Lulu Fisher
Since I've accumulated a reasonable amount of fiction, I figured it's about time I made a masterlist. More importantly, I've posted them on different sites, so this is also to help me keep track of the fruits of my labor.

have at thee! )

updated: 27 Feb 2013
Lulu Fisher
28 August 2012 @ 09:20 am
couple days ago, i finally finished a dance with dragons the fifth and most current novel in george r r martin's a song of ice and fire series. PLZ DON'T FKN TELL ME JON IS DEAD GRRM OR I WILL KILL YOU YOU WRINKLY GEEKY OLD MAN. spoiler just there. anyway i can totally see why adwd was far more fulfilling compared to a feast for crows the previous yet parallel novel. asoiaf feels so incomplete without jon's and tyrion's stories. in fact my favorite quote to come out of the series so far is said by tyrion all the way back in a game of thrones the very first novel

why is it that when one man builds a wall, the next man immediately needs to know whatโ€™s on the other side?

i hope it doesn't take grrm another five years to release the winds of winter. more so, i hope he doesn't die en route to ~the land of always winter~

why are there so many characters? at least i only have to like a few of them )

anyway, since it'll definitely be a few years before twow (but at least only a few more months before season three!!!) and i don't think i can handle rereading all five books, in the meantime i will just rewatch the series and write fanfic

like some starkcest )
Lulu Fisher
22 August 2012 @ 07:53 pm
...and what's on the other side?
rainbows are visions, but only illusions,
and rainbows have nothing to hide.
so we've been told, and some choose to believe it.
i know they're wrong, wait and see.
someday we'll find it, the rainbow connection,
the lovers, the dreamers, and me.
—Kermit the Frog

i have known my wifey for twelve years. TWELVE YEARS. AND A DAY. granted, we haven't been civilly united for that long (i don't know any state that lets ten- or eleven-year-old children get married, much less same-sex ones), but that's irrelevant.

we had lunch today at the. most. tacky. faux. french. cafe. (with or without lace details on the cancan dancers painted on the walls) and she happened to overhear a couple of middle-aged women squabbling over the check. wifey: that's us when we get old. mind you, we didn't meet up to commemorate twelve years (and a day) of knowing each other. good thing too considering how disappointing each of our desserts was—cheap cake pretending to be a pear torte, tart made with canned cherry filling. still, those two women were us (or maybe we them?), the number of times we've bickered at the cash register while smiling at the cashier.

in twelve years, we've gone from talking about dragonball-z and gundam wing (hard to imagine, but she used to be so innocent, she thought i was a total freak when i broached the subject of boy-love and proclaimed myself a heero/duo shipper) to plotting ways to benefit off rich, older men (most plots involving a husband's untimely yet convenient death and each other as an accessory). if we were weird back then, we're definitely weirder now.

at least we're still us.
Lulu Fisher
asked professor z if we could meet to discuss possible internships. agreed on 1330. showed up at 1335 to find editor of TinFish Press and my first choice of hosts waiting there with him. got sent to her office straight away. got signed on even straighter away-er.

scored some free chapbooks too. shiny.
Lulu Fisher
11 June 2012 @ 10:29 am
Through the month of June Kumu Kahua Theatre is reviving Alani Apio's Kamau A`e, the second instalment in Apio's as-yet incomplete trilogy dramatising the Hawaiian sovereignty movement. Kamau and Kamau A`e present the struggles over land, language, and identity between Native Hawaiians and haoles, and more importantly the same struggles within the Native Hawaiian community. But the plays present a war that is far too real, far too realistically. Indeed, Hawai`i has its own blood diamonds.

Two semesters ago I read the plays and was assigned the task of seeing into the future of Apio's Kamau universe to write the third instalment. Children are almost never thought of in times of war, so I was drawn to the character of Stevie, the little girl present throughout both plays though not always seen, in that she is the common denominator of the adults at odds with each other.

Kamau a`e—you carry forward that which needs to be remembered. One thing Hawaiians get: we know what is pono.

Undertow )
Lulu Fisher
I am petitioning to graduate next semester, only three semesters behind schedule (it'll be my eleventh). The ~Goldenrod Form~ UHM uses as ~Certification of Fulfillment of Major Requirements~ is currently folded in half and shoved into my purse. Just because it's my ticket to freedom doesn't mean I'm going to treat it any differently. Not to mention, it is sandwiched with the ~Declaration of Major: Colleges of Arts and Sciences, For Currently Enrolled and Classified Students Only~ form. I am going to graduate with a BA in English once I've switched from my dusty declared BS in Biology, only eight semesters behind schedule (I switched course-wise in my third).

Basically how this will go next week:



LULU. I want to be considered for admission in the department.

LADY. Sure thing.

LULU. And I need a department advisor.

LADY. Well, all right.

LULU. And they need to sign off my ~Goldenrod Form~

LADY stares down LULU before ducking into the dilapidated office of the head of the department, dilapidated only because the department is so marginalised. LULU proceeds to quote from Billy Shakester despite her self-proclaimed hate of the man.

LULU. Or not to be.

As the Hive Queen would have it, I watched this video right after gathering up all my forms. What a wonderful time to (finally) graduate. I mean, if we ignore the latest findings negating the Mayan 2012 apocalypse, I'll have my degree in time for Christmas but won't have to worry about being poor since the world will end shortly thereafter. La. Di. Da.
Lulu Fisher
Despite small alterations in its form, William Wordsworth’s “The Solitary Reaper” retains its function as a ballad. Typically, ballads are composed of quatrains with alternating lines of iambic tetrameter and iambic trimeter and a rhyme scheme of ABCB. Instead, “The Solitary Reaper” consists of four octaves, eight-line stanzas, with lines that are for the most part in iambic tetrameter. And while the first four lines of each octave retain the ballad rhyme scheme, the last four lines are two couplets. Functioning as a ballad, “The Solitary Reaper” is a narrative: the speaker of the poem tells of a lone girl whom he witnesses reaping the season’s harvest. Though he never approaches the stranger like the wandering narrators of most Wordsworth’s ballads, he fixates on the song which she sings and he overhears. It is the girl, the solitary reaper’s, song that provides the basis for the rest of the poem.

the rest of 'Reaping Emotional Meaning' )