Archive for November, 2022

A touching memorial

November 20, 2022

My life continues to be mostly absorbed by the Respiratory Virus and what I’ve come to call the Sleep Monster, which has had me knocked out for five hours of today already. Bits of my waking time have been taken up by useful domestic things, like replacing my dead slipper / moccasins and assembling a pleasing Thanksgiving meal for myself (a bowl of very eccentric but satisfying posole — pork, white hominy, red, with idiosyncratic embellishments).

Otherwise, I’ve been consumed by fits of red-hot rage combined with body-wracking weeping sorrow over the shootings at Club Q in Colorado Springs; I hope to be able to post on that subject soon, but not now. In any case, before this news came to me, today’s Zippy strip came in, with a touching (and characteristically funny) memorial by cartoonist Bill Griffith to his cartoonist wife, Diane Noomin, who died back in September and then was memorialized in a service  by a bunch of unruly friends back on the 10th.

This is way too brief, but it’s the best I can do before my day runs out.


Just to note that these people are of my generation: Griffith is 4 years younger than me, Noomin was 7 years younger. For comparison: I’m essentially the same age as Nancy Pelosi, Anthony Fauci, Joan Baez, and Bob Dylan, and only 2 years older than Joe Biden.
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Midnight Oxtail Stew

November 19, 2022

(Another Mary, Queen of Scots Not Dead Yet posting. I’m still in the Sick Zone — up at 4 after a rocky, painful night, then two two-hour periods of knocked-out unconsciousness by 10, so I don’t expect to get much work done today.)

(Oh yes, a pornstar flaunts his body shamelessly, so the posting is not for kids or the sexually modest.)

The text for today was supplied late last night on Facebook:

— Owen Campbell: What am I doing you ask? Just simmering a midnight oxtail stew for tomorrow

— AZ > OC: I do like midnight oxtail stew. Not a bad band name. And then there’s the gay pornstar Midknight Oxtail Stu.

First the food, then the gay pornstars.

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Protective coloration

November 18, 2022

(I am now afflicted by two separate medical conditions — neither of them life-threatening, but the two of them together absorbing most of my day — so this is a Mary, Queen of Scots Not Dead Yet posting. Real content, but a brief job of composition for me. I have not forgotten Zippy and his dots.)

Passed on to me by Jens Fiederer this morning, a Gary Larson Far Side cartoon I don’t recall having seen before:


(#1) Protective coloration saves lives

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Dotty Zippy

November 16, 2022

The Zippy strip of 9/10, in which our Pinhead, anticipating little balls of flash-frozen ice cream, embraces dot dot dot in two ways at once:


(#1) Ellipsis dots meet Dippin’ Dots at the carnival

Two very different uses of NOAD‘s noun dot-1 ‘a small round mark or spot’ (dot-2 is an archaic noun referring to a dowry):

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MARCIA M Zwicky

November 15, 2022

That’s who the postcard was addressed to. The postcard announcing the annual holiday fair of the artifactory / The Artifactory in Palo Alto:


(#1) Arnold M Zwicky has been getting these announcements for a couple of decades, but I believe that this is the first time MARCIA M Zwicky got one and I didn’t (it’s possible that I didn’t notice for a couple of years, because COVID-19, but my replacement by MARCIA M is surely a recent thing)

I suspect that this address is incorrect — it should be MARCIA M M Zwicky, because her full name is MARCIA MARCIA MARCIA Zwicky. As in The Brady Bunch.

Back in the real world, there’s the question of where MARCIA came from, and for that I have no idea, beyond the possibility that the Artifactory’s address database somehow mingled two different addresses, MARCIA + X and Y + M Zwicky.

In the world of consensus reality, there’s the Artifactory cooperative and the tv series The Brady Bunch (though I have to point out that we’re interested in the series for the (fictive) narrative in it, for the stories it tells). And then the fantasies and inventions I’ll spin out will use some other established fictive narratives: the story of the Three Magi and the tales of the Archangel Michael. With a side reference to the comics and graphic novels of Alison Bechdel.

In fact, Bechdel will serve as the entry point into the (real-world) story of the Artifactory cooperative.

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Editing bubbloons in Zits

November 14, 2022

Following on my 11/12 posting “Hold on to the bubble …”, about a Mother Goose and Grimm strip, on speech and thought bubbloons as physical objects, with words in them — and with a note that the MGG, Zippy, and (especially) Pearls Before Swine strips were given to this goofy physicalist conceptualization of speech / thought bubbloons: the discovery that I had squirreled away on my desktop (for eventual posting) two Zits strips in which Jeremy and his mother edit material in each other’s bubbloons. Just lovely.

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The Columbus Park of Roses

November 13, 2022

It’s mid-November, time for the annual donation to the Columbus Park of Roses to maintain a rose bed in memory of my man Jacques H. Transue (who was a long-time volunteer in the garden). So: a moment for flowers and for the area of Columbus OH where J and I lived together for about 20 years:  about 8 of them together with Ann Daingerfield Zwicky, until her death, then just the two of us (sharing the house on Beaumont Rd. — in the Beechwold neighborhood of the city — with various friends) for about 12 years until we moved to Palo Alto.

I’ll lead with the current JHT rose.

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Hold on to the bubble …

November 12, 2022

… it has your words in it!

Today’s Mother Goose and Grimm strip goes all meta with speech and thought bubbles / balloons:


(#1) They’re physical objects, with words in them, and (like helium-filled balloons) they’ll rise in the air, taking their content — and, unless you fight against it, you too — with them. Aieee!

A recurrent theme on this blog, going back at least to my 10/8/13 posting “Speech balloons in Dingburg”, with a Zippy strip:

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Carousing for St. Martin

November 11, 2022

(This is a Mary, Queen of Scots Not Dead Yet posting — the best I can do on yet another terrible Sick Day — but it will have the virtue of being complete, not a promise of things to come.)

It’s Armistice Day (in the US, Veterans Day), solemnly following on the solemn anniversary of Kristallnacht, but it’s also (as Hana Filip just reminded me) the feast day of St. Martin of Tours: St. Martin’s Day, which has its serious saintly side — St. Martin and the beggar in rags — but is, as well, a day of wild revelling, initiating the winter season. An occasion that, ultimately, inspired a piece of music that is just sheer noisy unbridled fun: the Wine Chorus from Haydn’s The Seasons (aka “Juhe! Der Wein ist da!” from Die Jahreszseiten).

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Eustace Tilley for 2022

November 9, 2022

Personal background: I decided to declare today to be a Sick Day and have been doing only the minimal things of life, mostly dozing fitfully in my recliner chair, wrapped up in my bathrobe. (Meanwhile, workmen did serious work on the balcony above my patio, so I had them and their ladders and noisy tools all over my patio, but I just let this activity drift by on the fringes of my consciousness.)

Mingled in with my tortured dreams were actual useful thoughts about postings — I am pretty much incapable of not plying my craft, even in the most unlikely circumstances — including a really neat follow-up to my 11/7 posting “Centennial moments in NYC”, which has a section on the The New Yorker’s first cover illustration, a dandy peering at a butterfly through a monocle — the gentleman now referred to as “Eustace Tilley”, who serves as a kind of mascot for the magazine. Rea Irvin’s original Tilley cover is used every year on the issue closest to the anniversary date of February 21, sometimes with a newly drawn variation in its place.

So, I wondered, what was the 2022 cover like?

Wow! Kadir Nelson’s “High Style”, with Eustace as a proud Black woman in butterfly-ornamented apparel, including a mask for the pandemic.

And then I wondered when you crossed the line from a (new) interpretation, version, or variant of an original cultural item (like the Eustace Tilley image) and moved into the territory of an abstract form, format, or pattern (something you might think of as a meme or trope — Eustace as a vehicle for, or expression of, cultural content). And I even thought of a linguistic parallel to this distinction: in playful variation of a fixed expressions vs. a snowclone.

What follows now is not a posting elaborating on all of this — I’m guessing I have maybe half an hour before I’m poleaxed by exhaustion again — but just a teaser. Please be patient.

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