The Secret Life of Rats

The rats know not what they do.

Seriously, I think this picture is hilarious even though I’m respectful, for the most part, of religious imagery. If the Mickey had a more Christ-like expression on his face, that would be crossing the line for me. But as it is, it’s just goofy.


Zombie Werecrow

She never thought she’d turn into a Werecrow zombie.

Gilgamesh [Reading Challenge 2017]


Adapted by Stephen Mitchell
Freepress, 2004

[Challenge # 11: A book written before 1700]

Gilgamesh is one of the oldest pieces of fiction in human history. I chose it to read for the “Ye Olde Book Shoppe” — a book written before 1700, which Gilgamesh certainly qualifies for — segment of my reading challenge. I’d never read it before, or didn’t even know much about it, save it took place in ancient Mesopotamia and was about a demigod with a hairy friend called Enkidu.

The first thing I found out was that there are multiple interpretations by various translators of the text, as well as multiple versions on clay tablets which have been unearthed. All were written in cuneiform, each version missing different parts, so they are most often combined together. This version was called an adaptation rather than straight translation by the author, the story put together in a poetry form called noniambic, nonalliterative tetrameter. The author kept the language and metaphors simple, befitting the time in which they were written. The poem, like a lot of ancient literature, relies on repetition and pacing of that repetition to get its points across; it wasn’t Shakespeare. The written form, I thought, may actually have been a sort of Cliffs Notes for storytellers to embellish on, or singers and musicians, as music and rhythm were often used in storytelling, the repetitions serving as a chorus.

Anyway, to get to the story, Gilgamesh is the brash but arrogant king of Uruk who is beginning to annoy the gods, so they create a companion for him called Enkidu who they hope will temper his excesses.  Enkidu lives like a beast at first, drinking from the waterhole with the other animals. In this version he is described as having long hair, but I know that in other translations, he’s described as having a pelt, like a Mesopotamian Sasquatch. He becomes human when he has sex with a priestess of Ishtar and comes to Uruk to seek out Gilgamesh. Gilgamesh is churlish at first, sensing a rival in him, but after a tussle, he befriends Enkidu, beginning a deep attachment that for me was the most intriguing part of the book. The two are described in the poem as being on very close, intimate terms, like that of husband and wife, and they even hold hands. But it isn’t sexual, it is more of a soul bonding that acknowledges physical affection. (Remember that what 21st century Western society thinks of as the norm for two male friends was not always so. Indeed, the very notion of heterosexuality at all is a recent construct, springing up in part from the Victorian age and Sigmund Freud, who contributed to it by treating anything not heterosexual as an aberration. What is the baseline now is only the conjunctive opinion of a very small slice of time and place and certainly not the norm for most of human existence.) When Enkidu later dies, Gilgamesh is broken up as only a grieving spouse could be.

Gilgamesh’s grief is a setback for him, after the triumphs of the adventures the two have had (killing Humbaba the monster and the Bull of Heaven). He sets out on a third adventure to find Utnapishtim, the man who survived the flood and now holds the key of eternal life, his fear of death driving him forward. But things don’t go as he planned, and he returns to his city resigned to a mortality.

The story is a not a complicated one, but like many myths, there is truth behind it. I definitely saw the parallels between it and today’s superhero yarns — like the current Wolverine du jour epic Logan — where the protagonists, in spite of their powers, experience angst both personal and existential. Gilgamesh could be called the first superhero, even.

There have also been graphic novel adaptations of Gilgamesh.
This one, looking like an R. Crumb
parody, is from
“The Graphic Canon, Vol 1: From the Epic of Gilgamesh
to Shakespeare to Dangerous Liaisons.”

The Eyes Have It

I’m not much of a costumer, mainly due to time constraints. But golly I do I appreciate them… and appreciating vintage SF and horror movies, I like eyes… preferably floating or ambulatory. These eye candy pics (hee hee, did I make a pun?)  bring out both of my passions.


German costumes. “We come in piece… of your anatomy.”


And Junior too.

Still from the Johnny Socko and His Flying Robot set. This was a Japanese kid’s show from the late 1960s. The giant floating eye costume had a “hula skirt” of optic nerves that concealed the wearer’s legs.

Drunk, TV antenna-wearing, chorus line eyes are also popular.

Like eyes but have no time to make a costume? A white garbage bag stuffed with newspaper is your go-to solution.

You can always add a touch of eye with a piece of jewelry.





Medusa Revealed

I have a long-running fascination with Medusa the Gorgon.

I’ve often wondered about this and was glad someone had the balls to draw it.

Immigration and Easter Animals

bunnies for immigration

As a writer of the profane and fantastic (erotica, horror, fantasy, science fiction) I often take inspiration from the world around me and from the amazing city I live in. But there is no way I can turn the following news into a story, because it’s just so indicative of the current regime’s vile policies.

I was at my local Fred Meyer store the other day when I observed an elderly woman in a motorized wheelchair picking out some small stuffed Easter bunnies and whatnot and putting them into her basket. She dropped a few, and I went over to pick them up. We started talking. She told me she was buying them for the kids of Mexican immigrants in the church she goes to. I said, How thoughtful of you. She then went on to say the parents were deliberately keeping their kids from public school, because they were afraid the officials there might turn them in and they would get deported (!) She said she hoped the animals would cheer them up.

I cannot unhear this. This is too horrible. People, the immigrants here have a right to go to school. Their parents, by the act of working here, support the economy of this country. In the act of living here and working, they are paying rent to American landlords, paying tax to local economies, and buying from American stores. Not just little things like Slurpees and hamburgers, but big ticket items like computers and cars. How anyone can not realize this, I don’t know.

Anyway, I can only hope the little ones eventually can get back to school.

Junction True [Review]

Junction True
Junction True

by Ray Fawkes (Writer) and  Vince Locke (Illustrator)
Top Shelf Productions, 2015

Junction Total is a technosex horror thriller set in a near future world, or perhaps a sideways-in-time version of this one, where hipsters and goths maintain constant connection to their blogs and blog audiences. The latest pursuit among the cream of them is neumod: body modifications part bio and part hardware, like sweet-tasting hallucinogenic tears or phosphorescent runes that dance around under the skin, advertising their wearers’ arousal. But the most extreme of them is the Junction True, where a couple has their digestive systems rerouted so the Master can give nourishment to their sub, or “puppet” through a locking metal socket, both portals keyed only to each other. The puppet cannot eat on his/her own; they have total dependence on the Master. It’s the ultimate D/s relationship. When blogger Dirk Brody becomes infatuated with blue-dreadlocked Teralyn, a neumod fixture on the scene, the plot is set in motion: her price for returning his attraction is to become her gut-controlled puppet. Being not too bright, he accedes, and the rest of the story concerns the illegal operation they have and its repercussions.

There’s also a subplot where Dirk’s friend, Gothic Lolita Naoko, does research for her own blog on how neumod modifications have disfigured and ruined the lives of their owners, with some sly commentary that could have come from the lips of today’s out-there bodymod advocates (One character windily opines neumod failures are not victims, but explorers and pioneers, even as she displays arms covered with horrid red scars.) Naturally, Naoko also discovers Teralyn is unstable and psychotic, but by that time it’s too late to save Dirk.

It was pretty clear the Junction Total was used as metaphor for an all-consuming D/s relationship that goes from bedroom play to real life. Yet the story wasn’t much of a love story. The doomed couple decide to become doomed far too quickly; there really was no clear reason for Dirk to become so smitten with Teralyn that he hands over his life, even if he thinks it will make good blog fodder. There was no clear reason for his disillusionment either, which seems to occur only days after their joint coming-out party. The love story at the heart of the novel felt skipped over, which was a shame — the book could have done with being at least two chapters longer, or at least had some of the non-essential stuff (like the doctor endlessly pontificating) excised in favor of character development. One thing the story did play up was the Junction connection as sexual. Teralyn’s portal is on her back, where Dirk’s is where his stomach is, so when they are connected, and their metallic tentacles interlock, he looks like he’s buggering her. This brought up to question of who really is the Master in a situation like that… the one with the responsibility, or the one who is the object of the responsibility? The first is a moral acceptance, the second is physical. It’s suggested that the Master has the short end of the stick, even if they have the power… Dirk enjoys it, while Teralyn is not so thrilled.

I was a big fan of the artwork. The horror was soft-pedaled, and the tragedy enhanced, by the watercolor panels, which had a delicate, fairy tale feel. The characters were as pretty and graceful as ballet dancers, as hauntingly damaged as absinthe drinkers. (The artist also worked with Nail Gaiman on The Sandman, which I have never read, so I’ll check that out.) It was the major enjoyment of the story for me, and I felt the plot itself should have been more up to it.

A few things about the story did not make sense. The mechanics of the Junction Total are never fully explained, only talked around, but it is stated that “most” of the puppet’s digestive tract is removed. Yet later on in the story the characters are hooked up to giant, refrigerator-sized sustenance units through their portals when their partners aren’t there. A portable IV bag and line would suffice for water and nutrients, and a colostomy bag if the large intestine is gone. If the stomach had been left, water could still be absorbed by the body.

In the end, the story did have some thought-provoking things to say about body modification outlaws and how they justify themselves, but stopped short of a declared editorial stance.

The final question the story seems to ask: Is bodily modification (and perhaps the idea of a D/s relationship) a route of self-actualization… or self-destruction?

drawing by Vincent Locke

A sketch by Vincent Locke (not from the novel reviewed)

Photo Inspiration

Sometimes the stories write themselves…

Tiger Lung [Reading Challenge 2017]

Tiger Lung by Simon Roy, Jason Wordie

Tiger Lung

by Simon Roy and Jason Wordie
Dark Horse Originals, 2014

(Note that I am not doing this challenge in numerical order!)

The Seattle Public Library is among the finest for a metropolitan area in the US. Each branch specializes in a different genre, and for my branch, it’s graphic novels. By browsing in this row and pulling out books at random you are sure to find great reading material.

I chose Tiger Lung because, by the name, I thought it had to do with Chinese history, as lung is the traditional name for the Chinese dragon. But it turned out to be something better, three tales set in Paleolithic times, 30,000 years ago in what is now the modern-day Ukraine. Glaciers were still extant and ice age conditions, with conifer forests, steppes, and mammoths, and survival was harsh and not guaranteed.

The book was actually a collection of three stories plus some bonus material, less a graphic novel and more of an anthology. The three were thematically similar, dealing with the ways the spiritual world intersected the world of the living. The artistic style was loose and sketchy, full of life and movement, as if the artist had actually lived amongst these people and had sketched them on the fly. It actually did a lot to humanize them for me. They evince apprehension, puzzlement, even irony — they carry their children on their shoulders and even want to sleep late. The warmth of them comes through, but also the grittiness — guts, dirt, frayed leather, and broken teeth.

The stories were not only interesting in an anthropological sense — the creators really seem to have done their research — but also in a horror one, which is of interest to me, as a horror writer. Terrifying encounters with the supernatural take place in the forest, under the glacial ice, and in the Realm of the Undead. The spirits are part human, part animal, depicted in pale, sickly pinks and blues, with transparent skin through which their internal organs glow eerily. Simon says in the afterword that these organs are glowing with power; but they also recall, to me, Aboriginal Australian art in which the animals’ interiors are depicted in X-ray style, perhaps in the same principle.

paleolithic kangaroo

I was also reminded of the famed “Sorcerer” dancing figure from the caves at Lascaux, itself a human-animal hybrid.

paleoithic Lascaux sorceror

These spirits are not wispy and ethereal ones though. They can rend and tear, throwing guts and gore everywhere.

The stories themselves are about the adventures of the nominal character, a shaman named Tiger Lung, the last of a hereditary line of shamans. Each tale is stand alone. In the first, a young Tiger Lung undertakes a journey under a glacier to retrieve the skull of his father, who had disappeared there months earlier. In the second, while traveling with a friend, he encounters a massacre, a strange girl, and a tribe of brutal were-hyenas. This one is my personal favorite. The black-and-white artwork is in pen overlaid with watercolor, loose yet fraught with tension. There’s also dark humor, and irony: the traveling companion has a Neanderthal wife who does the literal heavy lifting in the relationship. I was also fond of the hand-drawn, scribbled lettering, which added to the intimate tone for me.

The final story concerns a journey into the actual spirit world and again I liked the starkness of it. The coloration here was particularly fine, with the real world depicted in gold and sepia, the spirit one in ghostly pinks and blues, while the night scenes were in blueish-gray.

The sketches at the back were also a fine addition. I hope the rest of the creators’ work of this series is published together.

Cobalt Jade’s Tax Tips: Lifetime Learning Credit

I am starting a series today dealing with federal tax tips for freelance writers and artists. Many times those working independently aren’t aware of the deductions and tax breaks they may be able to receive in a complicated and overwhelming, but surprisingly fair, system.

In this post I will look at the Lifetime Learning Credit, a straightforward and easy credit the taxpayer can take for any accredited course(s) taken at any accredited university or school. How easy is that?

First off, let’s see where it goes.


Form 8863, Education Credits, is where you would do the math to figure this entry (or your tax program will do it for you.) It has three parts.

Part I of the form is for the American Opportunity Credit, which I might go into in a later post. You may happily ignore it for now.

Part II is for the Lifetime Learning Credit. Part III is where you enter your personal and school information. If you realize it’s beneficial to fill out Part III of the 8868 first, you’re right.

You don’t have to fill in the other areas in Part III to take this credit.

The final figure, circled in green, is carried over to Section II of the 8863 form.

Who can take this credit? Anyone paying for higher education for themselves, their spouse (if filing jointly) or a dependent, such as a child. For purposes of this post, I will assume only the freelancer themselves will be claiming the credit.

What kind of classes are eligible? Any, as long as they carry credits. Doesn’t matter if it’s related to your work as a freelancer or not. You don’t need to be enrolled in a higher education program either.

Where must those classes have been taken? Any college, university or vocational school eligible to participate in a student aid program administered by the U.S. Department of Education. Most do; if in doubt, ask the school upfront with a quick call to the admin office. The taxpayer must have been enrolled for at least one academic period during the tax year. Prepaid courses count for the same year they were paid for. For example, if you paid for a course in December 2015 for the quarter that begins in January 2016, those payments are deductible for 2015.

What payments are deductible? Tuition!  Plus any books, supplies, or equipment required to be paid to the institution as a condition of enrollment or attendance. For example, textbooks, lab fees, and safety goggles would count in order to take a biochemistry course, because the student would not be permitted to take the course without them. A medical dictionary, however, though useful, would not count, because it is optional on the part of the student.

What kinds of payments are deductible? Only those you made, even if the payments were made with through a loan or with a gift. Scholarships and financial aid do not count.

How will you know what you’ve paid for the year? Your education institution may mail you a Form 1098-T after the end of the year. It looks like this and has all the information you need to know.

If you have not received one, don’t sweat. Assuming there is no financial aid involved, all that matters are the tuition and required fees, and if you have a record or receipt of them, that is OK.

Limit: Up to $2,000 per return, depending on the calculations.

Restrictions: You cannot claim the credit if you are married filing separately, or are claimed as a dependent on someone else’s tax return. You cannot count the classes as a business expense, American Opportunity Credit, or any other type of deduction. Once they are claimed for Lifetime Learning they cannot be claimed or deducted anywhere else on the return.