June 6th, 2006

Hi, y'all!

Still on vacay! Just checking in.

-- We have a new car! I sat with my pocketbook clutched in my lap and said through a clenched jaw, “I want royal blue.” Unfortunately, we had to accept a light beige instead, but other than that, it’s an awesome car. It took a while to process the insurance, though. The guy faxed it with the wrong date twice, while brushing crumbs out of his mustache and muttering “Biz” or “Fizz” or something like that.

-- John didn’t mention trains once in his letter!

-- When is April going to admit she wants to jump Jeremy’s bones, and then do it?

-- A few days ago, someone asked why Liz waited so long to tell Paul about her homesickness and job hopping, even though they supposedly talk on the phone almost every day. I daresay that was because they were too busy talking about string theory.

-- Re: Jesse. First of all, this is just the net result of her acting like he’s her only student. Second, it grinds my gears that even before they retconned him to having no parents, they also retconned him to being needy and vulnerable. When he brought Shiimsa to Liz, he was very much the one in control of that situation. He needed nothing; Liz was the one who benefited. I actually didn’t like him much then, either, because I thought he was pushy, but at least he wasn’t so glurgey and cloying. And third, I love the offer for him and Marg to visit Liz. What does she think, they’re going to canoe down to Milborough and pitch a tent? Bitch has been living in Mtig for two years, and she still has no clue.

And finally, I’m not sure this hangup about permanence is very Native. Time was when people accepted that people in general, and teachers in specific, came and went. Now, nobody can accept change? I mean, suppose Liz was moving forward, to a new school in a different location, instead of backwards to Milborough. Would Jesse still be heartbroken? I’m thinking of the Little House books. Laura didn’t stay at any school more than one term, and on the last day, she would give a farewell speech, the kids might give her some keepsake, and that was it; no one said, “Waah, Miss Ingalls, why are you leaving meeeee?” Instead of sitting on Jesse’s bed (gah!) Liz should be telling him some Native saying about how memories are to be treasured, or people don’t have to be in your life forever in order to touch your heart, and like that. I agree with the poster who said that if he’s this emotionally fragile, it’s not Liz’s responsibility.

-- It’s been raining a lot here, and the creek is now deeper, faster and muddier than I’ve ever seen it. Makes me want to get a toy boat and go prancing down the hill! Except MIL doesn’t have dogs, so I’m not sure who would save me -- the deer, maybe?

-- And y’all are right. It is “roamed under it”, not “wandered under it”. :::smacks self:::
howbandaid

Wednesday, June 7, 2006

Panel 1: Moira’s dropped some weight since Monday and she, as usual, also dropped at least one of her eyes, which is probably a good thing, since Elly has just asked her if she looks 55. I am pretty sure that is on the top ten list of questions never to answer, if Elly asks them. A better question for Elly to ask I think would be (1) Why does my left hand look so grotesque? Or (2) Why do I look like I am packing something extra manly in my pants? Moira, on the other hand, is showing a little leg in a skirt that appears to be well above the knee. And I never before realized that Moira’s right arm was a prosthetic.

Panel 2: Elly also drops an eye, as Moira’s black lips reappear and spout something that does not make any sense, but it seems to satisfy Elly. Yes, Elly, I’d say you were …ageless, like the Sphinx, or the Grand Canyon.

Panel 3: Elly appears to have dislocated her right hip in this panel as she reveals she was expecting an entirely different lie from Moira. Moira comes back with what is actually a pretty funny line, which implies both (1) Elly is close to death and (2) Elly is such a nag while she is living, she is likely to become a vengeful ghost after death. You know, Moira, when you were working for Elly, you would have never said such a line to Elly. Just for this line alone, I am glad you bought Lilliput’s.

Panel 4: Elly catches onto the “close to death” part of Moira’s line, and ignores the other part, either because she knows it’s true, or she is concentrating too hard on the “age” part to notice the “nag” part. Moira has a horrified look on her face as she is no doubt thinking, “Did I really say that out loud?” Behind her a man with either a pretty severe receding hair line or hair simply blown to the back of his head by the force of Elly’s exclamation looks back at them.

I must take a moment to congratulate the background artist. For once, she realized that backgrounds are not perfectly ruler straight. The bricks have curves to them, the buildings don’t all line up exactly, the clouds are rounded, the figures in silhouette have no part in the action of the strip, and even the letters on The Flower Car sign are not straight-edged. For once, the background added to, instead of subtracted from the strip. Bravo, background artist.