional college in Minnesota in the 1970s; Deerskin by Robin McKinley, which I held close to my heart while I was writing Fire and which is based on the Charles Perrault fairy tale Donkeyskin; Ash by Malinda Lo, a lesbian retelling of Cinderella. Every writer who goes down this path has their own take on whatever story they're reimagining, disrupting the familiar in their own unique way so that we can get some objective distance and consider the story again in a new light. One of the best things about stories is the way they all change and grow in meaning and significance with every new story that joins the pantheon.

Victor LaValle's The Changeling is a modern-day, New York City-based retelling of the old changeling folktale. In the classic version of that tale, fairies steal a human baby and replace it with something else, usually a (creepy) fairy child. In LaValle's retelling, the focus is the emotional journey of the baby's father, Apollo Kagwa, whose wife Emma Valentine starts acting odd after their baby is born. Horror ensues. In the wake of the horror, Apollo must figure out what the heck just happened, and how to move on.

LaValle's take on the changeling story is unique in plenty of ways. For example, the way race and gender factor into the power dynamics. The choice to center the point of view around a father. The extreme horrificness of the violence that occurs. The story's broad-ranging modern-day New York City settings, from a fancy Manhattan restaurant to Apollo's home in Washington Heights to an abandoned island in the East River to upscale suburbs and a forest in Queens. These are the sorts of alterations commonly made by writers retelling old stories: time, location, culture, tone. When we know we're reading a retelling, we expect changes in these categories.

But LaValle does something else too: he infuses this book with many, many stories that aren't the official story he's retelling. The Changeling is a book positively swimming in story. And one of this book's charms is that as a consequence, Apollo spends a lot of the book making mistakes about what story he's in. LaValle uses stories to illuminate, but also to mislead. I think it makes for a really unique approach to characterization.

It also steers Apollo through a character transformation that I find exquisitely touching, for reasons I'll try to explain without spoiling the plot too much.

Apollo Kagwa's father, who disappears before his fourth birthday, is a white man from Syracuse. His mother, Lillian Kagwa, is a Black woman, an immigrant from Uganda, who raises him and who recognizes early on that her son lives and breathes stories. Lillian can't find enough books to satisfy young Apollo. He also has a mind for business. When Lillian discovers that Apollo has been selling his books after reading them, she helps him establish a used bookselling business. In due course, he grows up to be a rare bookseller.

Unquestionably, this is the story of a man who knows all about stories. As a rare bookseller who spends his time digging through rude and racist people's basements looking for valuable treasures, Apollo deals in stories. He seeks stories out, recognizes their value, owns them, sells them. He also builds stories around himself as protection and comfort, often repeating to himself, in moments of anxiety or fear, the mantra, I am the god, Apollo. I am the god, Apollo. And he uses stories to comfort and ground himself — particularly Maurice Sendak's picture book Outside Over There, a changeling tale that Apollo believes his missing father lovingly left for him.

So. Apollo knows stories. And yet, as I said above, as this story plays out, LaValle gives us evidence that Apollo is often wrong about what story he's in. He admires the wrong people in his life as heroes (for example, his father). He misses the incredibly powerful sorcerers right in front of his eyes: his wife Emma; Emma's sister, Kim; Emma's friend, Nichelle; his mother, Lillian. As he moves through the world, he imagines he sees fairy tale traps where there are none, and he misses the huge, important fairy tale turning points, the moments that really matter. The clues are right in front of his face. Sometimes the women in his life even announce them aloud to him, and he still disregards them. Like all of us, the story Apollo tells himself about his own life is flawed and distorted by his own wishes, heartbreaks, assumptions, and biases. Among those biases, by my reading, is the tiniest edge of unconscious condescension to women. Or maybe even that's going too far; maybe it's simply that Apollo fails to see and appreciate the women around him fully. He's a good man. But he doesn't quite get it.

And yet, Apollo's story is one of transformation. Over the course of this book, through a great deal of trial and tribulation, Apollo learns to see what story he's in, who the heroes are, and who has the power to create a safe world for him and his family. And who are these heroes? Ultimately, women. What Apollo learns is that he's in a story in which he needs to see and respect the intelligence, insight, and power of women. Black women, specifically. By my reading, this is a tale of a well-meaning, vulnerable, flawed man learning feminism.

Maybe you can see why I love it?

And I also love how it's done. I love the way this book swirls with stories, and the way both the reader and Apollo are moving along on different paths through the stories, trying to understand which of the stories matter to Apollo's story, and how.

It makes me think in a fresh, new way about how to weave other stories into one's story, whether one's story is a retelling, or just a story with narrative influences. There's no end to the creative approaches to this — but if you're imbuing your own story with other stories, I do think it's a good idea to choose a deliberate approach. There's a danger in trying to use other stories in your story as a shortcut for creating mood and meaning. The author who throws lots of existing stories into a book might create the impression of depth, but you want to make sure it's not just an impression. You don't want to use other stories to obscure an empty hole or a weak foundation in your own story, or make it seem like your story has meaning it doesn't have. I say this as a writer who's familiar with that moment when, after trying to shoehorn a known story into something I'm writing, I realize I'm being lazy. I'm trying to make someone else's work do my work. Or maybe I realize that I simply don't know enough about my own story yet, and I'm using those other stories to obscure that fact from myself.

If you're alluding to another story in your story, there needs to be a reason. Ask yourself, what structural function are these references performing? What manner of tool are they? What do they accomplish? Why have I chosen the stories I've chosen?

There doesn't need to be a profound or complicated answer, but there needs to be an answer. For example, in Rebecca Stead's When You Reach Me, Miranda's favorite book is A Wrinkle in Time, for what turn out to be some pretty straightforward textual reasons. In the space of that book, it ends up being a perfect allusion. In the review of Jane, Unlimited I linked to above, the reviewer notes that it turns out there's a reason Jane wears Doctor Who pajamas. Though I wouldn't call Jane my most straightforward book, there are some pretty straightforward reasons I dressed her in those pajamas! You can have simple or complicated reasons for referring to other stories in your story. It can be a reason that's quiet, subtle, and small. It doesn't have to be groundbreaking. But you have to link those stories to yours in meaningful ways, and you also have to make sure that your own story is the biggest and most relevant story in the book. If you find yourself trying to create depth in an insubstantial story by borrowing someone else's story, then I recommend spending some time focusing on the hard work of your own story.

And if, in the process, you find yourself jettisoning some of the references to that other story, or even abandoning that other story altogether? That's fine too. One of my current works in progress started out as something of a Peter Pan retelling. It's now come so far from that point that the only remaining allusion is a couple of names — that I'm probably going to change, because the book doesn't need them anymore. That book needed to grow the way it did. J. M. Barrie's book was my path in; my story needed to start with his, then diverge. Another example: Earlier in this post, when I explained that Jane, Unlimited is about an orphan named Jane who comes to a mysterious house, maybe you thought of Jane Eyre. In early drafts of that book, I kept trying to work in versions of actual scenes from Jane Eyre. For example, I tried hard to find a place for a scene paralleling the one where Jane almost gets run over by Mr. Rochester in the dark. Eventually, I let all that go. At a certain point, the needs of my story became a lot more important than strengthening allusions to Jane Eyre (or Rebecca, or Winnie the Pooh, or any of the other texts that Jane, Unlimited references). I found a balance with all the allusions — or I hope I did, the reader is free to disagree! — and tried hard to focus on my story, my versions, my point. I think Jane still swims with those other stories, hopefully in ways that create depth, and part of getting to that point was letting some of it go. Often it doesn't take much to invoke a story that's part of our cultural consciousness.

To demonstrate that often it doesn't take much, let's return to The Changeling. I want to show an example of what I've explained about how this book uses stories to elucidate Apollo's failure to recognize his own story. I'll focus on one scene that I think encapsulates the skill with which LaValle layers story over story over story — to tell Apollo's story about misreading his own story. It's also wonderfully written, so that'll be fun to talk about too :).

The scene I'm going to look at takes place over the course of Chapters 11 and 12. The setting is a fancy New York restaurant that evokes a fairy tale aura. If you want to read along, you'll find this scene on pages 41 through 51 in the 2017 Spiegel & Grau hardcover edition. Point of view shifts in this book, but these two chapters are told from Apollo's point of view.

First, some context: in the scene after this scene, Emma Valentine gives birth to their child. (That's an incredible scene too! It happens in a stopped A train on its way to Washington Heights!) This means that the scene I'm about to talk about is Apollo's last chance to understand his own story before everything changes. As I think you know by now, he fails. He barrels into  parenthood still unable to see what's in front of his eyes, and the consequences are catastrophic.

But first, he has dinner at a restaurant! Or rather, he doesn't have dinner, because the items on the menu are terrifyingly expensive, so he just fills up on bread — but we'll get to that.

Let's start with the opening of Chapter 11. We're on Duane Street, a fancy street in lower Manhattan. Apollo has just been digging through the old, abandoned books of some rude people in Queens. Now he's meeting Emma and Emma's friend Nichelle for dinner at Bouley, which is a real New York restaurant. Or rather, it used to be; it closed in 2017, the year this book was published.

Here's how the chapter starts: "Entering Bouley Restaurant felt like stepping inside a gingerbread house. .... when he opened the door and stepped into the foyer, he found himself surrounded by apples. Shelves had been built into the wall, running as high as the ceiling; rows of fresh red apples and their scent enveloped him. The door to Duane Street shut behind him, and Apollo felt as if he'd stumbled into a small cottage off an overgrown path in a dark wood" (41).

(By the way, if this room sounds too playful, magical, or wonderful to be true — here's an article that includes a photo of Bouley's apple entrance: "What's David Bouley Going to Do With all Those Apples When He Closes His Flagship Restaurant?")

So. With these opening lines, LaValle accomplishes two things: (1) he fixes a real-life restaurant firmly in the world of fairy tale. And (2) he signals to us what story Apollo thinks he's in. Because we all know that when Hansel and Gretel step into a cottage off an overgrown path in a dark wood with walls made of gingerbread, cake, and candies, things do not go well for them.

I don't want to take any of the fairy tale references in this book too literally or drag them out too far. Though LaValle can be pretty explicit sometimes about what he's referencing, his touch remains light, and I don't want to beat it to death. But as I said before, Apollo doesn't eat anything but bread during this dinner. He tells himself it's because he's afraid of the bill, but we also know that on some unconscious level, he thinks he's inside the story of Hansel and Gretel. And if you're inside that story, you know damn well that it's not safe to eat the food! Of course, as it turns out, Apollo could eat anything he wants safely, because Nichelle is paying for the dinner. Apollo's wrong: his story isn't Hansel and Gretel.

This is a pretty straightforward example of how this skilled writer uses a conscious and deliberate reference to a widely-known story that then shows us that Apollo is a little bit lost inside all the stories of his life. Also, as settings go, this description of the foyer of Bouley is evocative and beautiful. The sentences of this book are eminently readable. It's something I noticed again and again: despite a fair amount of description, my eyes never glazed over and I never struggled to picture what was being described to me. LaValle doesn't use flowery language or waste words. He tells you what it looks like and he tells you how Apollo experiences it. And he attaches it to story spaces we already know, spaces that are part of our cultural language of stories, so it feels familiar and right. For me, at this point in the book, it was enjoyable to be a little bit lost with Apollo, because the language was so lush and the setting so fairy-tale familiar; because I myself, sitting outside the story, could go eat something if I got hungry, without worrying about evil witches; and also because I had some grounding that Apollo doesn't have. Apollo doesn't know that his own book is called The Changeling. He's just trying to survive each new story, whatever it turns out to be, as he steps into it.

LaValle does a good job creating sympathy in the reader for Apollo's mistakes and confusions. Consider Apollo's experience as he moves further into Bouley: "The dining room's vaulted ceilings had been laid with eighteen-karat gold leaf sheets, and on top of that a twelve-karat white gold varnish, so the ceiling seemed as supple as suede. The floors were Burgundy stone, overlaid by Persian rugs. If the foyer felt like a woodland cottage and the waiting area a haunted parlor, the dining room became an ancient castle's great hall.….Apollo felt as if he was trekking through realms rather than rooms. If there had been men in full armor posted as sentries, it wouldn't have surprised him. And in fact, when the maître d' reached the right table, there was a queen waiting there. Emma Valentine, too pregnant to stand" (42).

This is one of the dangers of being a story man: If your entire life is steeped in story, you're going to see those stories everywhere. Surely that makes it confusing to isolate which story is yours?

On the other hand, Apollo totally notices that Emma is a queen — but then he dismisses it. This is another danger of a life steeped in story: you make associations and assume that they're metaphors. Emma isn't like a queen. She is a queen — or if not a queen, some other category of extremely powerful and important woman. Maybe one of Apollo's problems is that he's so steeped in story that he can't get hold of what's real? Or maybe he believes in magic within the context of a story, but he doesn't believe in magic in real life? Or maybe he lives too much inside stories, and needs to wake up and live his real life?

This is what good layering does. It leaves the reader with lots of fascinating and fun questions!

By the way, Emma has her favorite stories too — and LaValle's choices for her illuminate her character to anyone who's paying attention. The most important movie from Emma's childhood, which she watched repeatedly in her hometown library in Virginia, is a Brazilian movie called Quilombo, "the only movie in the entire library that had black people on the cover. Of course I wanted to watch it!" (28). It's a movie about the slave uprisings in Brazil, and it "shows tons of Portuguese people getting killed by those slaves" (28). At dinner, Nichelle brings it up: "This girl tried to get me to watch a movie about a slave uprising when I was busy trying to figure out how to marry that boy out of New Edition" (47). While Apollo is worrying about eating the food, LaValle reminds us that Emma is engaged in matters of disruption to major power structures. Ding ding ding! Pay attention, Apollo!

But Apollo is too hungry and anxious to pay attention. The dinner progresses as dinners do. Apollo, not knowing that Nichelle is buying, becomes more and more horrified as Nichelle and Emma order delicacy after delicacy. Nichelle gets roaring drunk. Emma, who rarely sleeps anymore, is drifting, half-asleep in her seat. "Apollo, meanwhile, had ingested nothing but tapwater and the restaurant bread. While the bread tasted magnificent, it wasn't enough. By dessert, Apollo and Emma had low batteries, but Nichelle seemed wired to a generator" (46).

Near the end of the dinner, Emma leaves the table to find the bathroom. She's thirty-eight weeks pregnant and "That flan wants to come back up," she says quietly (47). When she leaves, Nichelle, like any good soothsayer in any good folktale, takes the opportunity to try to tell Apollo what matters.

First, she tells Apollo that "There's a nude photo of your wife in an art gallery in Amsterdam." Then she explains that before Emma married Apollo, Emma went to Brazil, where "she had a few adventures" (48). In particular, "Emma met this Dutch photographer down there in Brazil" (49).

Nichelle goes on to explain that one day while the photographer was taking photos in an abandoned factory, he needed to pee, so he left Emma alone with the equipment. And she decided to take a picture of herself, setting up the shot with a timer. "She makes the shot in front of a wall that's been half torn down so you can see she's standing inside a man-made building that's gone to the dogs, but over her right shoulder you can see the forest that surrounds this factory. Two worlds at once. Crumbling civilization and an explosion of the natural world. / "Emma walks into the shot, and just before the shutter clicks, she pulls off her dress and takes that photo nude!"

What's the photo like? How does Emma look? "Wiry and fierce, naked and unashamed. She's looking into that camera lens like she can see you, whoever you are, wherever you are. She looks like a fucking sorceress, Apollo. It was one of the most beautiful things I've ever seen" (50).

So, here's Nichelle, telling Apollo what he's glancingly considered before in a fond, condescending sort of way: Emma is a sorceress. Nichelle is saying this to Apollo in simple, straightforward words: Emma is a sorceress, with a great capacity for adventure.

What is Apollo doing during this conversation?

He's sitting there thinking to himself, "Dutch photographer? / Dutch fucking photographer?" (49)

And when he finally speaks, what does he say?

"'And the Dutch guy?' Apollo asked. 'What was his name?'" (59)

This moment is, of course, the stuff of everyday real life and the stuff of fairy tales. Jealousy and possessiveness, leading to a character's blunder or misbehavior. In fairy tales, we see jealousy as an archetype — like the queen who decides to destroy the young woman who's usurped her position as the fairest of them all. In Apollo's life, it comes across as fairly typical and annoying sexism.

Nichelle's response to this question contains everything. Everything this book is about; everything that leads to catastrophe, and ultimately to Apollo's growth and transformation: "Nichelle watched him quietly for seconds. She narrowed her eyes when she spoke. 'I'm trying to tell you something important, and you are focused on bullshit'" (50).

For just a moment, Apollo gets it. He falls "back into his chair as if Nichelle had kicked him" (51). He tells her he's ready, he's finally listening.

And then the maître d' appears, sprinting across the restaurant, shouting for Apollo, because the baby is coming. Which means that everything is about to change, and it's too late.

Apollo's failures in this scene are familiar and understandable, even when they're annoying. He's hungry, distracted, and worried about his wife who's probably vomiting flan in the bathroom. Also, Nichelle is completely, obnoxiously drunk, so why should Apollo recognize the power or truth of her words? Maybe I should clarify that at this point in the book, I didn't appreciate that Emma was a legit sorceress either. We haven't learned the stakes yet, and we don't know how much we're going to be needing a sorceress later. But more to the point, most of this book is from Apollo's point of view, and right now Apollo is hungry, distracted, and worried. There are more important things to worry about, or so he thinks. And I care about him. Even though as the reader, I'm better positioned than he is to recognize his mistakes, I'm right there with him.

This all comes down to LaValle's skilled balancing of story and character. So much comes across in this one scene, and there are so many other equally rich scenes. If you like to sit in that place where spinning stories come together, you should read this book.

I'll close my study of The Changeling by adding this: I know enough from my own experience as a writer to suspect that while LaValle was writing this book, he wasn't always certain what story he was writing either. As we write, our story keeps surprising us, interrupting us, frustrating us and sending us off in the wrong direction. But not only did he find his own story (and Apollo's too), but he did a beautiful job weaving all the other stories in.

If you're writing something that alludes to other stories, I hope you'll find LaValle's use of classic stories exciting, rather than intimidating. When you ask yourself, Why this story?, it's an opportunity to figure out how far along you are in establishing your own story. If you don't have an answer yet, maybe you need to be focusing less on the classic story and more on your own story. If you have a few answers, but you're completely overwhelmed and not sure how many references you should make or where anything is going — take a moment to congratulate yourself, because that sounds to me like progress. When you're in the middle of writing something, there's always a sense of overwhelm and confusion about how well you're balancing things. You have a few potential answers? Great! Soldier on, and after a while, check in again. What's your story now?

And that's that. I hope you've enjoyed my post about the balance of story in Victor LaValle's The Changeling!

Reading like a writer.

Hello, lovely people.

I have another craft post planned for sometime soon… I'm hoping to write about The Housekeeper and the Professor, by Yoko Ogawa, if I can just figure out how to articulate what I want to say. It's such a beautiful book! One of those rare books I got out of the library, read, then decided I needed to own.

Until then, I wanted to share a little bit of blather about Winterkeep (January 19, 2021), plus display all eight new covers — the new USA and UK covers for Graceling, Fire, Bitterblue, and Winterkeep — altogether in one place. If you don't care about the blather and just want to see pretty pictures, scroll down.

So. The first few drafts of Winterkeep were written in many, many points of view. It was early days, and I was trying to figure out how to tell the story I wanted to tell. I pretty much allowed anyone a point of view, sort of as an experiment, to see how each character felt, and figure out whose feelings were most important. Then gradually, across revisions, I whittled those POVs down. In its final form, Winterkeep is told from five points of view — and only three of them are human! 

One is Queen Bitterblue, whose POV will be familiar to those who've read my book Bitterblue. Bitterblue is a little bit older now, twenty-three. She's always working, always doing the best with the problems facing a young queen, and at the moment, she's worried about two of her advisers who died mysteriously in a shipwreck in Winterkeep. She's also worried about a friend, a Keepish man she's sort-of-maybe romantically involved with, named Katu Cavenda. Everyone says Katu is traveling… so why does it seem like he's actually disappeared? These questions, among others, bring Bitterblue to Winterkeep, to figure things out for herself.

Another point of view is Giddon, a character who'll be familiar to readers of Graceling and Bitterblue. Remember what a jerk Giddon was in Graceling? He actually told Katsa once that he was confident she'd want babies someday, because after all, she wasn't "an unnatural woman." YUCK! 

Then, when I started to write Bitterblue, I discovered that Giddon had evolved. I was touched by the friendship he began to develop with Bitterblue, which surprised me while I was writing. I realized that over the course of the last few years of his life, he'd taken responsibility for his behavior and grown up a bit. After all, he was only eighteen years old in Graceling, and he hadn't encountered much pushback against his viewpoints yet. I like to think that Giddon paid attention to the good influences around him and rethought a few things. Anyway, now he's back, and he's had a few more years to grow up even more.

Another point of view is a Keepish girl named Lovisa Cavenda, age 16, who's depicted on the USA cover (below). Lovisa's a sneak and a secret keeper; she's a manipulator and a survivor. Katu Cavenda's niece and a student of politics and government at the Winterkeep Academy, she lives in the dorms but sneaks home frequently, spying on her own parents, who are important political figures in Winterkeep. If I had to choose one character at the very heart of this book, it would be Lovisa Cavenda. Through no fault of her own, she finds herself in an impossible situation… Will she find a way out?

Another point of view is a telepathic blue fox, who has a special, exclusive mental bond with Lovisa Cavenda's mother, Ferla Cavenda. And trust me, though Ferla has a warm hearth and a warm coat with a fuzzy hood it's cozy to ride inside, Ferla's mind is not always a comfortable place! The rules of foxkind are fairly strict. What happens to a fox who can't decide whether to follow the rules?

Finally, my last point of view is a gigantic sea creature with thirteen legs and twenty-three eyes who lives at the bottom of the ocean, protecting her treasures (sunken anchors, sunken human corpses, sunken ships). All she wants is to be left alone… but the machinations of humans and the interests of her undersea world keep interrupting her peace.

Those are my five points of view! Together, they tell the story of Winterkeep, which is, above all, a story of relationships. I hope you'll enjoy watching these five characters come together.

And now for my shiny new covers. 

First up are the USA covers. In the USA and Canada, Graceling is published by Houghton Mifflin Harcourt and Fire, Bitterblue, and Winterkeep are published by Penguin Books. These covers were illustrated by Kuri Huang (@kuri_huang) and designed by Theresa Evangelista and Jessica Jenkins. Shown below in series order.

 

One of my absolute favorite things about this reboot is that both my USA and my UK publishers are updating the series, and both went with a beautiful, rich, textured look — but they're so different from each other. Below are my new UK covers. In the UK, Australia, and New Zealand, my books are published by Gollancz. The covers were illustrated by Micaela Alcaino (@micaelaalcaino) and designed by Tomás Almeida.

 

And that's my update for today. Hope you're all hanging in there. More soon. ????

Here’s a thing I keep noticing, and it drives me nuts. In Italy, a ship captain is arrested for bringing immigrants to shore after rescuing from them near death at sea: The number of migrants reaching Italy’s shores has drastically diminished – just 2,800 so far this year – and the country is now led […]

I've spent a month doing my best to help my community and prepare my household for Covid-19.

Kamala Harris is blasting Donald Trump for vowing to protect women whether they “like it or not” at the same time he is calling for Republican Liz Cheney to be shot in the face. We get response from The Nation's abortion access correspondent Amy Littlefield and talk about 10 states with abortion rights on the ballot, including Arizona, Nevada, Florida, South Dakota and Missouri. Trump's remarks are a “succinct and clear definition of patriarchy,” says Littlefield. She argues the 2024 election will be decided in large part by white women and whether they will vote for abortion rights. Trump is “laying out the bargain that white patriarchy has offered for white women in this country,” says Littlefield. “He is saying, 'White women, we will protect you from Brown and Black men.'”

As voters across the United States head to the polls, we speak with New York Times writer Jim Rutenberg about how Donald Trump may try to preemptively declare victory and challenge election results. The former president has ramped up claims Democrats are “a bunch of cheats” and preemptively cast doubt on a win by Vice President Kamala Harris, following a similar playbook as 2020 when he baselessly claimed the election was stolen. Rutenberg spoke to pro-Trump election officials in battleground states of Arizona, Georgia, Nevada and Pennsylvania who say they are ready to refuse to certify local election results as part of a wide-ranging effort to throw the system into disarray. Rutenberg says after the failed insurrection of January 6, 2021, many in Trump’s orbit had a clear goal for 2024: “We have to go local.” He also discusses the Electoral Count Reform Act of 2022 that makes it harder to stop the final certification of results.

In a major piece for Mother Jones magazine on “Why Ballot Measures Are Democracy’s Last Line of Defense,” voting rights correspondent Ari Berman discusses abortion ballot measures in 10 states, important down-ballot races in Wisconsin and elsewhere, and the movement to abolish or reform the Electoral College.

While Democratic candidates suffered major losses in this year’s U.S. elections, elsewhere on the ballot voters supported liberal positions. In the wake of tightening federal and state restrictions on abortion, historic ballot measures enshrining the right to an abortion passed in seven states, while other initiatives to raise the minimum wage and codify marriage equality also won by wide majorities. We’re joined by Chris Melody Fields Figueredo of the Ballot Initiative Strategy Center to examine the role of ballot measures, a form of direct democracy, in elections, and why this “powerful tool” may be at risk as conservatives flood elected office. “Because we are resisting, we are winning on these progressive issues, they are trying to take that power away from us.”

Dutch Palestinian analyst Mouin Rabbani discusses the violence that broke out last week between visiting Israeli soccer fans and pro-Palestinian protesters in Amsterdam. The Dutch authorities made over 60 arrests, and at least five people were hospitalized as a result of the clashes, which local and international leaders were quick to brand as antisemitic, even though observers in Amsterdam have said it was Israeli hooligans who instigated much of the violence. Rabbani says that while it’s common for rival teams’ fans to get into skirmishes, what happened in Amsterdam was different. “What we’re talking about here in Amsterdam is not a clash between the hooligans of two opposing sides, but rather these Israeli thugs attacking people who, in principle, had nothing to do with the game, and then afterwards being confronted by their victims,” Rabbani says.

Young gamers in the UK can now transport themselves inside the iconic world of Doctor Who for a limited time in Nightfall, the BBC’s online multiplayer game.

Read The Customer Used “Call Corporate”: It Was Not Very Effective

Customer: "Well if you're not going to be doing [possibly illegal thing] for me then I suppose I will just need to call your Corporate office!"
Me: *Not skipping a beat.* "Well, actually I think you’d be better off contacting Jane Lastname at the regional office; here’s her card."

Read The Customer Used “Call Corporate”: It Was Not Very Effective

Smart home technology is no longer a luxury reserved for the affluent. With advancements in technology, affordable smart home devices are now within reach for tech enthusiasts in India. These gadgets offer convenience and efficiency without straining your budget. Smart lighting

The latest update to Nothing's operating system is now available for users with the Phone (2a), as the company rolls out the second open beta for Nothing OS 3.0. While this version is currently exclusive to the Phone (2a), users of

I had bought a Pre-const house for 55lac and paid Stamp duty on 55lac during registration.
I made 54,00,00 payments in installments and now making the last installment of 1 lac

On the 26QB form

Total Value of Consideration (Property Value) -₹55,00,000
Payment type*-Installment
Whether it is last installment ?*-Yes
Whether stamp duty value is higher than sale consideration ?* - Dont know what to choose
Total amount paid/ credited in previous installments, if any (A) * ₹54,00,000
Amount paid/credited currently (B) *-₹1,00,000
Total stamp duty value of the property (C) *₹55,00,000

Now under
Tax Deposit Details, I am getting
Amount on which TDS to be deducted (D)*₹55,00,000, which looks wrong.

Should this not be the amount currently paid ₹1,00,000. What am I doing wrong?

Note*I was suggested in the forum to enter ₹1,00,000 in box (C), but it still calculates the total amount of ₹55,00,000 in (D)

Hi,
This question is w.r.t Final payment of TDS for property sale.
This is for 2 buyer and 1 seller.
Below is about 80% share of 1 seller.

Total Value of Consideration (Property Value) - 81,04,500 INR

Total amount paid/ credited in previous installments, if any (A) - 61,59,420 INR
Amount paid/credited currently (B) - 3,24,180 INR
Total stamp duty value of the property (C) - 64,83,600

Amount on which TDS to be deducted (D) is directly getting calculated at - 64,83,600 INR.

Ideally, since it is last installment, amount on which TDS to be deducted needs to be visible as 3,24,180 INR. However, it is showing 64,83,600.

Kindly help and update what needs to be filled in A, B & C so that I pay TDS of 1% on 3,24,180 INR only.

Ready to welcome a steady incoming flow of conference attendees, introduce the world to a host of new industry innovations and provide a full lineup of fun events all week long, ProMat 2023 opened its doors to the world at 10 a.m. CST this morning.

The national average decreased 6.2 cents, to $4.185, following a 3.5-cent decline, to $4.247, for the week of March 13.

The American Trucking Associations (ATA) expressed what it called its “grave concerns” about media reports that the Environmental Protection Agency (EPA) may be on the verge of granting the state of California waivers to implement potentially harmful and unrealistic emissions rules on the industry. Under California rules, new Class 8 heavy truck models would be zero-emission next year. Diesel and gasoline-powered drayage trucks must retire after 18 years to guarantee that they meet a zero-emission requirement by 2035.

TikTok’s “sleepy girl mocktails” remind us how important magnesium is for sleep and health

These easy scalloped potatoes combine the creaminess of the classic side dish with the ease of frozen hash browns. You don’t even have to thaw them out! I thought I was finished writing about scalloped potatoes. I posted my first scalloped potatoes recipe in my second month of blogging, way back in 2006. Then ten...

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The post Easy Scalloped Potatoes (Vegan Hash Browns Casserole) appeared first on FatFree Vegan Kitchen.

Katrina Ford “World On A Wire” I’ve been writing about songs most days of my life for over 20 years and one thing I’ve learned from this is that a lot of the music I love most resists description. And of course it does – music is ultimately an abstract medium, something that exists to […]

Horror movies, as of late, have gone to great lengths to solve the key obstacle to horror movies- cell phones. When we live in a world where help is a phone call away, it's hard to imagine the characters not doing that. So screenwriters put them in situations where this is impossible: in Midsommar they isolate them in rural Sweden, in Get Out calling the police is only going to put our protagonist in more danger. But what's possibly more common is making the film a period piece- like the X/Pearl/Maxxxine trilogy, Late Night with the Devil, or Netflix's continuing series of R.L. Stine adaptations.

I bring this up, because today's horror starts in 1993. A Norwegian software company launched its software product to mild acclaim. Like every company, it had its ups and downs, its successes and missteps. On the surface, it was a decent enough place to work.

Over the years, the company tried to stay up to date with technology. In 1993, the major languages one might use for launching a major software product, your options are largely C or Pascal. Languages like Python existed, but weren't widely used or even supported on most systems. But the company stayed in business and needed to update their technology as time passed, which meant the program gradually grew and migrated to new languages.

Which meant, by the time Niklas F joined the company, they were on C#. Even though they'd completely changed languages, the codebase still derived from the original C codebase. And that meant that the codebase had many secrets, dark corners, and places a developer should never look.

Like every good horror movie protagonist, Niklas heard the "don't go in there!" and immediately went in there. And lurking in those shadows was the thing every developer fears the most: homebrew date handling code.

/// <summary>
/// 
/// </summary>
/// <param name="dt"></param>
/// <returns></returns>
public static DateTime LastDayInMonth(DateTime dt)
{
	int day = 30;
	switch (dt.Month)
	{
		case 1:
			day = 31;
			break;
		case 2:
			if (IsLeapYear(dt))
				day = 29;
			else
				day = 28;
			break;
		case 3:
			day = 31;
			break;
		case 4:
			day = 30;
			break;
		case 5:
			day = 31;
			break;
		case 6:
			day = 30;
			break;
		case 7:
			day = 31;
			break;
		case 8:
			day = 31;
			break;
		case 9:
			day = 30;
			break;
		case 10:
			day = 31;
			break;
		case 11:
			day = 30;
			break;
		case 12:
			day = 31;
			break;
	}
	return new DateTime(dt.Year, dt.Month, day, 0, 0, 0);
}

/// <summary>
/// 
/// </summary>
/// <param name="dt"></param>
/// <returns></returns>
public static bool IsLeapYear(DateTime dt)
{
	bool ret = (((dt.Year % 4) == 0) && ((dt.Year % 100) != 0) || ((dt.Year % 400) == 0));
	return ret;
}

For a nice change of pace, this code isn't incorrect. Even the leap year calculation is actually correct (though my preference would be to just return the expression instead of using a local variable). But that's what makes this horror all the more insidious: there are built-in functions to handle all of this, but this code works and will likely continue to work, just sitting there, like a demon that we've made a pact with. And suddenly we realize this isn't Midsommar but Ari Aster's other hit film, Hereditary, and we're trapped being in a lineage of monsters, and can't escape our inheritance.

Since it's election day in the US, many people are thinking about counting today. We frequently discuss counting here, and how to do it wrong, so let's look at some code from RK.

This code may not be counting votes, but whatever it's counting, we're not going to enjoy it:

case LogMode.Row_limit: // row limit excel = 65536 rows
    if (File.Exists(personalFolder + @"" + fileName + ".CSV"))
    {
        using (StreamReader reader = new StreamReader(personalFolder + @"" + fileName + ".CSV"))
        {
            countRows = reader.ReadToEnd().Split(new char[] { '
' }).Length;
        }
    }

Now, this code is from a rather old application, originally released in 2007. So the comment about Excel's row limit really puts us in a moment in time- Excel 2007 raised the row limit to 1,000,000 rows. But older versions of Excel did cap out at 65,536. And it wasn't the case that everyone just up and switched to Excel 2007 when it came out- transitioning to the new Office file formats was a conversion which took years.

But we're not even reading an Excel file, we're reading a CSV.

I enjoy that we construct the name twice, because that's useful. But the real magic of this one is how we count the rows. Because while Excel can handle 65,536 rows at this time, I don't think this program is going to do a great job of it- because we read the entire file into memory with ReadToEnd, then Split on newlines, then count the length that way.

As you can imagine, in practice, this performed terribly on large files, of which there were many.

Unfortunately for RK, there's one rule about old, legacy code: don't touch it. So despite fixing this being a rather easy task, nobody is working on fixing it, because nobody wants to be the one who touched it last. Instead, management is promising to launch a greenfield replacement project any day now…

Welcome to The Great Hall of Poets, our poetry feature showcasing the talent of Middle-earth fans. So come and join us by the hearth, and enjoy!

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net  One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

The Steward and the White Lady

by: Cassie Hughes

She lay bereft of all she loved and wished her life was done,
That King had never called her back from limbo’s darkened home,
Within these hallowed healing halls her heart felt caged anew,
What now for maid without a shield? No cause to cleave unto?

In waking dreams she wandered there a ghost in living form,
Her hopes and dreams dispersed as dust, her mind encased in storm,
‘Twas thus he first did spy her there caught up in moonlights glow
And from that moment lost his heart to Rohan’s greatest jewel.

Fair Eowyn he then pursued though she desired naught
But finding honour within death, this goal, her only thought,
With inner strength he persevered and piece by piece did steal
Away despair and hopelessness, her zest for life reveal.

At last the scales fell from her eyes, she finally perceived,
The wise and steadfast prince of men to whom her heart had cleaved,
The Steward and the Lady found at last their just reward,
A strong, enduring love in which to live in light restored.

~~ * ~~

I've included this following poem to commemorate Remembrance Day. It's one I wrote as part of my Literature degree in memory of my Grandfather. Lest We Forget

Grandad Speaks

by: Kelvarhin

They called me Jack,
Though my mates
Called me Snowy.

A hazel-eyed beauty,
From London’s east-end,
Became my life’s love.
Two adored daughters,
Completed our home.

War intervened,
To the R.A.F. I soared.
Not to drop bombs,
Or dogfight in the sky,
Dinghy Drop rescues
Were my choice to fly.

The fates made their call,
Rescuers missing,
Lost over North Sea.
Three simple words,
All that were shared.

Missing in action.

No body to mourn,
No grave to cry on.
A telegraphed epitaph,
My Loves only memorial.

~~ * ~~

If you have a project to show - this is great chance...

The post A’Design Awards & Competition 2024 – Call For Entries first appeared on peopleofdesign.