A brief list.

1. The CHOP chemo regimen, which has put my father’s cancer in remission, at least temporarily.
2. Paprika — T. and I saw it twice when we were in Portland.
3. Strawberry freezer jam with chevre on a toasted English muffin.
4. GoodReads: still addictive.
5. Pigma Micron pens by Sakura, to which T. introduced me last year. They’re the best ever for marking up books.
6. The fact that Nabokov finished the ms. of Lolita only a few miles from my current location. That house is gone now, replaced with some truly ugly new construction, but there’s a plaque to mark the spot — along with a tiny Japanese maple. I’m not sure what kind of symbolic message that little tree is supposed to send.
7. The area between, say, Division and Belmont in eastern Portland. Even though the Side Street bar near Belmont got rid of its Galaga arcade machine since last summer. Tragedy!
8. The Defoe Review project (based on the HRC’s editions of the periodical).
9. Swagat’s chicken makhani.

Ruth Franklin, Slate, 8 May 2007, reviewing Michael Chabon’s newest book:

Michael Chabon has spent considerable energy trying to drag the decaying corpse of genre fiction out of the shallow grave where writers of serious literature abandoned it.

An excerpt from Ursula Le Guin’s response in Ansible, July 2007:

God damn that Chabon, dragging it out of the grave where she and the other serious writers had buried it to save serious literature from its polluting touch, the horror of its blank, pustular face, the lifeless, meaningless glare of its decaying eyes! What did the fool think he was doing? Had he paid no attention at all to the endless rituals of the serious writers and their serious critics — the formal expulsion ceremonies, the repeated anathemata, the stakes driven over and over through the heart, the vitriolic sneers, the endless, solemn dances on the grave? Did he not want to preserve the virginity of Yaddo? Had he not even understand the importance of the distinction between sci fi and counterfactual fiction? Could he not see that Cormac McCarthy — although everything in his book (except the wonderfully blatant use of an egregiously obscure vocabulary) was remarkably similar to a great many earlier works of science fiction about men crossing the country after a holocaust — could never under any circumstances be said to be a sci fi writer, because Cormac McCarthy was a serious writer and so by definition incapable of lowering himself to commit genre? Could it be that that Chabon, just because some mad fools gave him a Pulitzer, had forgotten the sacred value of the word mainstream?

The sheer awesomeness of this requires a *\o/*! Do go read the whole thing — the whole Le Guin piece, that is. The snooty anti-genre rhetoric in Franklin’s review is a derivative waste of time.