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Tagged by Scott and Luke and in thoughtful return, I’m answering the Blog Questions Challenge here. Some of these answers may overlap with the answers I gave Manu for his People & Blogs series, so I’ll do my best to do something a bit different. Please visit Manu’s P&B site though, and read through many of the excellent interviews there. Much credit to Bear Blog for these questions. Why did you start blogging in the first place? I noted how I appreciated the early bloggers, in particular from the Pyra Labs/Blogger crew, but to go back even further, I was fond of journaling early. Much of that was in the form of drawings as a child, then coupled with text. It wasn’t until I read about how musicians like Eddie Vedder of Pearl Jam would keep copious journals, and in particular, Henry Rollins’ Get In The Van, showed me that documenting your life was important as a record of a lived person. Rollins would later read from these journals early in his transition from full-time musician to spoken word artist, and the storytelling inspired me. Since I was online, and web design had captivated me, it all came together. What platform are you using to manage your blog and why did you choose it? I’m currently using the lovely static site generator, Eleventy (11ty). It pushes to a GitHub repository, which triggers a deploy to Netlify. After using so many different platforms over the decades, with my posts and data semi-locked in MySQL databases, the idea of a fast, file-first, SSG was the way I absolutely wanted to go when I started blogging at this domain. Steph Ango’s File Over App is a thoughtful read on data portability. Have you blogged on other platforms before? As mentioned just before this, yes. I started with Geocities, Livejournal, tried Greymatter, then Movable Type was the first to make it all click. I got really comfortable and pushed that system far — Gapers Block was the most involved version that I had done with multiple blogs running under one instance with different layouts and sections and includes all over the place. Dean Allen’s (RIP) Textpattern stole my heart away for many years after MT got acquired, and then I stopped blogging when Weightshift became my focus, and social media started to bloom. Weightshift used various CMSs for clients: MT, TXP, ExpressionEngine, CraftCMS, Wordpress, etc. I toyed with Tumblr, and other things, but eventually restarted with Jekyll, but quickly switched to 11ty. How do you write your posts? For example, in a local editing tool, or in a panel/dashboard that’s part of your blog? Most everything starts in Bear. I have a master note of ideas, that links out to other notes and I keep adding new ones, revisit others, and check off published ones. When do you feel most inspired to write? Whenever an idea strikes. This can happen at any time and drafts are started anywhere. I generally publish in the evening though. Do you publish immediately after writing, or do you let it simmer a bit as a draft? I used to be more immediate with my publishing decades ago, adhering to a near daily schedule. These days, some thought and care goes into each post, and if possible, I like to add a touch of flavor to a post, like the rotated album covers for the Music in 2024 post. What are you generally interested in writing about? How we as humans live in a world ever-changing because of technological influence and society’s adoption and adaptation to it. I love travel so posts about cultures and countries, as well as overlanding and camping domestically. And personal things that are more feeling the feels. Who are you writing for? Myself first, but through a lens of, “this information or thought could help someone else, and/or I’d love to share a different perspective that’s unique to me.” What’s your favorite post on your blog? 2023 in the Rearview is a big one, and I worked on that for a while. Taken for a Ride is a good one I think about taking a Waymo autonomous vehicle for the first time, but I like the sort of pieces that come from a more emotional and resilient place, like Let This Be a Moment, that allow me to work through things. Any future plans for your blog? Maybe a redesign, a move to another platform, or adding a new feature? I’m very content with 11ty. I’m constantly evolving and refactoring the design and code where I can see improvement. This is a lovely mode to be in: it’s iterative like software development than constantly new like marketing. As for features: a work section (underway), and better ways to showcase my photography, which is a longtime interest and activity for me. Tag ‘em. I’m going to tag Bix, Ethan, Gosha, Grant, Matt, Piper, Rachel, Simon, Susan, Thu, and Winnie. Read on nazhamid.com or Reply via email
We are tenants with landlords who want to make sure that we can’t leave the building or go hang out with friends elsewhere, all while showing us how happy we should be with the limitations imposed on us. — Den Delimarsky A long, weighty one, but very worth the read. Visit original link → or View on nazhamid.com →
01/05 PREDATORS, AMERICAN GREED — Steven Soderbergh Director Steven Soderbergh's media recap of 2024. It's fascinating to see how many movies he watched multiple times, and the reverse watch of the original Star Wars trilogy. Phantom of the Menace twice too? Visit original link → or View on nazhamid.com →
I’m including the most memorable, impactful, or beloved works of—creative genius, or something, that I’ve encountered this year. I’m not a critic; I am mostly just talking about things I liked. These are tremendous to me. I hope they can be tremendous to you, too. — Anh The list is great, but this one is also visually gorgeous. Best experienced in a browser near you. Visit original link → or View on nazhamid.com →
It’s idealistic and very millennial of me to reminiscence the early days of Web innocence, unbound creativity it hosted and wonderful lack of monetisation of virtually every aspect of being online. We can’t turn back time. But, individually and collectively, we can strive for better as the Web evolves as a home for work, knowledge, community, and love. We can resist the ongoing enshittification and corporate capitalism. So I jotted down an non-exhaustive list of what I’d love the future Web to be. — Karolina Szczur A great list. Visit original link → or View on nazhamid.com →
More in literature
Because we are creatures made of time, what we call suffering is at bottom a warping of time, a form of living against it and not with it — the pain of loss, aching for what has been and no longer is; the pain of longing, aching for what could be but is not yet and may never be; the pain of loneliness, an endless now hollowed of meaning. There can be consolation in looking backward to fathom the staggering odds of never having been born, and in looking forward toward the immortal generosity of our atoms. But nothing calibrates… read article
The post No Murder in the Mews appeared first on The American Scholar.
Last week Nige wrote about a book previously unknown to me: The Eighteen Nineties (1913; rev. 1922) by Holbrook Jackson. I’ve read only Jackson’s The Anatomy of Bibliomania (1930) and browsed in some of his other book-related titles. I bought the Anatomy in 1998 from a used bookstore near the University of Chicago and soon gave up annotating because too many pages hold memorable aphorisms or allusions that demand to be followed. Not that my pleasure was unmixed. Jackson (1874-1948) cultivates a cloyingly tweedy persona, a variation on the unworldly English eccentric. He’s fond of archaisms. He often writes in a pastiche of seventeenth-century prose, aping Sir Thomas Browne and Robert Burton, as he acknowledges. The Eighteen Nineties is a better-written, more focused and disciplined work, devoted to an era Jackson lived through as a young man. The Nineties in literature tends to be treated as a homogenous period when dandyism and an occasional taste for decadence ruled. Jackson makes clear that Oscar Wilde, Rudyard Kipling, Francis Thompson, George Bernard Shaw, Thomas Hardy and early Wells and Conrad, among others, are a diversified bunch, no monolith. He writes: “The use of strange words and bizarre images was but another outcome of the prevalent desire to astonish. At no period in English history had the obvious and the commonplace been in such disrepute. The age felt it was complex and sought to interpret its complexities, not by simplicity . . .” Jackson dedicates his book to Max Beerbohm and devotes Chap. VII, “The Incomparable Max,” to him. At his best, Beerbohm is sui generis, a master ironist and writer of prose, unlike any of the other writers Jackson looks at. His masterpieces are the essays he produced after the Nineties, in the first two decades of the twentieth century, especially those collected in And Even Now (1920). Jackson writes: “First and foremost, he represents a point of view. And, secondly, that point of view is in no sense a novelty in a civilised society. Every age has had its representative of a similar attitude towards life, in one a Horace, in another a Joseph Addison and, again, a Charles Lamb. In our age it is Max Beerbohm. He is the spirit of urbanity incarnate; he is town. He is civilisation hugging itself with whimsical appreciation for a conservative end.” Jackson gets Beerbohm and places him in the history of the essay: “It does not matter what he writes about: his subjects interest because he is interesting. A good essayist justifies any subject, and Max Beerbohm as an essayist is next in succession to Charles Lamb. His essays, and these are his greatest works, are genial invitations to discuss Max, and you discuss him all the more readily and with fuller relish because they are not too explicit; indeed, he is often quite prim.” Beerbohm is never strident or dogmatic. That would be vulgar and one can’t imagine him ever being vulgar. He respects his readers too much. The literal-minded and humorless need not bother reading him: “[H]e pays you a delicate compliment by leaving you something to tell yourself; the end of his ellipsis, as in all the great essayists, is yourself. He is quite frank with you, and properly genial; but he is too fastidious to rush into friendship with his readers. They must deserve friendship first. He does not gush.” The essay, that most formless of forms, is my favorite, providing a voice for those of us who can’t write fiction or poetry. No one does it better than Beerbohm. “The real Max Beerbohm is, I fancy, an essayist pure and simple, the essay being the inevitable medium for the expression of his urbane and civilised genius. There are, he has told us, a few people in England who are interested in repose as an art. He is, undoubtedly, one of them. But he is also interested in the art of the essay, and his essays are exquisite contributions to that rare art. In them you see revealed the complete Max, interpreting deftly, by means of wit and humour, imagination and scholarship, that ‘uninterrupted view of my fellow-creatures,’ to use his own words, which he admits preferable to books, and which, doubtless, he prefers better than any other view in life.”
Poems read aloud, beautifully The post “Sakura Park” by Rachel Wetzsteon appeared first on The American Scholar.
Improving the climate is a better goal than trying to fight change.
