van·​guard
Noun; 1: the forefront of an action or movement; 2: the troops moving at the head of an army

"Heroes like this that you have never heard of before now are going to start coming to the forefront. They are the vanguard of saving this republic."
https://t.co/JJ10XjT85e

Well, folks, the reason I haven’t been sharing many short clips from my morning readings lately is that, well, I’m in chapters 11-17 of Ezekiel. They involve complicated visions that don’t lend themselves to Twitter threads. But at the end of my reading today in Ezek 17,

God delivered a word to the prophet depicting a theme that may be uncomfortable but it’s not incomprehensible.

“I bring down the tall tree and make the low tree tall. I cause the green tree to wither and make the withered tree thrive. I, the Lord, have spoken and I will do it.”

God’s got this thing about pride. He does not let it go unchecked. When his people continue in arrogance after multiple warnings, he is going to bring them down. He will turn the tables. That which has been high will be brought low. This is why we are told by both James and Peter

in the NT that God opposes the proud but gives grace to the humble. We need his grace so badly. Repentance is our only real way forward. He also views idolatry as spiritual adultery. This was the case in the judgment that was coming to his people through the Babylonians.

We are caught in a cycle. We keep repeating the same offenses and keep excusing them the exact same ways. Study even just the last century. I beg you to. Face how we evangelicals have bedded down with worldly systems for power. See how every time prophetic voices confronted us

Time once again for my occasional series "Women with great hair fleeing gothic houses!"

And today all the covers are by Walter Popp...

Crucible of Evil, by Lyda Belknap Long. Avon Gothic Original, 1974. Cover art by Walter Popp.

Hornet's Nest, by Evelyn Bond. Avon Gothic Original, 1972 Cover by Walter Popp.

The House In Munich, by Dorothy Dowdell. Avon, 1974. Art by Walter Popp.

The Secret Of Chateau Laval, by Susan Marvin. Avon Gothic, 1973. Art by Walter Popp.

So I was talking to @gewt about Job: A Comedy of Justice and I came up with a theory that I think explains why Heinlein's late-period work is so kinda-terrible and why I still enjoy it so much

So Heinlein had always been very interesting in the short parts of his novels, like the little snippets inside chapters. He had a very fun writing style, and wrote some fun dialogue with fun characters, right?>
It probably comes from how much of his early stuff was short fiction

And I think what happened with a lot of his longer works is that he'd just start writing fun bits and hope it would end up going somewhere or having a bigger plot by the end. like eventually he'd figure out where this was going, then go back and rewrite it into a cohesive whole

and I'm sure he had editors that'd help this process. No editor would let you publish something as rambly and changing-gears-every-other-chapter as The Number Of The Beast, for example... unless you were God-King Of Science Fiction 1980s Robert Heinlein.

so basically I think what happened is that by the 80s (when he was in his seventies!!) he lost the drive to go back and rewrite and he was too Untouchable for editors to make him.

One of the most Monkey's Paw things about my life is my relationship to books. When I was a teenager, I read all the way through the school and public libraries, spent everything I had on books, and still couldn't get enough and dreamt of more.

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Today, as a reviewer, I have more books than I can possibly read, huge, teetering mountains of books that I'm desperate to read, far beyond my ability to ever get through them. Periodically, I declare "book bankruptcy," sweep away the backlog and start over.

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Even then, my eyes are bigger than my stomach: I keep back a few books that I can't bear to part with and promise myself I'll read them someday. Usually I don't, but I just did, and boy did I ever make the right call with @TheUniverse's BROAD

I have read a LOT of histories of computing, and I had a front row seat for a lot of the events depicted in this book - people I worked with, people I worked against - and yet I was surprised over and over again with details and perspectives I'd never encountered.

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For example, for some reason, my ninth grade computer science course included lengthy readings on ENIAC, Univac, the Mark I and the Mark II, but none of those mentioned that they were all programmed exclusively or primarily by women.

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