Interesting things - 2025 12 14

Dec. 14th, 2025 12:06 am
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New Worlds: Getting Philosophical

Dec. 12th, 2025 09:00 am
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Philosophy is one of those topics where, if you're intending to explore it in detail in your fiction, you probably already know more about it than I do.

The way we talk about it nowadays, it's the exemplar of a rarefied field of study, the province of intellectuals who hardly engage at all with the world around them. As a result, you're unlikely to center philosophy in your worldbuilding unless you know quite a bit about it to begin with (as I, freely confessed, do not). But I do know this much: philosophy is far from disengaged with the world. Indeed, its purpose is to consider why the world works the way it does, how we should engage with it, and other such fundamental and vital questions. So even though my own knowledge is limited, it's worth taking a bit of time to unpack just what philosophy is.

We've touched on parts of it already, because philosophy is not fully separable from other topics. The Year Six essays on sin and salvation? Those got grouped under my broad "religion" header for obvious reasons, but they're also philosophical topics -- specifically the branch known as moral philosophy, which concerns itself with ethical questions like what is good and whether one should weigh intentions or consequences more heavily in evaluating an action. For many people, religion has long been the foundation of moral philosophy . . . though the notion some hold, that a person can't really be moral without faith to enforce it, is utterly without foundation.

Last week's science essay also touched on philosophical matters, because philosophy asks questions like "what do we know and how do we know we know it?" This branch is known as epistemology, or the study of knowledge itself. That revolution in thinking I mentioned before, where the Royal Society said nullius in verba and started testing long-held dogma to see if it was right? That was an epistemological shift, one that declared sense experience and experimental procedure to be the proper basis of knowledge, rather than deference to authority.

Science also ties in with the logic branch of philosophy. How do you know if someone's reasoning is sound? Among specialists, different logical methods often get discussed in very abstract, dry-sounding ways, but we use them all the time in daily life: if you come home to find toilet paper shredded throughout the house and the only living creature who was there is the dog, ergo you conclude the dog is to blame, you're applying logic. Science, medicine, and the law all share the task of looking at the evidence and attempting to formulate an explanation that adequately explains what you see -- or, alternatively, to show that an explanation fails that test. Because, of course, the flip side of logical reasoning is the fallacy: incorrect reasoning, which fails at one or more steps in the chain.

The fourth major branch is metaphysics, and it's the hardest to pin down (thanks in part to the definition changing over time; that's what happens when your field of study has been around for thousands of years). This, I suspect, is what most people think of when they hear the word "philosophy," because metaphysics is the branch asking questions like "why does reality exist?" But here, too, it loops around to touch on other areas of culture, as the beginning and end of the universe fall under this header: religion-themed topics you'll again find in Year Six.

Enough of the abstractions, though. What does this mean for fiction?

Whether you mean it to or not, philosophy is going to soak your fiction, because it soaks your thinking. If your student at magic school decides to experiment with different ways of casting spells to see if what the teacher said is true or not, that's demonstrating a certain epistemological stance, one that says experimental results are the most valid way to answer a question. If your protagonist investigates a mystery and comes up with a theory about what's happening, they're using a specific logical approach. If your villain is pursuing a potentially admirable outcome by really terrible means, they're subscribing to a consequentialist view of ethics, the one commonly shorthanded as "the end justifies the means."

If you don't make a conscious effort to worldbuild the philosophy of your setting, its philosophy is likely to default to yours. Which is not necessarily a bad thing! But it can feel anachronistic or otherwise out of place. If the protagonist in your medieval-esque story approaches questions of knowledge and logic like a modern scientist, they're going to feel a bit like a modern person dressed up in fancy clothes. If the good guys all do that while the bad guys adhere to different philosophical stances, now you're adding an implied moral dimension to the result.

And I suspect that for most stories, it's that ethical dimension of philosophy where this influence becomes most obvious and, at times, problematic. Protagonist does a bad thing, but it gets brushed off because they've got a good heart and that makes it okay? The story is presenting a philosophical argument, whether the author thinks of it that way or not. When the chips are down and a character has to make a hard decision, which way do they jump? Will they bend or break a principle to help someone in need? Will they sacrifice their own desires for the sake of upholding that principle? This is the stuff of deep personal drama, and simply recognizing it as such -- and thinking about what stances the various answers would express -- can result in more powerful stories, rather than simple ones where the supposed hard choice is really a no-brainer.

But especially on that ethical front, it's going to be difficult to write a story that endorses a philosophy you, the author, do not support. Deontology, for example, is the field that looks at ethics from the perspective of obedience to rules . . . and for many of us, that rapidly leads to "lawful evil" territory. We'd have a hard time writing a sincere story in which the protagonist virtuously obeys a terrible order because their duty requires it -- not as anything other than a tragic ending, anyway. It could be the basis of a villain or an antagonistic society, though, and in fact we often deploy these elements in exactly that fashion.

So even if you don't have a degree in philosophy, just dabbling your toes in the shallow end of that ocean-sized pool can help you become more aware of what message your worldbuilding and plot are sending. And that, I think, is worth it!

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(originally posted at Swan Tower: https://is.gd/fDGUFl)

Word of the Day

Dec. 11th, 2025 11:47 am
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Asides

Only two s's?
gentlyepigrams: (music - classical)
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Books
The Glassmaker, by Tracy Chevalier. Lit fic about a woman born in late Renaissance/early modern Murano and her family of glassmakers. They and their contacts magically live into the present through unexamined time skips (no other magic is involved). Interesting family and historical drama and obviously reasonably well studied but although it was good it was super light as a read.
It Doesn't Have to Hurt: Your Smart Guide to a Pain-Free Life, by Sanjay Gupta M.D. This was more interesting and potentially useful than I expected. Some of it is directed to people with different pain problems but some of it is useful for folks like me who have demonstrated physical causes for pain. I may have to buy a physical copy to mark up and perform some of the exercises.

Music
Víkingur Ólafsson, Opus 109 (Beethoven | Bach | Schubert). I'm not as familiar with the Beethoven and Schubert but I love his Bach, always.
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We had the mold guy in last week to look at the drywall behind the dishwasher. Turns out it does have mold but it's very mild and only a very little over baseline. Still, it has to be remediated and we now have a plan and dates. The two weeks after Christmas will be mold remediation.

If things go as planned, we'll have the fridge, pantry, and stove/microwave available. We also have a sink in our wet bar but it'll be hard to wash anything of any size. I foresee a lot of plastic cutlery in my future. It also means we'll need to clean out the rest of the cupboards, though I don't think Michael has really thought about that, and a lot of decisions about what stays and what goes.

They'll have to tape off part of the breakfast area but we don't use that anyway and we'll still have access to laundry (and the cats to the Litter Robot, which is the important part). They estimate two weeks and it's going to run us about $7000 on top of the $1500 for the initial report.

Home ownership is not for the faint of heart or budget.

Cover Reveal: BONE & BLOOD

Dec. 10th, 2025 01:47 pm
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The truth is many of you have seen this before, but somehow I haven't *blogged* about it, so I'm doing a COVER REVEAL today! Muahahahah!

I would like to introduce you to the cover art for BONE & BLOOD, my upcoming retelling of the fairy tale Snow White, Rose Red. Dun dun dunnnnnnn!!!!!

The staggeringly fabulous cover for CE Murphy's upcoming BONE & BLOOD, a retelling of "Snow White, Rose Red" features two women standing back to back: one is garbed all in blood red, with dark red hair and a black mask; the other wears flowing white, with wheat-pale hair and a glittering mask. Cover art & design by Ravven.

LET ME TELL YOU THE STORY OF THIS COVER ART. :D

Cover designer Ravven, whose work I absolutely adore, did this as a pre-made cover. I saw it about 18 months ago now and I went OH. MY. GOD. I KNOW WHAT THIS COVER WANTS AS A STORY!

"BUT NO," I said to myself. "YOU ALREADY HAVE SO MANY PREMADE COVERS YOU HAVEN'T WRITTEN STORIES FOR! BE BRAVE, CATIE. STEP AWAY FROM THE COVER ART."

"but snow white, rose red," it whispered to me.

"AWAY, TEMPTATION!" I cried. "AWAY! SOMEONE ELSE WILL BUY THIS MAGNIFICENT COVER AND DO SOMETHING COOL WITH IT!"

"but snow white, rose red," it whispered to me.

I was, however, very brave, and didn't buy it.

So it haunted me for weeks. WEEKS. Until I went back and looked and it hadn't been bought yet and I was like 'OKAY FINE I UNDERSTAND A SIGN FROM THE UNIVERSE WHEN I SEE ONE!'

And I bought it, because I love the Snow White, Rose Red fairy tale almost as much as I love Beauty and the Beast (and it is, of course, in the same vein at BatB!), and I knew exactly how it would tie into my Beauty and the Beast book, ROSES IN AMBER, and...it was fate, honestly. It was just fate. And I'm very excited about the book, which I think is a particularly juicy rendition of SWRR, so I'm looking forward to getting it out to people in just three months!


There is a story of a widow woman and her two daughters, Snow White and Rose Red, who were the most perfect and darling little girls who had ever lived.

This is not—quite—that story.

Wise women do not bargain with fair folk, but there is wisdom, and then there is desire. Born of dark magic to a widow willing to make any pact to become a mother, Chloe and Yara live in a borderland between what is real in the World, and what is not. Their gifts—to hunt, to nurture, to craft and to kill—are granted by the woodland they cannot pass beyond...until the price of their birth is called due, and the sisters are separated, one to be a queen, and the other, a soldier.

But as the untold dangers of power weave threads into their hearts, threatening corruption and the destruction of their home, it is not the help of a prince, or true love’s kiss that will defeat a malevolent force, but the bond of two sisters whose bone and blood foretell a future that no evil could anticipate.

BONE & BLOOD will be out on March 12, 2026! Preorder now! :D


(links are amazon affiliate)

Interesting things - 2025 12 07

Dec. 7th, 2025 08:42 pm
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Museums: Kimbell and Amon Carter

Dec. 5th, 2025 11:44 pm
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Today we took a museum day in Fort Worth and visited the Kimbell and the Amon Carter.

At the Kimbell, we saw the Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection exhibit. The works were Roman statues from the collection of a noble/royal Italian family. The interesting part to me was how many of them had been altered, mostly but not all in "modern" times, to make art that was interesting to collectors in the period that it was altered. (Modern in this case meant the Renaissance and later. One of the sculptures was altered in the workshop of Bernini's father.) My favorites were in the section of the exhibit on portraits of the Imperial family, where I learned that a lot of the statues believed to be of Imperial women were identified on the basis of their hairstyle alone, and now a number of them have been reconsidered. The curation was extremely good, with most of the statues having labels showing which parts were original, which parts were ancient sculpture pieces repurposed as part of the new statue, and which parts were later additions. Also, one of the statutes was left semi-restored so visitors could also see the conditions of the various sections of the works and how they were "restored" in the past.

We also saw Caravaggio's Judith Beheading Holofernes, which was on loan. I like most of the art but I don't care for his depiction of Judith. Spouse and I had a discussion about her wrist positioning: she looks like she's sawing Holofernes' head off but without sufficient force, never mind enough force to lop his actual head off. I prefer Artemisia Gentileschi's Judith, who looks like she's actually killing the guy.

Before we left we also visited our favorites, the Lee brothers and Caravaggio's Card Sharp.

After we were finished at the Kimbell, we went over to the Amon Carter for American Modernism from the Charles Butt Collection. Butt, for those who don't know, is from the family that owns the HEB grocery stores. The art choices were interesting, like the Pollock landscape, but the curation of the exhibit didn't do a lot for me. Instead of contextualizing the individual pieces in artistic traditions or explaining why Butt chose them, the Carter's curation team had reactions from local artists, which were honestly a little banal for my taste. If it drives other folks to the museum, though, I guess it works. I enjoyed the seascapes and the landscapes, but the flat industrial paintings that Butt seemed to like did nothing for me. Probably my favorite from this exhibit was a study for a larger painting set at Broadway and 47th in New York, with a lot of bright signs.

We did look at some other art including a flat industrial painting of oil derricks off Galveston, which I really enjoyed because I knew what I was looking at, and a favorite Childe Hassam which shows flags on the Waldorf Hotel.

We had more than filled our two hours of museum time, which is how long they say you can absorb new art, so we went home after the Amon Carter instead of staying for late hours at the Modern.
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In the beginning, there was the list.

Some of our oldest written texts are, in fact, just lists of things: types of trees, types of bird, that sort of thing. They may have been used for teaching vocabulary in writing, but they also serve as a foundational element for knowledge, one so basic that the average person today barely even thinks about it. But how can you learn about Stuff if you haven't first thought about what Stuff is out there?

The Onomasticon of Amenope goes a step further. Not only does this Egyptian text from three thousand years ago set out to help the student learn "all things that exist," but it organizes them into loose categories, summarized by Alan Gardiner as things like "persons, courts, offices, occupations," "classes, tribes, and types of human being," and "the towns of Egypt." This is a vital step in scholarship, not only in the past but the present: even today, we wrestle with questions of categorization and how best to group things, because there's no single "right" answer. What system is best depends on what you want to use it for, and how you approach this issue reveals a lot about where your priorities are. (Think of a grocery store: what's revealed by having dedicated shelving for things like "Hispanic foods" and "Asian foods," and what items could arguably be placed among them but aren't.)

Another very early category of scholarship is travel writing or travelers' reports -- basically, accounts of ethnography and natural history covering foreign lands. These have often been highly fanciful, reporting things like people with no heads and their faces in their stomachs, but why? It's hard to say for sure. In some cases the information probably got garbled in the transmission (think of the game "telephone"); in others, the observer may have misunderstood what they were seeing; sometimes the teller deliberately jazzed up their material, and sometimes they made it up out of whole cloth, perhaps to support whatever larger point they wanted to make. From our modern perspective, it often looks highly unreliable . . . but it's still a key element in laying the foundations of knowledge.

Once you have foundations, you can start building upon them. Much ancient scholarship takes the form of commentaries, works that aim to explain, expand upon, or contradict existing texts, often by pointing at another text that says something different. You also get textual criticism, which is our modern term for a practice going back at least two thousand years: when works are copied by hand, there is significant need for scholars comparing the resulting variants and attempting to identify which ones are the oldest or most accurate. Basically, undoing that game of telephone, lest things get garbled beyond comprehension.

What you don't tend to get -- not until more recently -- is research as we think of it now. There absolutely were people who attempted to explain how the world worked, but they largely did so by sitting and thinking, rather than by actively observing phenomena and testing their theories. That doesn't mean they weren't curious about things, though! How the heck does vision work, or smell? Why do objects fall down? What makes the planets seem to "move backward" through the sky, rather than following a straight path? What engenders disease in the body? People have been trying to answer these questions for thousands of years. The pop culture image of pre-Enlightenment science is that people just said "it's all because of the gods" and stopped there, but in truth, pre-modern people were very interested in finding more specific answers. Yes, it was all due to the gods, but that didn't mean there weren't patterns and rules to the divine design. Even medieval Christians, often assumed to be uninterested in or afraid of asking questions (lest the Church come down on their heads), argued that better understanding the mechanics of God's creation was an expression of piety, rather than incompatible with it.

But it's true that they largely didn't conduct experimentation in the modern, scientific method sense. Science and philosophy were strongly linked; rather than aiming to dispassionately observe facts, much less formulate a hypothesis and then see whether the data bore it out, people sought explanations that would be in harmony with their beliefs about the nature of existence. Pre-Copernican astronomy was shaped by philosophical convictions like "the earth we humans live on is supremely important" and "circles are the most perfect shape, therefore the one ordained for the movement of heavenly bodies" -- because why would divine entities arrange things any other way?

Scholarship and science were also strongly shaped by respect for past authority, to the point where luminaries like Aristotle were practically deified. (Or literally deified, in the case of the Egyptian chancellor Imhotep.) It marked a tremendous sea change when the English Royal Society in the seventeenth century adopted as its motto Nullius in verba, loosely translated as "take nobody's word for it." They resolved not to accept the wisdom of yore, not until it had been actively tested for veracity . . . and if it failed to hold water? Then out it went, regardless of who said it and how long it had been accepted as dogma.

This is, of course, a highly simplified view of the history of science. Not everything proceeded at the same pace; astronomy, for example, has an incredibly long history of precise observation and refinement of instrumentation, because correctly understanding the sky was vital to things like the creation of calendars, which in turn affected everything from agriculture to taxation. Biology, meanwhile, spent a lot longer relying on anecdata. But it's vital to remember that things which seem completely obvious to us are only so because somebody has already done the hard work of parsing the mysteries of things like the circulation of blood or the chemistry of combustion, which in fact were not obvious at all.

And this opens an interesting side door for science fiction and fantasy writers. The history of science is littered with theories eventually proved incorrect -- but what if they weren't wrong? Richard Garfinkle's novel Celestial Matters operates in a cosmos where Aristotelian biology and Ptolemaic astronomy are the reality of things, and develops its story accordingly. There's a whole Wikipedia list of superseded scientific theories, which could be fodder for story ideas! (But tread carefully, as some of those theories have pretty horrific implications, especially when they have to do with people's behavior.)

It's also worth thinking about what theories we hold today will look hilariously obsolete in the future. We like to think of ourselves as having attained the pinnacle of science and everything from here on out is just polishing the details, but you never know when an Einstein is going to come along and overturn the status quo with a new, deeper explanation of the facts. Of course none of us know what those future theories will be -- if we did, we'd be the Einsteins of our generation! But if you can spin a convincing-sounding foundation for your theory, you can present the reader with a world that contradicts what we think we know today.

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(originally posted at Swan Tower: https://is.gd/jG7X6K)
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ACNW session 1

Lee as GM

Jill as Laila (second youngest child of Akkiz)
Michael as Rayan (eldest child of Akkiz)
John W as Ordille (youngest child of Clarissa)
Thaddeus as Tridath (eldest son of Clarissa)
me as Rhiannon (third child of Nurhu)

Notes under the cut. )
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Books
Some Danger Involved, by Will Thomas. First in a series of Victorian noir detective novels. The plot is interesting but the writing is both historically accurate in some very unpleasant ways and reeks of testosterone. I'm not sure whether I'll read the next one.

While it doesn't count for formal reporting, I did read about 1.5 million words of Star Wars AU fanfic while I was sick this weekend. Also I have 3 or 4 books in progress. I need to commit to one and finish it!

Gig list - December 2025

Dec. 2nd, 2025 10:51 pm
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[personal profile] gentlyepigrams
I haven't been very regular about doing these posts this year, but I've made up my mind for 2026 that I'm going to be more regular. We went to Ambercon Northwest in November and otherwise were super busy but did no shows, including David Byrne, which I have regrets about. But it was cold and I was in a lot of pain and exhausted, so I missed it.

List under the cut to protect your flist. )

Interesting things - 2025 11 30

Nov. 30th, 2025 11:06 pm
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[personal profile] gentlyepigrams
gentlyepigrams: (gaming - purple dice)
[personal profile] gentlyepigrams
GM Michael

Ian playing Skuld with her AI Gunnar
Sarah playing Inarra Vetari
Steve playing Steve Delikai
Ginger playing Ingrid Bolting

I think this is session 5; I missed a session when I was in Phoenix last month. We'll play again in January.

Rough notes under the cut. )

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