I have paused many times this week, to write down a stray thought or a strange wondering or something that would lend itself to expansion—things that could be spoken of in here, things such as how it feels to be told something blindingly sensible, how sometimes landscapes are more like people than people ever are, and how we're not always very good at recognising smoothness.
However, none of these things are going to be addressed because after realising that this would be the 100th newsletter, a few people looked me sideways with quizzical expressions and asked if I was planning on doing something to signify this, to commemorate the occasion, and as a result I have taken it as an opportunity to draw one hundred too-far-gone balloons.
WORK-RELATED NEWS:
Eating the Sun is released into the world officially on April 16th, and writing this out just over six weeks away from its appearance reminds me of two things:
1. To panic (gently, not gently, really any panic is acceptable)
2. That I should probably update the webpage linked above
I'm knee-deep in a couple of foreign editions for this book already—it's an odd feeling, writing out chapter headings in Italian and German, because nobody has even read it in English yet.
Also worth noting is the absurdly nice review of the Eating the Sun published by Booklist, which a person cannot read unless they are subscribed in some shape or form, but says amongst other words that it's 'unique and delightful', and that it contains 'hopefulness and wisdom', the sort which puts large scientific concepts into 'human perspective' (it can be found online and in the March 1st print issue).
THIS WEEK I FELL IN LOVE WITH:
Additional paintings and pieces by Shaun Tan, who has long been one of my most-adored artists. Here is a podcast interview with him, for those who wish to put a voice to these stranger worlds (I find his work to be the kind requiring one to look, closely, to become uncomfortable, then comfortable, then sad and then mostly alright again).
Falling in love additionally.
The end.
Copyright © 2019 Ella Frances Sanders, All rights reserved.