Today would have been her seventy-third birthday. Twelve years now since cancer claimed her—twelve years of birthdays marked by absence rather than presence.

I sit outside the church, the priest’s sermon about vigilance carrying through the open doors—about being ready for the master who may come at any time—and I find myself wondering about the mathematics of grief. How we measure loss not just in what was taken, but in what was never given the chance to be.

She never held any of her grandchildren—never saw their first steps or heard their laughter echo through rooms she would never enter. I sometimes think about how she would have delighted in each of them, told them stories about when we were young, spoiled them with that particular tenderness grandmothers possess. It’s all enshrined in a life that never unfolded, a life I wander through only in my mind.

The distance grows in both directions: we drift from those we’ve lost just as surely as they fade from us.

In those first raw years, I dreamed of her often, as she was before the illness took hold—moving through familiar spaces, speaking in that voice I was desperate not to forget. But the dreams come less frequently now. The details erode: I have to work harder to recall the way she laughed, or the precise inflection she used when saying my name in exasperation.

Maybe this is the cruelest mathematics of time—how it heals by slowly erasing, how it grants us the grace of moving forward by making the past ever more muted. We don’t mean to let them fade. We simply cannot bear the full weight of their absence with the same intensity forever and still manage to live.

I wonder what she would think of who I’ve become. Would she recognize the adult I am now, shaped by a dozen years of decisions she never witnessed? Would she approve of the choices I’ve made?

Sometimes I wish I could slip sideways into that other life—the one where early detection meant everything, where treatments worked, where seventy-three candles illuminate a room filled with her voice and laughter. Where grandchildren climb into her lap.

But wishes are just another form of mathematics, and the numbers never add up the way we want them to.

Instead, I stay here with these memories, the sermon’s words carrying out to where I sit. I think again about the mathematics of grief—how the equation is never solved, only reckoned with over and over.

Love doesn’t require presence to endure. Only the willingness to keep adding to it, year after impossible year.

Return of the Runebound Professor
For Noah Vines, death isn't the end. It's a weapon. After standing around in the afterlife for thousands of years, Noah is all out of patience. When the opportunity to steal a second chance at living arises, he doesn’t hesitate. Reincarnated into the body of a dying magic school professor, Noah finds that he took more than just a second chance. He got infinite. Every time he dies, his body reforms. Lives are a currency, and Noah Vines is rich. With countless variations of runic magic to discover and with death serving as only a painful soul-wound rather than a final end, Noah finally has a chance to wander the lands of the living once more. This time around, he plans to get strong enough to make sure that he never has to wait around in the afterlife again.

Machine tags šŸ·ļø: book:genre=litrpg, book:series=Runebound Professor, book:isbn=9798883124913

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I felt the book went quite slow with the worldbuilding. The level-up montage was dragged out a bit.

Yesterday, I was looking for a topic I knew I’d written about before. But I wasn’t sure if I’d ever published it. So I went searching — through my vault of old drafts, partial posts, abandoned ideas, and half-finished pieces. Organizing that vault has been on my "somedayā€ list for a while now. I keep putting it off.

And then I started reading some of the old drafts. It felt like walking back into a room I used to live in, one I hadn't entered in years. A room that I could navigate with the lights off.

And there it was—the piece I'd been looking for, sitting among all the others I'd abandoned. Which made me wonder: why had I left so many of these unfinished, unpublished?

I’d tell myself I was too busy. That the ideas had gone stale. That I’d moved on. But really, it was a quieter resistance. The kind that doesn’t announce itself but just lingers.

Writing, when it happens in the moment, feels fluid. Like catching a thought before it takes a more concrete shape. Rewriting, though — that’s different. It’s not just editing words. It’s stepping back into the mindset that made them.

That’s when I understood: rewriting isn’t polishing. It’s time travel with consequences.

Reading old writing isn’t just revisiting the words. It’s meeting the person who wrote them. The turns of phrase I thought were clever. The tone I thought struck the right balance. The ideas I believed were solid, maybe even worth sharing.

Sometimes I nod along; sometimes I wince. I catch myself wondering, not ā€œWhat was I thinking?ā€ — but ā€œWho was I trying to be?ā€

Rewriting asks for more than a better sentence. It asks what’s changed, not just in how I write, but in what I believe.

Some pieces I revisit and think, ā€œYeah, I still mean this.ā€ Others… I hesitate. The words are fine, but the person behind them feels distant. And that’s the hard part.

Editing, when it’s honest, isn’t just improving. It’s letting go.

I still don’t love going back. Some drafts feel like fossils. Others feel too close, like they’re still breathing. But I’m learning to treat them with care.

Revisiting those moments isn't just about cleaning them up. It's about listening to who I was, so I can respond with who I am now.

Each one holds a version of me — what I noticed, what I believed, what I thought was worth capturing.

So yes, rewriting is time travel with consequences. And one of them is meeting yourself again...

Banner image is Saint Jerome in His Study by Albrecht Dürer.

When They All Looked Up by Kate Rusby from Spotify
This marks her first collection of brand-new material—outside of her beloved Christmas albums—in six years. Featuring a stunning mix of original compositions and reimagined traditional songs, the album showcases Kate’s signature warmth, storytelling, and unmistakable voice, which remains as breathtakingly beautiful as ever, even after 30-plus years in the industry.
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It's been a long while since I listened to an album without doing something else at the same time. Just sitting, doing nothing but listening.

After driving for eight hours, I was tired. I didn't want to take a nap. So I lay down on the bed, drew the blinds, switched off the lights, and wanted to simply relax.

While browsing Spotify, I realised I hadn’t listened to Kate Rusby’s latest album, When They All Looked Up, since it came out. I hit play and closed my eyes, letting the Barnsley Nightingale sing me into stillness.

Today Again reminded me why I started listening to her. I got the same goosebumps as when I first heard her sing. That song felt especially personal—a balm for my tired, restless soul. And when Let Your Light Shine played, I felt strangely at peace with everything.

I realised that while music has always been a constant background in my life, it’s been years since I simply sat down to listen—really listen—to an album.

As I trundled through my memories trying to think of any recent times that I listened to music for the sake of listening, I was bereft of any such memories. The only instance I could think of was listening to James Blunt whenever I have a headache; it seems to alleviate the pain though I'm not sure why.

When did I become too busy to spend an hour doing nothing but listen?

Deadworld Isekai 3 by R. C. Joshua
The third installment of a story of triumph against all odds—in a world where everything is odd. When Matt was first sent to Gaia—a lifeless garden planet that had been consumed by system meddling—his only goal was to stay alive. Through a combination of grit, ingenuity, and a lot of help from his guardian, Lucy, he’s managed to not only survive the worst but also thrive in a way that’s revived the original Gaians. Now, others need Matt’s help as well. He once had a choice between Gaia and Ra’Zor, also known as the ā€œRealm of One Thousand Bleedings.ā€ He picked Gaia, but these days Ra’Zor is calling to him. Teleporting to the new planet, he finds himself at rock bottom in terms of both power and knowledge. The challenges don’t stop there. Ra’Zor is replete with hosts of demons who kill humans without mercy, led by a demon lord who’s nigh invincible. For the humans’ part, the masterminding Church seems to have an agenda of its own . . . one that doesn’t exactly sit right with Matt. On the other hand, the system running the planet seems to really, really like him. And that’s what scares him the most.

Machine tags šŸ·ļø: book:genre=litrpg, book:isbn=9781039469617, book:author=R. C. Joshua, book:series=Deadworld Isekai, book:genre=science fiction

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As the final book of the trilogy, I felt that this tied up the storyline well. Though there is an option to build the story into a never ending series like other litrpg books, I felt this was a good enough point for the story to end,

Deadworld Isekai 2 by R. C. Joshua
When Matt Perison first came to Gaia, everything was wrong and dangerous. He was promised redemption and repayment for dying of cancer, but that turned out to be a lie. He was promised a nice place in which to exist, but instead he got death. He was promised, in all ways, good. But what he has, in all ways, is bad. He’s made the best of it though. Aided by his system guardian, Lucy, and the dungeon system itself, Barry, Matt began to build a life for himself. He’s getting pretty good at surviving in a place where nothing else is alive. But surviving isn’t all there is. So Matt’s finding the time to make improvements to his new home. And he’s beginning to have hope that tomorrow will be a better day. There’s only one snag. The system instance on Gaia is out for revenge, and a nightmare from Gaia’s distant past is returning to wreak havoc once again. Now, Matt has to learn that life is about learning how to thrive—and finding a way to do so when even survival is in doubt . . .

Machine tags šŸ·ļø: book:genre=litrpg, book:isbn=9781039469587, book:author=R. C. Joshua, book:series=Deadworld Isekai, book:genre=science fiction

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The further adventures of Matt Perison continue on Gaia..

Deadworld Isekai by R. C. Joshua
In this isekai from the author of How to Survive at the End of the World, a man is sent to save a dead planet . . . a couple thousand years too late. Matt’s in the prime of his life. So when his doctor tells him he only has months to live, he figures it’s just really bad luck. But it’s about to get a whole lot worse. When Matt’s Earthly form finally expires, a truck-avatar system gives him the opportunity to become a hero on the paradise world of Gaia, a supposedly verdant, rich land teeming with plants and potential. What he finds instead is a place completely bereft of life. A literal dead planet. Thanks a lot, truck. Now, Matt’s going to have to figure out not only how to survive in a completely barren realm but also how to not go completely mad with a full load of stats, skills, and levels that might mean absolutely nothing. Unless there’s actually something out there after all . . .

Machine tags šŸ·ļø: book:genre=litrpg, book:isbn=9781039469563, book:author=R. C. Joshua, book:series=Deadworld Isekai, book:genre=science fiction

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I loved this premise of an isekai gone wrong. I picked this up to fight off a post-prandial stupor. Though I failed to prevent myself from sleeping, I managed to finish this before midnight.

Today, Max asked me to look at his descriptive writing assignment from school. He didn’t really want help. Not really. He just wanted a quick fix. A skim-and-sign-off.

But he chose the wrong parent.

He flopped beside me on the bed, reluctant. I scanned his draft and saw the usual: a decent attempt, a few bright spots, but mostly scaffolding, words and phrases repeating. It read like someone trying to finish a thing, not someone trying to say something. To show something.

I quipped, ā€œWriting’s easy. Rewriting is the hard part. And it always takes more time than we want it to.ā€

That didn’t go down well.

Luckily, his book had a passage from Jane Eyre. I asked him to read each sentence out loud and then tell me what that sentence was about and how things were described. His reading was flat, each sentence dropped like a stone. I could tell he wasn’t listening to himself.

ā€œWhat does that sentence say?ā€ I asked. A shrug. ā€œSomething about... the unoccupied bedroom?ā€

IMG_20250728_202710

Later that evening, I kept thinking about it — not just the parenting part, but the writing part. That kind of descriptive writing — the kind that wraps an image around you, the kind that slows you down — feels rarer these days.

Outside of fiction and the occasional well-written essay or newsletter, you don’t find sentences like that often. Even in long-form spaces like newsletters and blogs — places without social media character limits or Instagram's visual priorities — writers seem to default to shorter, punchier sentences. Shorter paragraphs. Shorter sentences. Quick hits. Fast reads. Sometimes that’s good writing. Often, it’s necessary. But something gets lost in the speed and efficiency of it all — the layering, the rhythm, the careful unfolding of an idea or a scene.

Maybe our attention spans are to blame. Or maybe we’ve been trained by character limits, previews, and scroll-friendly design to read in blinks and fragments.

I found myself wondering if I was witnessing the end of something almost medieval — the notion that a sentence could be a dwelling place rather than a thoroughfare, somewhere you might pause and unpack your thoughts like settling into a favorite armchair, letting clauses accumulate and ideas unfold in their own unhurried time, the way this very sentence insists on taking the scenic route while Max's generation has already moved on to the next notification, the next swipe, the next dopamine hit.

Quick, clean, done.

A Minecraft Movie | šŸ”— imdb.com |
Four misfits find themselves struggling with ordinary problems when they are suddenly pulled through a mysterious portal into the Overworld, a bizarre, cubic wonderland that thrives on imagination. To get back home, they'll have to master this world while embarking on a magical quest with an unexpected, expert craftier.

Machine tags šŸ·ļø: movie:imdb=tt3566834

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Max wanted to watch this in the theatre; we couldn't find the right time for it. So when Max said he wanted to watch it as a Sunday night movie, we found it available for rent on Prime for 150 bucks (cheaper than a small šŸæ at the theatre!).

Frankly, I wasn't the right audience for it. We had to pause every few minutes so that Max could point out easter eggs in the movie. I thnk he was getting back at me for the easter eggs I had pointed out to him when we watched The Fantastic Four: First Steps a couple of days back.

The Fantastic Four: First Steps | šŸ”— imdb.com |
Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world. The Marvel's First Family (Reed Richards, Sue Storm, Johnny Storm and Ben Grimm) as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus and his enigmatic Herald, Silver Surfer. And if Galactus' plan to devour the entire planet and everyone on it weren't bad enough, it suddenly gets very personal.

Machine tags šŸ·ļø: movie:imdb=tt10676052, movie:series=Fantastic Four

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Saw Fantastic Four: First Steps in IMAX at Luxe Cinemas last night with Max. Really enjoyed it!

This one felt much truer to the 60s retro-futuristic aesthetic, which was a refreshing change. I thought it was a significant improvement over the earlier adaptations. The visuals, costumes, and music all felt new and distinct from other Marvel films.

Definitely a worthwhile opening weekend experience! The theatre went wild with loud cheers when Dr. Doom makes an fleeting appearance.

Luxe Cinemas