metaphortunate son

What I read

Finished O Shepherd, Speak! - as ever, Lanny manages to find himself at major historical events. A particularly fascinating thing considering that news story about Hitler's DNA - he is admitted to the bunker and takes a slice of bloodstained sofa-cover.... In the aftermath of WW2, he has been left money to work for World Peace and he and friends are working for this. One thing I do find a bit curious about Lanny's generally progressive line is that the civil rights question (was it being called that in the 30s/40s?) doesn't seem to feature: maybe because he was brought up in Europe and mostly lived there? His focus on the World Stage???

Val McDermid, The Skeleton Road (Inspector Karen Pirie #3) (2014): not sure this was really doing it for me - there was a point where it just seemed to be going on and on.

Have plunged into a re-read of Barbara Hambly's Silver Screen mysteries (getting myself back up to speed on the series with a new volume forthcoming): so far Scandal in Babylon (2021) and One Extra Corpse (2023). Possibly one reads for the evocation of Hollywood at that era rather than the actual mystery plots, but good, anyway.

On the go

Saving Susy Sweetchild (Silver Screen #3) (2024)

Still dipping into Some Men in London, 1960-1967.

Up next

I am feeling the siren call of The Return of Lanny Budd.

I also realise that I have managed to sign myself up for 3 bookgroups meeting in January, 2 online (Pilgrimage, first meeting, Dance to the Music of Time, concluding volume) and 1 in person (fairly) locally - have managed to fight off suggestion that we read the Mybuggery wot won the Booker, but am now committed to the extremely LOOOOONG new Chimamanda Ngozi Adichie.

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Further to yesterday's mysterious email from Academic Publisher, have received a further and more official-looking email today:

You may recently have received a message from us with the subject line "Welcome to [redacted] GCOP".
This email was caused by a system error. You can therefore ignore it and do not need to take any action.
Apologies for any confusion the message may have caused.

I'm pretty sure this is some kind of phishing scam, because I think an email from Esteemed Academic Publishing Conglomerate would have a more professional style about it:

[Nothing in the way of branding heading or footer...]
Hi [Name],
Welcome to the [Name of Publisher] GCOP! To get started, go to https://[name of conglomerate].my.site.com/gcopvforcesite
Username: [part of my email address].netmya

Bizarre.

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Also bizarre: partner has signed up for a hearing test in conjunction with forthcoming eye-test, and has received this upselling email (does not at present have any kind of hearing-aid) for an exciting new model on which they are offering A Deal:

Key Features:
Advanced Voice AI for natural, personalised sound
Waterproof design for everyday confidence
Built-in Smart Assistant & Telecare AI, providing on-the-go adjustments and support
Language translation & transcription capabilities
Step tracking, fall alerts & balance assessments
Customisable reminders for daily tasks
Hands-free phone calls for complete convenience

There was hoohahing going on last week on bluesky anent people pirating books on account authors do not need the money and should be creating for Love of Art.

And I will concede that when it comes to Evil Exploitative Academic Publishing Empires, I cannot get my knickers in a twist over people downloading papers for which they have not paid the extortionate fee, none of which goes to author of the paper or the reviewers who reviewed it for the journal in question (wot, me, bitter?) - in fact I will be over here cheering or offering to use such library access as I have to get access and offer a copy.

But honestly the Average Author of fictional works is not making molto moolah but is probably supporting themselves by doing something else or being supported by someone else (hey, Ursula K Le Guin? e.g. mentions somewhere she was a housewife when she first started out) and writing is not their sole occupation or source of remuneration.

And even writers who we look back on as Important and Successful had their money problems: Hardship grant applications to the Royal Literary Fund... show authors at their most vulnerable:

Nobody goes into writing for the money: today, professional authors in the UK earn a median income of £7,000, according to the Authors’ Licensing and Collecting Society. Looking at the starry names awarded grants through the RLF’s history makes clear that the challenges are not new. However, Kemp thinks the problem has become more acute in some regards. “The kinds of deal you get with a publisher as a mid-list fiction writer has gone down, down, down, down, down.” Twenty or 30 years ago, such writers could survive; it is now much tougher, he says. Big publishers are “paying large amounts of money to a small number of writers”. A “tiny percentage actually survive on what they’re making from writing.”

“On the one hand there are people like Joyce and DH Lawrence, who are early in their careers, and indeed Doris Lessing, who are struggling to get going, who have made a mark but are finding it hard to make ends meet. And at the other end there are people like Coleridge, and more recently Edna O’Brien, who have had stellar careers, and you’d have hoped actually were doing OK, but the vicissitudes of a writer’s life mean that sometimes it goes to pot.”

Many documents show writers at the most vulnerable times of their lives, often in precarious positions early in their careers; everything from feeble book sales to illness to messy marriages to grief is chronicled here.... Nesbit, author of The Railway Children, wrote in an August 1914 letter that the shock of her husband’s death “overcame me completely and now my brain will not do the poetry romance and fairy tales by which I have earned most of my livelihood”.