Gavin Leech
Goodreads Author
Website
Influences
Member Since
June 2017
URL
https://www.goodreads.com/gleech
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The Scaling Era: An Oral History of AI, 2019–2025
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The Fabric Book
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* Note: these are all the books on Goodreads for this author. To add more, click here.
Gavin said:
"
> 2962 pages, ebook> First published September 30, 735
should maybe stop reading this because it will make my own translations lazier "
Gavin’s Recent Updates
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Gavin
rated a book it was ok
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Very heavy-handed, as short stories often are. I'm glad these exist as a kinetic barrier preventing his madcap and studenty and 1970sy "2000AD" impulses from colliding with his real books. The title story (The Culture goes on holiday in 1977 Europe) ...more |
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Gavin
rated a book it was amazing
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| Very special radio production here which decodes all of the constant music and nursery rhymes in it. ...more | |
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Gavin
rated a book liked it
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| My reading this was bedevilled from the beginning by 1) my prejudice against dad lit; 2) my assumption that commercial fiction from the 70s about Japan would be embarrassingly basic and have to define "saké" or "sushi" (or worse, orientalist in the f ...more | |
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Gavin
rated a book liked it
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| Sickly-satisfying but blunt satire on memory, gender and the dark side of memes. A bunch of polymorphous, polyamorous, post-scarcity posthumans volunteer for a closed-system experiment replicating the strictures of 1990s Nacirema, and are quite right ...more | |
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Gavin
rated a book liked it
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| My reading this was bedevilled from the beginning by 1) my prejudice against dad lit; 2) my assumption that commercial fiction from the 70s about Japan would be embarrassingly basic and have to define "saké" or "sushi" (or worse, orientalist in the f ...more | |
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Gavin
rated a book liked it
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A simple book, fine writing, a fine entrypoint for the series. (Don't underestimate how hard it is to carry off this many neologisms.) It has aged well; only one sentence betrays that it was written 40 years ago. The first third is just setup, but I th ...more |
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Gavin
rated a book liked it
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| tldr; I continue to think that this first book is not the place to start. The prose is a bit flat, the plot a bit neat (now you are in space. now you have a ship). It's punishing: filled with suffering and pointlessness as a foil. Start with Use of W ...more | |
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Gavin
rated a book liked it
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Another chronicle of Culture fuckups; this time, trying to reform a caste system and sparking a genocidal civil war. It's tense and unpleasant throughout, because of this moral mud....more |
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Gavin
rated a book really liked it
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In one sentence: A psychologically realistic utopia (: a flawed one) nestled in a soft opera-of-space-operas. To be read when: you don't think we have anywhere to go. / On a train. (This is more of a review of the Culture series. Excession is my fav ...more |
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“O source of equity and rest...
Disturb our negligence and chill,
Convict our pride of its offence
In all things, even penitence,
Instruct us in the civil art
Of making from the muddled heart
A desert and a city where
The thoughts that have to labor there
May find locality and peace,
And pent-up feelings their release,
Send strength sufficient for our day,
And point our knowledge on its way.”
―
Disturb our negligence and chill,
Convict our pride of its offence
In all things, even penitence,
Instruct us in the civil art
Of making from the muddled heart
A desert and a city where
The thoughts that have to labor there
May find locality and peace,
And pent-up feelings their release,
Send strength sufficient for our day,
And point our knowledge on its way.”
―
“Poetry presents the thing in order to convey the feeling. It should be precise about the thing and reticent about the feeling - for as soon as the mind responds, connects with the thing, the feeling shows in the words; this is how poetry enters deeply into us.
If the poet presents directly feelings which overwhelm ... they cannot strengthen morality and refine culture, set heaven and earth in motion, and call up the spirits!”
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If the poet presents directly feelings which overwhelm ... they cannot strengthen morality and refine culture, set heaven and earth in motion, and call up the spirits!”
―
“Springs and summers full of song and revolution.
The Popular Front, demonstrations and confrontations,
time that takes you away from yourself and your poetry,
so that you could see them as if from cosmic space,
a way of looking that changes everything into stars,
our Earth, you and me, Estonia and Eritrea,
blue anemones and the Pacific Ocean.
Even the belief that you will write more poems. Something
that was breathing into you,
as May wind blows into a house
bringing smells of mown grass and dogs' barks, -
this something has dissipated, become invisible
like stars in daylight. For quite a time I haven't
permitted myself to hope it would come back.
I know I am not free, I am nothing without
this breathing, inspiration, wind that comes
through the window. Let God be free,
whether he exist or no. And then, it comes
once again. At dusk in the countryside
when I go to an outhouse, a little
white moth flies out of the door.
That's it, now. And the dusk around me
begins little by little to breathe in words and syllables.
*
In the morning, I was presented to President Mitterrand,
in the evening, I was weeding nettles from under the currant bushes.
A lot happened inbetween, the ride from Tallinn to Tartu and to our country home
through the spring that we had waited for so long,
and that came, as always, unexpectedly,
changing serious greyish Estonia at once
into a primary school child's drawing in pale green,
into a play-landscape where mayflies, mayors and cars
are all somewhat tiny and ridiculous... In the evening
I saw the full moon rising above the alder grove. Two bats
circled over the courtyard. The President's hand
was soft and warm. As were his eyes,
where fatigue was, in a curious way,
mingled with force, and depth with banality.
He had bottomless night eyes
with something mysterious in them
like the paths of moles underground
or the places where bats hibernate and sleep.”
―
The Popular Front, demonstrations and confrontations,
time that takes you away from yourself and your poetry,
so that you could see them as if from cosmic space,
a way of looking that changes everything into stars,
our Earth, you and me, Estonia and Eritrea,
blue anemones and the Pacific Ocean.
Even the belief that you will write more poems. Something
that was breathing into you,
as May wind blows into a house
bringing smells of mown grass and dogs' barks, -
this something has dissipated, become invisible
like stars in daylight. For quite a time I haven't
permitted myself to hope it would come back.
I know I am not free, I am nothing without
this breathing, inspiration, wind that comes
through the window. Let God be free,
whether he exist or no. And then, it comes
once again. At dusk in the countryside
when I go to an outhouse, a little
white moth flies out of the door.
That's it, now. And the dusk around me
begins little by little to breathe in words and syllables.
*
In the morning, I was presented to President Mitterrand,
in the evening, I was weeding nettles from under the currant bushes.
A lot happened inbetween, the ride from Tallinn to Tartu and to our country home
through the spring that we had waited for so long,
and that came, as always, unexpectedly,
changing serious greyish Estonia at once
into a primary school child's drawing in pale green,
into a play-landscape where mayflies, mayors and cars
are all somewhat tiny and ridiculous... In the evening
I saw the full moon rising above the alder grove. Two bats
circled over the courtyard. The President's hand
was soft and warm. As were his eyes,
where fatigue was, in a curious way,
mingled with force, and depth with banality.
He had bottomless night eyes
with something mysterious in them
like the paths of moles underground
or the places where bats hibernate and sleep.”
―
“The real trouble with this world of ours is not that it is an unreasonable world, nor even that it is a reasonable one. The commonest kind of trouble is that it is nearly reasonable, but not quite. Life is not an illogicality; yet it is a trap for logicians. It looks just a little more mathematical and regular than it is; its exactitude is obvious, but its inexactitude is hidden; its wildness lies in wait.”
― Orthodoxy
― Orthodoxy
“My boy is painting outer space,
and steadies his brush-tip to trace
the comets, planets, moon and sun
and all the circuitry they run
in one great heavenly design.
But when he tries to close the line
he draws around his upturned cup,
his hand shakes, and he screws it up.
The shake’s as old as he is, all
(thank god) his body can recall
of the hour when, one inch from home,
we couldn’t get the air to him;
and though today he’s all the earth
and sky for breathing-space and breath
the whole damn troposphere can’t cure
the flutter in his signature.
But Jamie, nothing’s what we meant.
The dream is taxed. We all resent
the quarter bled off by the dark
between the bowstring and the mark
and trust to Krishna or to fate
to keep our arrows halfway straight.
But the target also draws our aim -
our will and nature’s are the same;
we are its living word, and not
a book it wrote and then forgot,
its fourteen-billion-year-old song
inscribed in both our right and wrong -
so even when you rage and moan
and bring your fist down like a stone
on your spoiled work and useless kit,
you just can’t help but broadcast it:
look at the little avatar
of your muddy water-jar
filling with the perfect ring
singing under everything.”
― Rain
and steadies his brush-tip to trace
the comets, planets, moon and sun
and all the circuitry they run
in one great heavenly design.
But when he tries to close the line
he draws around his upturned cup,
his hand shakes, and he screws it up.
The shake’s as old as he is, all
(thank god) his body can recall
of the hour when, one inch from home,
we couldn’t get the air to him;
and though today he’s all the earth
and sky for breathing-space and breath
the whole damn troposphere can’t cure
the flutter in his signature.
But Jamie, nothing’s what we meant.
The dream is taxed. We all resent
the quarter bled off by the dark
between the bowstring and the mark
and trust to Krishna or to fate
to keep our arrows halfway straight.
But the target also draws our aim -
our will and nature’s are the same;
we are its living word, and not
a book it wrote and then forgot,
its fourteen-billion-year-old song
inscribed in both our right and wrong -
so even when you rage and moan
and bring your fist down like a stone
on your spoiled work and useless kit,
you just can’t help but broadcast it:
look at the little avatar
of your muddy water-jar
filling with the perfect ring
singing under everything.”
― Rain
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