Waverly knew exactly what she meant, not just the time she was referring. But all the time since then, the feeling of connection, even across an empty space. It was electric and she had felt it too. As she thought about those memories, she walked right into Nicole. The day had been catalytic, with one thing after another falling in and out of place, until finally, she stood her now. Waverly pressed her whole body against the woman, her mouth, her chest. Nicole stood up slightly and lifted Waverly to her tiptoes.
Waverly pulled off her silver top and Nicole lent a hand. She stopped halfway through the movement. She laughed. Nicole could sense Waverly's embarrassment and felt the need to explain. Waverly, honestly, when I come home I need to completely shed work. This is my routine, ditch the uniform, turn on my music, have a bite of chocolate and a little whiskey. But I am a creature of habit, surprise! You make me feel impulsive. Waverly's hands travelled the curves of Nicole's ass and waist with a firm grip that caught Nicole off guard in its confidence.
Nicole lifted her leg to give her a better reach. She was so wet and soft. Partially because it came so naturally, but it was more than one friend who told her she was avoiding heartbreak making them come and get it. The gay boys, they loved it.
They just flock to you. She did love to flirt and so did Waverly. So, this was going to be fun. She led her into the bedroom, notching the music up two notches as she passed by the stereo. I've read a lot of great Wayhaught FF where the slow burn continues after the collision on Nedley's couch. I love that idea, but I wanted to do a story, where they both dove into the physicality of their relationship right away.
Get an Invitation. Chapter Text They drove a short way to a row of small, neat houses in the old part of town. Waverly could feel the officer slowing her down. Well, maybe a little better. Not, not maybe. Waverly asked Nicole, "You don't have a third date rule, or anything? Is that some sort of code? I am missing out on something really excellant? Views Read Edit View history.
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Aziza Uncharted Territories Yet he's somehow never lost the ability to embrace expressive tunes or to weave a handrail of familiarity into his sonic constructions: perhaps that's why "Wire" types don't seem to go for him. It's a tour across a loose-but-affecting composing and performing imagination that ranges with restless compassion across a wide field - sometimes skittering, willful flamenco performance; sometimes sounding like Cocteau Twins doing home improvements in the Mediterranean; sometimes the sort of individual, humanistic New Music improv you'd expect from someone like Simon H.
Fell or Fred Frith. Where technology does play a more direct role, Hall's humanity doesn't falter or go under. Some tracks, fleshed out by sound-loops and D. Weirdest and most satisfying of all is "Fahrenheit " where juddering guitar, saw sounds, the shriek of a whistling kettle, and treble-y scratching all mix like toxic vapours under heavy pressure and plaster your neck hairs back against your rising hackles.
Horribly enjoyable. The theme was the blight of communities and architecture by crappy British urban programming, and it comes across: pulses of frustration and alienation hurl themselves against the confines of the music, and Hall's panic-stricken playing conjures the nightmare of new roads and buildings swarming over beloved landscapes like a horde of locusts. In the sleeve notes, Hall gives a blood'n'guts description of the struggle it took to get "The Estates" together.
Some of the manufactured instruments, apparently, continue to drift through the art world with a life of their own. The piano frames were last seen as part of a "fire sculpture", still counter-invading the architecture. The scattered effects of the attempt to capture all of Hall's ideas across a single CD does mean that "Mar-Del-Plata" narrowly misses the Thing of Wonderhood it's aiming for, but its a close-run thing.
To make the record, Hall teamed up with binaural recording whiz Mike Skeet, whose voice you can hear running up stairs and heading down in lifts, bookending the concert with the nattering enthusiasm of a "Playschool" presenter, and popping any remaining hopes of arty detachment.
Still, it adds to the warmth of the atmosphere Hall's live playing induces, and Skeet's superb recording techniques his miking technology directly mimicking the reception of ears on a human head presents the music in the enveloping, directly tactile environment it requires.
Except for the oddly truncated applause and the removal of Hall's shy, uncontrived audience chat, it's as close to one of his concerts as you're going to get without leaving your home.
Compared to "Mar-Del-Plata's" more assured sonic constructions, "Marks On The Air" is less sophisticated, more risky and equally ambitious: a one-man show relying on how much G. But with four big speakers and the usual collection of guitars, pedals and unorthodox guitar-abusing sundries, he's at least well-armed to do that.
And the clean rattle of his drum machine lends the whole enterprise an endearing extra dimension of naivety. Live, he can be tempted into more direct, rockist statements, as is shown in the tremendous scrunch of flamencoid six-string bass in "Flying Ants"' - gypsy guitar with helicopter blades for fingernails - which flicks between tremendous chocolately gurgles of sound and impenetrable hedges of distorted overload.
There's a strong sense, again, of his pictorial approach to music. Towards the end there's a moment when it all stops but for a faint swirling echo, as if the whole desert was looking upwards; before the mass of sound crams back in again, like a cloudburst.
Best of all, perhaps, is the build-up of "The Lonely Road". The human focus comes in via the twanging, panging Frisell pluck of Hall's guitar, and especially from the endearingly rough burst of busker's harmonica that wafts over the floating sorrow, brave and defiant, answered in kind by the elephant-trumpet of a rotary-saw sound.
All in all, despite the odd bit of bluster, "Marks On The Air" goes further towards expressing Hall's gently appealing emotional nakedness as player and creator. What he sometimes loses in the grace stakes, he gains back in honesty and sympathy.
And further hints into the private man are suggested by "Alcharinga's" deep pulsing chant in which guitars are abandoned altogether in favour of throat- singing through an old answering machine mike or "Marks On The Air" itself: a long, mournful classical study swept back and forth in eddies of echo, resigning itself beautifully to its own impermanence.
Hall manages to be the garage player among the avant-garde, the warm- hearted soft touch among the arthouse players, the naive wonderstruck kid in the crowd of post-adolescent posers, the transfigurer of the straight, and the benevolent ghost in the machinery. Not a bad set of credentials, at that. Review Quotes "fearsome industrial noise abstraction, thundering beats and the most delicate of solo acoustic meditations Air turned into light.
Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy.
Energetic Happy Hypnotic. Romantic Sad Sentimental. Anyway, two stars. Jun 11, Julie Davis rated it really liked it. A short and witty story by Connie Willis. Carson and Findriddy, are planetary surveyors who have their hands full doing a map of uncharted territory on Boohte. The book clearly makes fun of political correctness as the government nicknamed Big Brother is intent on being sure that indigenous species have the fullest power possible over their planet.
Right down to the point where Bult, the indigenous guide, spends most of his time levying fines for things like "destruction of indigenous Right down to the point where Bult, the indigenous guide, spends most of his time levying fines for things like "destruction of indigenous flora" when one of the surveyors steps on a plant. The unspoken uncharted territory this novella explores is that of the human heart as various pairings of people come and go as well as consideration of various mating tactics.
The romance and mating is all approached without physical contact or crudeness as it is displayed during a scouting expedition which introduces a new person to the planet while trying to figure out how the indigenous people built The Wall which divides a great part of a major land mass. Most enjoyable and highly recommended.
Jul 28, John Defrog rated it it was ok. The premise is nice: planetary surveyors Finriddy and Carson are scouting the planet of Boohte. Nov 04, Michael rated it liked it. I came to this book fresh from Doomsday Book , which is marvellous, determined to read everything Connie Willis ever wrote, and I was very disappointed.
It's full-on sci-fi dealing with hyper-bureaucratic aliens on a distant planet, with plenty of mordant humour and many an irreverent swipe at political correctness. I have to say it's as good as sci-fi gets; I'm just not the audience for it.
I assumed it was from a less mature Connie Willis, from her early days of writing straight sci-fi, but it's r I came to this book fresh from Doomsday Book , which is marvellous, determined to read everything Connie Willis ever wrote, and I was very disappointed. I assumed it was from a less mature Connie Willis, from her early days of writing straight sci-fi, but it's relatively recent.
I'd recommend reading anything else by Connie Willis first. She's really very good, but this is her worst that I've encountered. Jun 13, Leah rated it really liked it Shelves: fantasy , adventure. Great fun, intelligently deceitful, and ever so slightly too long.
Her characters are instantly recognisable for their vim and vigour and resourcefulness, their slightly one-track-minded insistence on things like naming places after them no matter how forbidden , and for their charming obtuseness in the face of overwhelming evidence. The romantic potential is realised, of course, and the alien frontier mystery solved, but not without just a tad too much repetition of the facts for my liking. How Great fun, intelligently deceitful, and ever so slightly too long.
However, it is classic Willis, and I, of course, thoroughly enjoyed it. Jun 15, SR rated it really liked it Shelves: sf , fem-pov-characters , paperbackswap , colonization. Clever and snappy, and avoids the difficulty of Willis's later work where everyone is always interrupting each other for some important call or another. The dynamics of the exploration crew are realistically hilarious, and the commentary on media coverage of romanticized jobs is really funny.
I'm glad I found this! Jan 04, Joanne G. Connie Willis can't be put into a box. I never know quite what to expect from her, but it's usually entertaining. As was this. Odd, but entertaining.
I read this in the omnibus Imperfect Futures. Dec 07, Will Boncher rated it liked it. Short and cute; finished it in a couple of hours. A few interesting bits, and a couple surprises, but it felt very incomplete. Jul 14, Vel Veeter rated it liked it. This is another genre-bending novel by Connie Willis. In this novel, an alien planet This is another genre-bending novel by Connie Willis. In this novel, an alien planet is being explored by a crew of academics with the help of a genderless indigenous guide.
As new crew members show up and as the dynamics of the crew shift, the different characters start to realize that their various concerns are also shifting. Again this novel feels interesting but ultimately kind of slight when it comes down to it. I think if this is were merely one part of a larger collection, like the long novella at the heart of a short story collection then it would work.
I will eventually get to more Connie Willis when it comes to it, but this feels like a blip on the radar for me. Jul 18, grundoon rated it liked it.Uncharted Territories is a two-disc studio album by English jazz bassist Dave Holland together with saxophonist Evan Parker, percussionist Ches Smith, and pianist Craig Taborn. The album was released on May 11, via Holland's own Dare2 Records label.