Neil Gaiman shared this link on Twitter yesterday; it covers interesting backstory about how a then mostly unknown Tori Amos came to write “Tear in Your Hand” after reading a borrowed copy of “Calliope” (Sandman #17) in 1990, and how complementary shout-outs ended up in subsequent issues of Sandman (most notably the fact that “Tear” is playing in the background a few years later, in issue, #41).

Rantz tells the story well. Go read it.

Back in March, I talked to you about THAT IS ALL, John Hodgman’s final volume of complete world knowledge. If you’re interested in that book, it might be worth your while to check out the audiobook instead, because it is brilliant.

The link there goes to a review that goes into detail about the evolution of Hodgman’s voice, which is something I had intended to do in my blurb but ended up leaving off, largely because I wasn’t sure how much of what I thought I was seeing was in the text, and how much was colored by casual interaction with Hodgman on JCCC3 (where, obviously, he wasn’t “in character” all the time).

This is spot on, though:

Without giving too much away, you should know that That is All makes its crucial Turn when Hodgman stops writing as a familiar character, and begins writing as what we might guess is “himself,” whatever that means for a writer who is so aware of his changing status and thus his changing voice. Taking on a new voice, one that is so unselfconscious, is surely a vulnerable place to be after so many years occupying jokey versions of himself — we’ve heard Hodgman as a Former Professional Literary Agent, Resident Expert, Famous Minor Television Celebrity, and finally Deranged Millionaire (if you aren’t familiar with these, read your history). Now we are hearing from the post-post Hodgman — in other words, beyond the narrator-in-character writer there is a Hodgman voice we’ve been waiting to hear from again (I remember this voice from before his first book), and boy does it hit home. The book’s brilliant conclusion, telling the story of the metafictional Anne Darling Egan, serves as a transition not just in the book, but in Hodgman’s career — it suggests what Hodgman will do next, after the end of this series of postmodern characters. I have no inside information, but listening to the long segment preceding the closing song, I couldn’t help but think — Hodgman has a novel in him.

What I conclude from That is All is that Hodgman’s Deranged Millionaire character was gaslighting us the entire time. The truth, of course, is that Hodgman himself is a genuinely kind person who uses character as a way to express himself with a kind of wry, safe detachment. His recent Derangement is a fun side-note in the arc of his career, but careers aren’t what matter. What matters is that we do what we love, that we are with the people we love, and that we do our work surrounded by friends — that is what Hodgman has been doing by bringing in Paul Rudd and Jonathan Coulton and running gags that span dozens of hours of audio and years of work — he’s demonstrating to us what is most meaningful isn’t the jokes, it’s that those jokes are shared.

If you (a) enjoy good writing, (b) enjoy Iain Banks, and are sad he’s gone, or (c) just love Formula 1, then you should definitely go read this. Here’s a bit:

It’s all about the power, and weight transfer. The F1 cars weigh 600kg. In a Lamborghini Diablo – a maniac, kaka off-a-shovel device if ever there was one – each bhp has nearly three kilos to move around. In what we’re to be driving, each horse only has to shift 800 grams. Under acceleration drivers get hit with 2.5gs, under braking it’s four gs.

[…]

‘Allez! Go!’ Clutch out.

The sound assaults. I feel like a shell in a gun. The car leaps forward like a Navy fighter slung from a carrier. Feather slightly, pull back on the right paddle for second, exit pits. Assume the line. First gentle corner again, burst of – Holy shit! – power, then the counter-intuitive braking. It’s not really counter-intuitive, it’s just counter to anything I’ve learned in a road car, apart from how to do emergency stops. You stamp on the pedal. And stay stamped. It’s 40kg of pressure called for in the F3s; 80 in the F1s.

‘I brake, I wait’ Stephan said. The first part of the braking zone is the one place in each corner you have even the most microscopic amount of time to think, because initially, brake is all you do. Meanwhile, having just rearranged themselves after acceleration and then cornering, your internal organs struggle to find yet another novel configuration. I suspect bits of my insides that didn’t know the other parts existed have found themselves on term close to intimate, all jellied up together like passengers in a tube train. I start changing down (not too fast, or the engine blows up). Apex. Push the accelerator delicately, smoothly, trying to keep the whole foot on it, not just the ball. The LCD screen swings the revs on a ballistic curve from left to right, starting at 3000 and ending at 13,000rpm. The power…is crushing, awesome, frightening, dazzling. And synesthetic; over-spilling to invade and co-opt the sense that don’t appreciate it from first principles, obliterating divisions in the mind, searing tis impression forever into the deepest places in the memory. The car reacts instantly to every input like it’s responding to intentions, not actions.

Author Joe Hill decided to try out one of those “You Write Like ____” sites. Madcap hilarity ensued.