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Archive for the ‘Language’ Category

SOUNDTRACK: hiatus

[READ: December 30, 2023] “I Was Caroline Calloway”

Yesterday I read the book Scammer by Caroline Calloway.  It was about Caroline Calloway and Natalie Beach two women who worked together to write a book that never got written (see yesterday’s post for a more sophisticated take on Scammer).

Caroline and Natalie had a feud and Natalie wrote this tell-most in The Cut.

Caroline addressed most of the issues that Natalie raised in Scammer.  But I figured I’d read this too.

Natalie is a good writer, although I feel that Caroline is better.

Natalie’s version of events is certainly darker–she obviously has more details about events that happened to her when Caroline wasn’t around.  She also knows a lot about what happened while Caroline was in an Adderall stupor. (more…)

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SOUNDTRACK: hiatus

[READ: December 29, 2023] Scammer

We get a surprisingly large number of self-published books at my library.  Most of them I don’t look at, but some look interesting enough to flip through.

This one was packaged with a ribbon around in (and a bookmark), and I loved the text on the back of the book.

“Is Caroline Calloway a scammer?  No.” — The New York Times.

Suffice it to say I had never heard of Caroline Calloway and had no idea what she was scamming, but there was something about this book that made me want to read it.

The book sums up the scamming.  In fact, it is a memoir (of sorts) about her time as a scammer.  She calls this a daybook–the kind of book you could read in a day–although it took me a few days.

The book is set up in 67 vignettes.  And I found the narrator to be quite engaging.  She talks about her family and upbringing a bit, but for the most part she gets right to the scamming.

She always wanted to go to Cambridge University.  She was rejected twice and then lied (a bit) on her transcript to get in on the third try.  She also found an editor (through trickery) and secured a book deal although she had no intention of writing the book.  When she blew through the $100,000 advance and now had to pay it back, she started an OnlyFans account, did some topless photos and made the money back in a few months. (more…)

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SOUNDTRACK: hiatus

[READ: December 28, 2023] The Books of Jacob

I don’t recall when I checked this book out.  I think it was in September, which makes me feel less bad about finishing it in December.  Still three month?  Well, it was 965 pages and I didn’t really read it at home, so I guess that kind of works out.

And now in December I don’t exactly remember why I checked it out.  I think I had an audiobook ad for Tokarczuk’s other book Flights and it was raved about.  I checked out this and Flights at he same time, but Flights was recalled by another patron, so  didn’t get to finish it (I barely started it).

But so I didn’t know what this was about at all. But I love a large book, and this was a large book.  It also had the fun detail that the pages ran backwards (in the acknowledgments, she notes that it is because the book is inspired by Hebrew and is (kind of) right to left for numbering.

I can honestly say that I didn’t realize that this book was kind of non fiction until about half way through the book.  It’s not exactly non-fiction, it’s a fictionalized account of something that happened centuries ago based on research and primary documents.

It’s interesting but not especially compelling.  A whole lot happens but really not much happens.  I could have put it down at just about any point and felt “done.”  And yet I kept coming back to it.  I felt like it was a slog to read, but almost every time I read it, I enjoyed what I read and was surprised at how many pages I read in a sitting. (more…)

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[READ: March 4, 2023] Euphemisms That Get on My You-Know-Whats

I enjoy a good book of lists.  I have learned not to buy them, though–although they are usually good for a read-through.  And this is one of those read-through books (in fact, Adam Sharp has a Twitter account where you can read these lists–if you still have a Twitter account).  Actually I don’t know if he has a “new Twitter” account as I won’t check.

This book was released in Britain in 2020 as The Correct Order of Biscuits, which I think gets the point of the book across a little better than its new title.

The book starts off dubiously with a List of the worst lyrics ever conceived.

7. You look fresh like a salad, so smooth (BTS)
3. Life, oh life, oh life, oh life (Des’ree)
2. Like a tramp in the night, I was begging for you (Samantha Fox)
1. Santa’s on his sleigh but now he’s two metres away (Robbie W)

[I copied this from his Twitter page so I wouldn’t have to type it.  The Twitter page had only five entries and was in a slightly different order, hence the jump from 7 to 3].

So why is this a dubious start.  Because there are so many utterly crap lyrics that these barely scratch the surface.  There’s just too many to choose from and I feel he has limited himself to pop songs.

It picks up with a list of how dogs go woof woof in different languages

8. Voff voff (Icelandic)
7. Lol lol (Tamil)
6. Bup bup (Catalan)
5. Ham ham (Albanian)
4. Woke Woke (Burmese)
3. Gong Gong (Malay)
2. Wang wang (Mandarin)
1. Bawf (Scots)

This is the kind of thing we want.  Possibly verifiable and utterly useless. (more…)

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SOUNDTRACK: hiatus

[READ: December 20, 2021] Weird Accordion to Al

After writing the “Weird Al” biography, with “Weird Al” himself, Nathan Rabin dug even deeper into his “Weird Al” fandom to write a detailed account of, as the subtitle says, “Every ‘Weird Al’ Yankovic Album Analyzed in Obsessive Detail.”

“Weird Al” wrote the (short) introduction and then Nathan drops the needle on “Weird Al” Yankovic, Al’s 1983 debut album.

Nathan goes into varying degrees of detail on each of the songs.  Nathan was a rabid “Weird Al” fan from when he was a little kid.  And when he talks about how much he loves Al, you can see his deep abiding appreciation for everything Al has done.

Some songs get a paragraph, nut most get a page or so.  He usually talks about how much he likes (or loves) the song (and occasionally dislikes).  There’s nostalgia in the older songs and jokes and observations about contemporary things as well (Rabin’s politics poke through once in a while.  Good thing he’s a smart guy.

Because he did the Al biography with Al, he presumably got a lot of insight into the man and his work.  So although sometimes his insights seem like maybe he’s reading too much into a goofy parody, perhaps he’s on to things.  Maybe Al’s depth is deeper than rhyming Sharona with Bologna.  Which is not in any way to diminish Al’s intelligence.  He’s obviously very smart, especially as his later songs indicate.

Rabin’s tone throughout the book is smart and snarky.  He talks about the songs and the video (if there is one).  He talks about the production quality (or lack thereof) on the first album.  He references Dr. Demento (because the Dr is essential to Al’s career).  He also references Don DeLillo’s White Noise and says things like “Al is in deconstructionist mode.” (more…)

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SOUNDTRACK: BLACK MOTION-Tiny Desk (Home) Concert #233 (July 8, 2021).

 Black Motion specializes in Afro-House and this set is infectious.

Afro-House has spread joy and healing across the country of South Africa, transcending local boundaries to become a thriving global dance phenomenon. In my experience, Its indigenous sounds and percussive rhythms drench the soul and heart with healing powers and cultivate communion with the infinite.

This Afro-House set is brought to life thanks to several featured vocalists and guest musicians.  Black Motion’s Tiny Desk (home) concert, recorded at the former residence of Nelson Mandela, feels like a spiritual sound bath. The South African production duo turntablist Bongani Mohosana of the Zulu tribe and percussionist Thabo Mabogwane of Sotho tribe — open their set with “Mayibuye iAfrica,” a cry for Africa to return to its culture and history.

“Mayibuye iAfrica” opens with a fun introduction.  There’s whooping, growling, cawing, (from DJ and producer Bongani Mohosana and keyboardist Almotie “Alie-keyz” Mtomben).  There’s some great percussion (producer and drummer Thabo Roy Mabogwane’s set has over ten different drums and a few cymbals).  Then, after a minute or so Siyabonga Hosana Magagula’s grooving bass and Lifa “Sir_Lifa” Mavuso’s slow but perfect-sounding guitar enter the picture.

Then the singers come in singing a beautiful chorus.  The three of them are: Lusindiso “Jojo” Zondani (tenor), Gugu Shezi (soprano) and Noxolo Radebe (alto), and there voices gel wonderfully.

Up next is “Rainbow” which shuffles along with the DJs sampling and a simple keyboard melody (that sounds a bit like The Way It Is).

South African singer Msaki makes her third appearance in our (home) concert series, after earlier credits with Black Coffee and our Coming 2 America special. She lends her vocals to “Marry Me,” a soulful jam from Black Motion’s 2020 album, The Healers: The Last Chapter.

Next up is “Marry Me.” Msaki sings lead vocals on this song which has a grooving echoing lead guitar. “Alie-keyz” plays a cool retro organ solo before “Sir_Lifa” jams out a guitar solo.

Interestingly, Msaki’s voice was relatively deep, but on the next song, “Joy Joy,” Brenden Praise’s voice is pretty high (in the choruses).  For the verses, he sings a bit deeper.  I like the way the backing vocalists sound like gospel singers here.

“Imali,” featuring Nokwazi, soothes the lingering remnants of pandemic fears,

The snare drum introduces the colorfully dress Nokwazi who sings “Imali.”  Her call and response singing is really great, as is her intense, growling style.

Tabia closes with the lilting “Prayer for Rain.”

Tabia comes out for “Prayer For Rain” and says “let’s pray” as she sings some wordless notes to warm up the song.  When she starts singing, I don’t know what language she’s singing, but the passion is palpable.  And the thunderclap that DJ Bongani Mohosana adds at the end is a welcome touch.

This is a powerful and moving (emotionally and physically) set of songs.

[READ: May 10, 2021]  “Easy, Tiger”

After reading David’s story about shopping in Tokyo, it was funny to go backwards and read about one of his first few trips abroad and how he started learning the local language(s).

He says that he had been using Pimsleur Japanese and felt fairly comfortable when in Japan.  But on this trip he was also going to Beijing and he had forgotten to study.

But this is not so much about China as it is about learning languages in general.

Since he doesn’t drive, phrases like “as for gas, is it expensive” don’t really help him out.  But he uses “fill her up please” when asking for a tea refill.  He also gets to say that he is a man with children since they do not have a phrase for “I am am middle aged homosexual…  with a niece I never see and a small godson.”

He recommends Pimsleur for pronunciations and memorization.  But he also likes Lonely Planet. (more…)

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SOUNDTRACK: ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O.-Pink Lady Lemonade ~ You’re From Inner Space (2011).

This album is something like the fortieth AMT album and somewhere in the middle of the band’s tenure with this lineup:

Tsuyama Atsushi: monster bass, voice, cosmic joker
Higashi Hiroshi: synthesizer, dancin’ king
Shimura Koji: drums, latino cool
Kawabata Makoto: guitar, guitar synthesizer, speed guru

The album consists of one song, the title track, broken into 4 parts all based around a simple, but rather lovely guitar melody

 “Part 1” is 32 minutes long.  It begins with the opening guitar melody which plays along with some trippy sounds.  Tsuyama is reciting the words (in Japanese?  English?  Gibberish?) and occasionally you hear the words “Pink lady Lemonade.”  At around 12 minutes drums and bass are added.  Once the bass starts meandering through some catchy riffs, Kawabata starts soloing.  It’s pretty far down in the mix (the main melody continues throughout).  Then around 22 minutes Tsuyama starts adding the monster bass–wild riffs that go up and down the fretboard.  With about 5 minutes left Kawabata starts playing s louder solo–louder than the rest of the music–and you can really hear him wailing away.   Part 1 fades out completely before jumping into Part 2.

“Part 2” is only 5 minutes, but it is utter chaos, with everyone making a big pile of noise–keyboard banging, sliding bass, thumping drums and wild, seemingly uncontrollable guitars.  It ends five minutes later with some warbling keys

Then comes “Part 3,” which runs just over the minutes.  It’s a faster chord version of the same guitar intro with slow bass notes and a big guitar solo.  It changes shape and adds some discoey bass lines.  About midway through the synths take over and while there is music in the background the song becomes mostly washes of sounds.

“Part 4” ends the disc at just over 18 minutes.  It picks up with the original guitar melody once more.  This time, it’s only a minute until the drums and bass kick in and the soling begins.  At five and a half minutes the guitar solo gets really loud and takes over.  The soloing is wild for over ten minutes and then around 13 minutes the song grows very quiet with only the lead guitar and the heavily echoed main riff playing.

There’s on online version here that has this entire record but adds six minutes at the end of the last part which is mostly the introductory melody and some washes of keys over the top.  i rather like this extra 6 minutes and it feels like a really nice ending.

 

[READ: May 1, 2021] “My First Passport”

This essay was translated from the Turkish by Maureen Feely.

Pamuk talks about people travelling from Turkey when he was young.  First it was his father, who left the country when Orhan was seven.  No one heard a word from him for several weeks when he turned up in Paris.  He was writing notebooks and regularly saw John-Paul Sartre.   He had become one of the penniless and miserable Turkish intellectuals who had been walking the streets of Paris.  Initially Orhan’s grandmother sent Orhan’s father money but eventually she stopped subsidizing her bohemian son in Paris.

When he ran out of money he got a job with I.B.M. and was transferred to Geneva.  Soon after Orhan’s mother joined his father but left Orhan and his brother with the grandparents.  They would follow when school was done.

Orhan sat for his first passport photo (included in the essay).  Thirty years later he realized that they had put the wrong eye color down–“a passport is not a document that tells us who were are but a document that shows what other people think of us.” (more…)

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SOUNDTRACK: MR. BUNGLE-The Raging Wrath of the Easter Bunny Demo (2020/1986).

In 1986, Mr. Bungle released a demo tape called The Raging Wrath of the Easter Bunny.

In 2020, after a reunion tour of sorts, the band rerecorded the album, with some slight personnel changes. Original singer Mike Patton was still there as was masterful guitarist Trey Spruance and bassist Trevor Dunn.  But they had two impressive guests stars (who also performed live with them), Scott Ian (from Anthrax) on rhythm guitar and Dave Lombardo, drummer extraordinaire.

And thus they re-recorded the initial demo.  Fans of Mr. Bungle’s later genre bending work would be a little disappointed because this was pretty much a heavy heavy metal record.  But it is Mr. Bungle so you know there’s gonna be some weird stuff too.

The only song they don’t play from the original is “Evil Satan” which is more or less a goof anyway.

“Grizzly Adams” opens the album with a very pretty guitar instrumental. Spruance really shines with this moody, weird piece.  But even when the full band joins in in the last 30 seconds, it doesn’t prepare you for the heaviness to come.

“Anarchy Up Your Anus” is old school metal–heavy guitars with an Anthrax/Slayer vibe.  There’s even a lengthy scream after the opening drum fills.  This song has an opening narration by Rhea Perlman.  Yes.  Rhea Perlman.  The narration comes from the Chilling, Thrilling Sounds Of The Haunted House Disney album (on the demo they just played the audio from the record).

“Raping Your Mind” is out of sequence from the demo (it was originally song 6).  It continues with the heavy Anthrax-like riffage and some serious drumming.  There’s a cool middle moment where there’s two guitar solos and just bass and drums in the back–there’s some seriously wicked guitar soloing going on.

“Hypocrites /Habla Español o Muere” was originally a longer song, but they decided to shorten it and add this humorous cover of the Stormtroopers of Death song.  The title is mentioned in the first few seconds, then after 30 seconds, the song jumps into a bit of “la Cucaracha” and then segues into “Speak Spanish or Die.”

“Bungle Grind” is really heavy with some classic mosh sections and faster riffage.

“Methematics” is a new song.  It’s a bit more standard heavy metal and not so much early thrash until the double bass drums kick.  There’s lots of parts including a classic punk style in the middle.  This is more akin to the later, adventurous Mr. Bungle, but at 8 minutes it is a little long.

“Eracist” is another new song.  This one is great.  Really catchy with some good old fashion metal riffs and chanted chorus.  There’s a seriously heavy middle section, too.

“Spreading the Thighs of Death” was the third song on the demo.  It’s some good fast thrash with wicked chord changes and massive double bass drum.  There’s some really wild guitar soloing too.

“Loss For Words” is a Corrosion of Conformity cover.  It’s a pretty serious cover version.  Patton’s vocal delivery is even a little different.

“Glutton for Punishment” is another new song that fits into the classic riff an thump thrash.  There’s a whispered vocal part where you can actually hear the words!  And a fascinatingly fiddly guitar solo that left me wondering how he did it.

“Sudden Death” ended the demo and ends this as well.  A heavy chugging riff and super fast thrashing–it’s impressive that they can keep it up for seven plus minutes.  I rather liked the “yes/no” chanting at the end.

This album isn’t for everyone (as most Mr. Bungle albums aren’t).  But it does show off some quality old school metal and some serious skill for a band covering themselves 30 years later.

[READ: March 24, 2021] Zed

I saw this book in Barnes & Noble and fell in love with the cover.  I made sure to look for it at the library and was pretty psyched when it came in.

And I was pleased as soon as I started reading.

Set in the not too distant future, one tech company, Beetle, dominates the world.  I thought that Beetle was pretty inspired name.  It could be Apple (who have a connection to The Beatles, with Apple Records) and it looks a lot like the word Google, although I suppose it is probably closest to being about Amazon–with their online assistant Athena.

Nearly every citizen (the book takes place in London, but Beetle is global) wears a BeetleBand which monitors everything you do–like a Fitbit or Apple Watch on steroids.

It tells you when you are stressed or when you should hydrate or that you shouldn’t have that donut.  Indeed, everything is now really “smart”: fridges, doors, cars.  Everything in your house is monitoring you. And everyone has a Veep, a personal assistant who does everything for you (except for physical things, since it has no body). You pay for all the best stuff in Beetle bucks–the cryptocurrency that replaced actual  money as the dominant currency.  If you didn’t convert your pounds, euros or dollars, when the rate was good, you’re just stuck.

When the book says everyone, it’s really mostly everyone. There are some people who can’t afford such extravagance.  People who don’t work for Beetle get paid in regular money which isn’t very useful.  There are also neo-Luddites who want nothing to do with Beetle.  But they are carefully monitored by Beetle.

Most people work and communicate in a virtual world with avatars that are some version of themselves.  And most importantly, every person has a Lifechain–the algorithm that determines the longevity and happiness you should experience.  This predictions are pretty much never wrong and everyone uses them to judge people–employers, police, etc. Everything you do, every decision you make changes our Lifehchain, which changes you likelihood of doing x y or zed. (more…)

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 SOUNDTRACK: THE REDNECK MANIFESTO-The How (2018).

Despite a terrible name that would keep me away from wanting to see them, The Redneck Manifesto are a very interesting and complicated band.  I discovered them through the book of Irish drummers.  TRM drummer Mervyn Craig is in the book.

The How is the band’s fifth album (and first in eight years).  The album is chock full of instrumentals that touch all genres of music.

There are jazzy elements, dancey elements and rock elements.  There are solos (but never long solos) and jamming sections.  Most of the songs are around 4 minutes long with a couple running a little longer.

“Djin Chin” has jangly chords and quiet riffs that switch to a muted melody.  All the while the bass is loping around.  It shifts tempos three times in the first two minutes.  Around three minutes the bass takes over the lead instrument pushing the song along with deep notes.

“The Rainbow Men” has a circular kind of riff with swirling effects that launch the song during the musical pauses.  After a minute and a half it drastically shifts direction and the adds in a cool solo.

“Sip Don’t Gulp” starts with a catchy bouncy guitar riff and bass lines.  At two minutes it too shifts gears to a staggered riff that sounds great.

“Kobo” is the shortest song and seems to tell a melodic story.  The two guitars play short, fast rhythms as call and response while the bass rumbles along.

“Head Full of Gold” is over 6 minutes with a thumping bass, rumbling drums and soft synths.  “No One” is nearly 7 minutes and feels conventionally catchy until you try to keep up with the beats.  After a middle series of washes from various instruments, the back half is a synthy almost dancey rhythm.

“Sweep” is a pretty song until the half-way mark when it just takes off in a fury of fast drumming and complex chords.  The end builds in upward riding notes until it hits a calming ending

“We Pigment” is a poppy staccato dancey number.  The second half turns martial with a series of four beat drum patterns and a soaring guitar solo.  More staccato runs through to the end.  “The Underneath Sun” also has a lot of staccato–fast guitar notes interspersed with bigger chords.  The end of the song is just littered with sweeping guitar slides until the thumping conclusion.

This album is great and I’m looking forward to exploring their other releases.

[READ: January 10, 2021] A History of Ireland in 100 Words

This book looks at old Irish words–how they’ve evolved and how they show the way Irish history came about.  The authors say:

our store of words says something fundamental about us and how we think.  This book is meant to provide insights into moments of life that may be otherwise absent from history books.  The focus is on Gaelic Ireland throughout as Gaelic was the native language of the majority of the inhabitants of the island for the last 2000 years. It yielded its primacy to English only in the last 150 years.

We selected words with the aim of illustrating each of our themes as broadly as possible.  We wanted the words in all their richness to tell their story … like how the word that originally meant noble came to mean cheaper (saor).

Almost all of the entries reference The cattle raid of Cooley (The Ulster Cycle) which features the hero Cú Chulainn.  This story is at the heart of most of historical Ireland and it’s pretty fascinating how many of these Gaelic words either originate with that story or get their foundation from the story.

There’s a general pronunciation guide although I wish each word had a phonetic guide because anyone who speaks English will look at Irish a if it is just a jumble of nonsensical consonants.

The book is broken down into sections, although the authors insist that there is no correct way to read the book.

  • Writing and Literature
  • Technology and Science
  • Food and Feasting
  • The Body
  • Social Circles
  • Other Worlds
  • War and Politics
  • A Sense of Place
  • Coming and Going
  • Health and Happiness
  • Trade and Status
  • Entertainment and Sport
  • The Last Word

There are also delightfully weird wood carving-like drawings from by Joe McLaren scattered throughout the book.

The words are listed below with either a definition or an interesting anecdote included. (more…)

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SOUNDTRACK: EVERYTHING BUT THE GIRL-“Ballad of the Times” (1985).

In Stuart David’s book, In The All-Night Café, he lists the songs on a mixtape that Stuart Murdoch gave to him when they first met.

Although I’ve been a fan of Belle & Sebastian for a long time, I knew almost none of the songs on this mixtape.  So, much like Stuart David, I’m listening to them for the first time trying to see how they inspire Stuart Murdoch.

In the book, David writes how much he does not like “rock,” especially music based around bluesy rock.  Most of these songs, accordingly, do not do that.  In fact, most of these songs are (unsurprisingly) soft and delicate.

Of course I know of Everything But the Girl, they really took off a few years after this album came out.  Indeed, their sound changed quite a lot since this first album.

But I never really listened to them.  Of course, I knew their song “Missing” (“like the deserts miss the rain”) which was pretty ubiquitous in mid 1990s.  But in the mid 1980s, the band’s sound was very different–characterized by jangly guitars and a more upbeat feel.

Love Not Money was the band’ second album.  The first song on the album “When All’s Well” has a very distinctive feel like The Smiths–with the picked echoing guitars and louder grooving bass.  But “Ballad of the Time” is a bit more downbeat (as a ballad should be).  There’s some big overdubbed guitars on top of the pretty picked melody.  It’s catchy in a very “of its time” way.

Interestingly, this album apparently sounds unlike anything else in their collection, which makes me think Stuart wouldn’t have pit a later song on the mix.

[READ: December 29, 2020] Solutions and Other Problems

Seven years ago I read and loved Hyperbole and a Half, Allie Brosh’s first book.  So I was pretty excited that Allie Brosh had a new book out. Apparently she has gone through some stuff in the last seven years which I won’t go into.

Instead, I want to talk about how freaking funny this book is.

I hadn’t considered or realized that her art style had changed much since the last book.  Although comparing the covers, I see that her drawings do seem more sophisticated–which somehow makes her characters look even crazier.  I love that that yellow oval on her head is her hair.  And the massive eyes.  And that crazy smile.  It’s bonkers and hilarious.

This book starts out with a bang–a very funny story about a young Allie getting stuck in a bucket. But the best part is that she was in the bucket because she felt the need to get her whole body into the bucket.  She looked at the bucket and looked at her body and decided that one needed to be in the other.  The look on her face (and then later on her parents’ faces when they find her in the bucket) makes me laugh just thinking about it.

“Richard” is all about a person who lives next door.  Young Allie couldn’t quite grasp the idea that someone lived not in their house.  She never even thought about the next door house until Richard walked out of it one day.  So she snuck in through the cat door and started investigating the neighbor,  She would also steal trinkets on each trip.  And occasionally leave a “gift” (like a creepy drawing).  When her parents found some things, they asked her about it and she said she was “hanging out” with Richard.  This obviously made her parents…uneasy.  Poor Richard.  She went too far when she stole Richard’s cat. (more…)

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