First of all, thank you so much to everyone who commented about Blair, here, on twitter, and on Facebook, and in email. Your comments meant a lot to all of us here at Chez Cullinan. We are all hanging in there. Mostly we’ve all been so exhausted that simple functioning is sometimes difficult. Today so far that seems better for me, but I won’t so no to a nap, I’m sure. Speaking purely for myself, fighting cancer on two fronts for over a year has been one of the most exhausting, emotionally depleting battles I’ve ever faced. Very frequently I’ve thought, "and this is just with two cats." I cannot imagine the toll demanded by cancer in a human loved one.
The Seventh Veil has been launched. I’m nervous about it as I always am, but there’s not much to do now but promo. And, honestly, the best service for that book is to get gritty about work on its sequel. Of course I continue to wrestle with A Private Gentleman. Not to mention our impending trip to Texas will wake up Better Than Love, and Small Town Boy has been talking a lot to me, no surprise that it woke up at a death.
Speaking of Texas: the Cullinan trio will be in Dallas for the Kylie concert (YES!) on the 18th of May, and in McAllen from the 20th until my sister says, "Go home!" or the 24th, whichever comes first. So if you’re in that neighborhood and want to meet for coffee, holler. Chase, you are already on my list, but we’d better get serious about our planning! Anybody else, you just shout.
Also, something to think about: I’m in the process of putting together an online seminar I’m titling "Shakespeare for Writers." The idea began when I was in the shower and realized what I was missing in Temple Boy was a Falstaff, and that made me glad for the eight millionth time I’d had such intensive Shakespeare courses in my academic career, which made me think about the universality of Shakespeare and how often I use it but not in the direct way I’d been taught, and pretty soon the course was forming in my head. The idea behind it is to boil down themes and techniques Shakespeare employs which contemporary writers can employ either consciously or subconsciously. It would be appropriate for anyone, from "I can’t even name four Shakespeare plays" to people who could rival me for Shakespeare scholarship; the idea would be that I’d present concepts and examples, and together we’d all discuss and learn. I’m still working out the details, but so far I’m thinking an eight week course (with a few breaks and catch-up points) with a discussion group, bi-weekly lectures, and a few written exercises to play with the concepts, though I still think most of the gold would come in the discussion. Price… It’s probably worth $100 at least, to be honest, but since it’s my first time and I know nobody has money, I’m likely to set it at $50. It wouldn’t start until mid June, and I’ll take up to fifteen people. More details to come on that.
So that’s where I’m at. My goal is still to return to a regular blogging schedule, but we’ll see how that goes. You know how I get.
Go in peace, etc.
P.S. That Doctor Who opener? LOVING IT.