February 2023 Reads
AUSTIN OSMAN SPARE: THE LIFE AND LEGEND OF LONDON’S LOST ARTIST by Phil Baker
Fun stuff, but 80% of artist biographies are basically “stayed home, drew” so the interesting bits are on the periphery. That periphery here involves occultists, the world wars, the end of one world, the start of a new, and the rise and fall of art movements. Reading about art magazines from the early 1900s is similar to reading about feuds in any zine scene except involving WB Yeats and George Bernard Shaw. And then there are the wizard fights in 1950s London in which everyone is taking some nonsense completely seriously. It’s a fun read even if it’s mostly a downward spiral about people over-thinking having a wank.
TO WRITE AS IF ALREADY DEAD by Kate Zambreno.
An autofiction novel far from my usual wheel house. It’s a novel about not writing a novel, friendships after friendship, and pandemics after pandemics. I liked it but felt like a stranger exploring an unfamiliar genre landscape. Not sure how much of this I could read in a row. Also, modern philosophers should all be forced to wear clown clothes.
LEECH by Hiron Ennes
This read like Gormenghast/Fifth Head of Cerberus narrated by a surgeon who happens to be John Carpenter’s The Thing. (The world of the story has universal health care but all the doctors are infected hosts for the Thing keeping tabs on the world, which I thought a neat idea.) Some gory body horror scenes as you’d expect. CWs abound: infestation, bodily autonomy, abuse of multiple sorts, a gory birth scene, dogs survive but children don’t. It’s a horror novel. I liked it!
OPERATION SOLSTICE RAIN by Kai Tave (Massif Press)
I remain impressed by the modules made for the Lancer TTRPG. This one is an introductory adventure where the players get caught-up in a diplomatic mission gone bad. I am not much of a fan of military SF, but Lancer could make me one. Not that I would ever run a game, but play? Certainly a definite maybe.
Some Yesterweird Books
I make it a habit to check new uploads to Project Gutenberg.
Some recent highlights:
Freak Trees of the State of New York by Gurth Adelbert Whipple. Gurth Adelbert Whipple is a great name. Here people send Mr. Whipple pictures of freak trees and Mr. Whipple decides the freakiest! “Treebeard, you so nasty!”
Was It a Ghost? The Murders in Bussey’s Wood : An Extraordinary Narrative by Brent. This is about this awful murder case in Boston that features a criminal named “Scratch Gravel”. The Jamaica Plain Historical Society has an informative write up of the case.
Early British Trackways, Moats, Mounds, Camps, and Sites by Alfred Watkins. I love the cover. Leylines come from this book but it’s likely Mr. Watkins would not be happy to know what the New Age Movement has done to his theories,
Meanwhile on the Patreon, I’m doing a read through of JK Huysmans Against the Grain. It’s a novel about a guy who doesn’t leave the house and is great fun. You can join here to follow along. You’ll also get access to the game stuff I make before it shows up on itch and elsewhere. (Or while it’s a WIP that hasn’t come together yet. Looking at you Champion’s Mark, my Orlando Furioso inspired fantasy supplement.)
Later this month I’ll be releasing an adventure inspired by all the UFOs and “spy” balloons the USA has been shooting down lately: Balloon Tomb of the Ancient Aeronaut. It’s designed for Into the Odd and has players exploring an ancient airborne bouncy castle. Join my Patreon and you can grab that now!
Books January 2023
Here’s the stuff I read and liked in January 2023.
Under Hill, By Water by Josh McCrowell
My gaming group’s current game. It’s silly. It’s fun. It suits what my group wants from games at the moment. And the Shire we’ve made has become something of a playground for revolving GMs. This is good. If your game group likes to have a small game on the back burner in case someone needs to take a break this game is perfect for that.
Inspiration for my solo game One Too Many.
The Peripheral by William Gibson
I enjoyed this, but could understand someone putting it down. The plot feels driverless. The idea of it, however, is fascinating. It’s hard to explain what’s going on in it. Basically a version of time travel exists but it only allows signals to pass between eras. This means it’s possible to skype and remote work in different timelines. And then of course there’s a murder.
A Stitch In Time by Andrew J. Robinson
A Star Trek novel about Garak written by the actor who played him. It shares some DNA with John Le Carre’s earlier (more genre) novels. Plotwise it’s pretty jumpy, but, honestly, Garak’s the only Star Trek character where shame and self-loathing are integral to the character and I can relate to that. I hear all this got retconned out of existence by the Picard show, which is too bad. It’s a fun read.
The Last Days of New Paris by China Mieville
A novel set in the 1950s in a Paris where World War Two remains ongoing and surrealism makes literal weapons. This read as a love letter to the Surrealists, but the best bits had more John Blanche (of Games Workshop/Warhammer fame) than Max Ernst.
The Cadaver of Gideon Wyck by Alexander Laing
This was a weird novel. Written and set in the 1930s, it’s very much for readers who read Lovecraft a decade earlier but had then moved on to mysteries. Gideon Wyck is an awful professor at an isolated medical school in rural New England. His experiments are decidedly strange and he earns the animosity of most everyone he meets. Various events unfold and the whole thing walks a fine line between a natural or supernatural explanation. A decent read, but pretty grisly at times in a clinically medical way.
Orlando Furioso, Canto XLV
The penultimate canto… let’s do it!
To start we get some expounding on the nature of fortune and how “Good follows Evil, Evil follows Good, shame ends in glory, glory ends in shame.” Ruggiero has just wrought havoc upon the Greeks. Now he wants to sleep. He arrives at an inn but is recognized. The Greek king has him abducted, and the king’s sister urges him to treat Ruggiero harshly since he killed her son in the battle. In the end Ruggiero gets locked away in some deep dungeon full of snakes, where he’s chained around hands and feet and forced to eat moldy bread.
Back in France, word spreads about Bradamante’s oath to only marry a man who can defeat her in battle. This has made her parents furious. Much moping ensues.
Back in Greece, Prince Leon hears how the knight that defeated the price’s army is being held captive in a dungeon. Leon “loves” this knight because his kink is apparently masochistic self-destruction by proxy. He goes down to the dungeon with his assassin henchmen. They trick the gaoler to open the prisoner’s cell, then the henchman kills the gaoler.
They go into the cell where Ruggiero is on the brink of death. Leon professes his love/admiration for Ruggiero and together all leave the dungeon, Ruggiero pledging himself to assist Leon in any way he would wish. It’s about now that Bradamante’s challenge to any suitor reaches Leon, and he starts hatching a plan.
We can all see where this is going here.
Leon will accept the challenge, then he’ll have Ruggiero fight wearing his armor, then when Ruggiero defeats Bradamante, he’ll say it was himself and marry her.
When Ruggiero hears the plan he gets all torn and twisted. But chivalry is chivalry and his word is his bond and all that. He accepts and they head off for Paris. There’s a good bit here where Ruggiero hammers the edge off his blade so as not to harm Bradamante, while Bradamante sharpens her sword thinking she’s going to have a chance to kill Prince Leon.
The duel begins.
Bradamante’s doing her best, but Ruggiero is like a rock. This goes on all day. Finally the sun goes down, and since Bradamante couldn’t defeat the challenger it’s declared that she lost and was bested. Ruggiero however doesn’t stick around. Once he can he rides straight away returning to Leon. Leon’s delighted. He showers Ruggiero with hugs and kisses. Once that’s done Ruggiero rides off to mope in the nearest dark forest.
Meanwhile Bradamante’s pretty upset. She doesn’t want to marry Leone and is thinking of poisoning him. Fortunately, she has a pal in Marfisa who goes to King Charles and says Bradamante can’t marry Leone because she already married Ruggiero in a ceremony she witnessed. This sends the court into a tizzy. Prince Leone is disappointed but takes things in stride. It’s Aymon, Bradamante’s dad who is a complete ass over this news. How can a Christian marry a Muslim? Etc. Etc. Assholery.
King Charles can’t decide what’s what, so Marfisa steps in again and says how about we have Ruggiero fight Leone and decide it that way. Leon says that’s fine. He thinks he can have his secret knight fight Ruggiero. (Yeah, he doesn’t know the knight’s name only that he is a great warrior.) But when he gets back to his tents, there’s no Ruggiero there and no one can tell him where he’s gone.
One canto left!
CANTO SCORE CARD
Knights: Ruggiero, Ungiardo, Bradamante, Leon the Greek Prince, Marfisa, King Charlemagne
Awful Parents: Constantine the Greek King, Theodora his sister, Aymon, Beatrice
Swords: Balisard
Horses: Frontino
Henchmen: Assassin
Magic Items: Hector’s Armor
Orlando Furioso, Canto XLIV
We start with everyone in the hermit’s cell congratulating Ruggiero. When Rinaldo learns Ruggiero’s betrothed to his sister he’s delighted by the news. Unfortunately, Ariosto reveals the fact that their parents already pledged Bradamante’s hand to Leon, the Greek prince of Byzantium. Neither Rinaldo nor Bradamante’s knows about this yet, so Rinaldo has no reason not to be delighted.
I gotta hand it to Ariosto. He’s down to the last three cantos and he’s still going to introduce a love triangle.
Everybody goes back to France except Prester John who goes back to Africa. When he and his army get there all their magic boats and horses turn back into leaves and rocks. Astolfo flies back to France on the hippogriff, but releases it when he arrives there. This was part of his pledge to Saint John back in the Earthly paradise. His horn’s also lost its power. He reaches Marseilles just as everyone else is arriving. Charlemagne greets them all and there’s much rejoicing. The war’s over. The Christians have won. Everything is great, until Rinaldo mentions to his dad how happy he is to have Ruggiero as a brother-in-law. And that’s when the truth is revealed. Ruggiero’s practically a beggar. Bradamante can’t marry him. They’ve arranged her marriage to Prince Leon.
This triggers all sorts of trouble. Bradamante and Ruggiero get mopey and depressed, because of course they do. Rinaldo and Bradamante can’t disobey their parents. Still, Bradamamnte goes to Charlemagne and gets him to agree that no man may marry her unless they defeat her in battle. This angers her parents who drag Bradamamnte off to one of their fortresses. And this sends Ruggiero spiraling, and being the man of violence he is he figures the only way to solve this problem is to go to Greece and kill Prince Leon.
Leon and his dad are at the moment waging war on the Bulgars and doing all right. The Bulgars are nearly crushed, and would have been if not for Ruggiero showing up during the decisive battle. He rallies the Bulgars and sends the Greeks running. Unfortunately he can’t get his hands on either Prince Leon or his dad. But all his violence impresses Prince Leon, and the Prince falls in love with Ruggiero. Now that’s kinky! The Bulgars plan on giving their kingdom to Ruggiero, but he takes off after Leon before they can. They both take shelter in the same city. The ruler of it gets word to King Constantine, saying the mysterious knight who defeated his armies is here. The King wants the knight captured, and so…
Until next canto!
CANTO SCORE CARD
Knights: Ruggiero, Orlando, Astolfo, Oliver, Sobrino, Rinaldo, Marfisa, Bradamante, Prince Leon and his dad King Constantine, King Vatran of the Bulgars, Ungiardo (a vassal of Constantine’s)
Awful Parents: Aymon, Beatrice
Swords: Balisarda
Horses: Frontino
Mages: Holy Hermit
Orlando Furioso, Canto XLIII
This is a long canto mostly about cuckoldry. There’s been a good bit of that so far, but in this canto they dial the cuck to 11. (My apologies to everyone.)
If Orlando Furioso was the most popular novel for everyone in Europe for centuries and the basis of countless paintings, operas, and ideas, then much of Western CultureTM is based on the very cishet male question of “What’s my girl up to when I’m not around?”
“A husband who desires to know
All that his wife has ever done or said
Will from contentment fall to pain and grief
And never henceforth will he find relief”
When last we left Rinaldo was being tested with the cup of cuckoldry.
If he could drink from the cup without it spilling, then he could be certain his wife (Clarice) was faithful to him. But if the cup spilled… well, we all have internet connections don’t we? Rinaldo’s shook and doesn’t know what to do. Does he drink and test the truth, or does he not drink and believe what he wants is the truth? In the end he opts not to drink. His host commends him as that is the wisest choice. The one he wishes he had made.
And so begins a tale.
The knight fell in love with a wizard’s daughter. She never knew a man until she met him. But he had known many women. Still, he received the wizard’s approval and married the daughter. Five years went by in conjugal bliss. Eventually the wizard died, and after that a sorceress in the neighborhood fell in love with him. Her name was Melissa. I assume this is the same Melissa who’s helped Bradamante a few times so far. She seemed fine then, but in this story she’s the villain.
The knight rejects Melissa. So she changes her tactics and starts planting doubts about his wife’s fidelity in his head. She thinks it would be wise for the knight to test the wife by leaving town for a bit. Before he goes Melissa brings out the cup and explains how it operates. Our guy can drink from it fine before he leaves town. The test will be how it works when he comes back. Or so I thought, but instead he leaves, has Melissa change his appearance to that of neighboring cavalier, and then the two return in disguise flashing gold and jewels. In this disguise he badgers his wife and tells her he will give her all this wealth if he could sleep with her just once. She, at last, says yes at which point our guy throws off his disguise. The wife is shamed and the two are furious at each other. When the morning arrives, the wife abandons the castle and goes straight to the neighboring cavalier’s house where she now lives quite happily.
Rinaldo’s not so sympathetic to the knight and his response is an eloquent mix of “Sucks to be you” and “It’s your own damn fault, because even steel and stone can be made to break.” In the morning the sad knight gets his boatmen to row Rinaldo down river to speed him on his journey.
Cue Ariosto going tour guide for a bit. Sermise they passed. Then Figarola and Stellata, etc. There’s also a long bit about Malagigi predicting how one city will be raised to greatness, which is likely a place where Ariosto owned property. Eventually he starts thinking about the cup and whether he was right to not drink from it. The steersman noticed his brooding and asks what’s bothering him. Rinaldo presents his case and asks if he reasoned right. The steersman says he did, because it’s like this other story about a guy who sought to punish his wife for a crime he himself committed.
And so begins another tale.
This one is about a judge named Anselmo, his wife Argla, and a guy named Adonio. Argla loved Anselmo too much and too well, and that made Anselmo suspicious. Meanwhile Adonio was a young cavalier in love with Argla. He spends all his money trying to impress her, fails, goes broke, and has to leave town disguised as a beggar. On his way he manages to rescue a snake from some peasants then continues on his journey, wandering for seven years. After that time he comes back still in love with Argla and more a beggar now then when he left. It’s around now that Anselmo gets called out of town. Before he goes he begs and pleads with Argla to stay faithful to him. He has no reason to expect she will cheat on him, except his one insecurity and a prediction a fortune teller made. Still, the king bids him go, so go he must.
It’s around now that Adonio comes back to town, and as he does he stops by the place where he rescued the snake. Well, of course that snake was a sorceress in disguise and her name’s Manto. She’s going to repay Adonio for his help by getting Argla to fall in love with him. First, she coaches Adonio in all the right ways to behave, then she transforms herself into the cutest little dog. And not just any cute af dog, but a cute af dog that can dance and sheds gold coins and jewels when she’s pet. Thus armed, they go to town and before long Argla’s heard about the dog and asks to buy it. Adonio names his price and Argla accepts and…
“Adonio long enjoyed the fruit he plucked.”
By and by Anselmo returns and his fortune teller tells him how his wife definitely cheated. The news pierces his heart. He comes back and starts in on questioning, but doesn’t get anywhere until Argla falls out with her nurse and the nurse reveals the whole thing. Anselmo goes mad and hires an assassin to kill Argla, but before the assassin can do it Argla vanishes (due to Manto’s magic spell).
Assassination botched, Anselmo really starts fretting. Argla’s going to shack up with someone and he’ll be a laughing stock, or worse this someone will be a panderer and start pimping her out. OH NO! What to do? He sends messengers out searching for her and eventually goes to where the assassin said she disappeared. When he arrives he’s surprised to find a palace there with a hideous “Ethiop” outside. Anselmo asks who owns the place. The Ethiop says he does and would Anselmo like a tour. The place inside is full of gold and jewels and the Ethiop would part with it all if Anselmo would let him sleep with his wife. It takes a few attempts, but of course Anselmo agrees to pimp out his wife (just like he feared someone else would do.) Argla jumps out and is like “You hypocrite!” The Ethiop and palace vanish. The two make-up and decide to never talk about these events again. I don’t remember what happened to Adonio, but I suspect he got to keep plucking.
Tale done, Rinaldo and the steersman have a laugh. Then it’s back to Ariosto tour guide. Romagna, Filo, Ravenna, until at last Rinaldo reaches the island just as Orlando kills Gradasso and Agramante. They get Oliver out from under his horse, gather the bodies, and go back to Biserta.
Astolfo and Sansonetto break the news of Brandimarte’s death to Fiordiligi. She reacts as you expects she would by going completely ape-shit. Wailing. Gnashing teeth. Pulling out her own hair. They lock her up in her room.
There’s then a lot about Brandimarte’s funeral. Everyone cries. Orlando. Fiordiligi. Some guy named Bardino I first thought was a horse.
After the funeral Fiordiligi moves into the tomb and all the knights leave her there. They go to seek a doctor for Oliver. A sailor tells them about an island with a holy hermit on there and says that if anyone can heal Oliver it would be that guy, so that’s where they go. Of course this is the place where Ruggiero is and the hermit the same one who baptized him. There’s a reunion. The hermit heals Oliver. Sobrino, who’s just been hanging out with these guys who all recently tried to kill him, sees the miracle and converts to Catholicism right then and there. They then go to greet Ruggiero and learn what news he brings.
CANTO SCORE CARD
Knights: Rinaldo, Sad Cuckold Cup knight, Adonio, Anselmo, Orlando, Oliver, Astolfo, Sansonetto, Sobrino, Ruggiero
Damsels: Clarice? Unnamed woman in 1st story, Argla, Fiordiligi
Mages: Melissa, Malagigi, Manto, Holy Hermit
Magic Items: The Cuckold’s Cup
Orlando Furioso, XLII
We start in slow motion as Orlando watches Brandimarte fall. Fury once more returns to him and he stalks over to King Agramante and removes the king’s head before Gradasso can react.
Next it’s Gradasso’s turn and soon he’s dead. Sobrino this whole time bleeding out on the ground. Then Orlando goes to Brandimarte whose head is half split. His last word is “Fiordiligi” and then he’s dead. Orlando frees Oliver from beneath the horse and they return to their tents, carrying Sobrino along with them.
There’s a funny aside about a guy named Fulgoso who questions the accuracy of Ariosto’s story. A dude flew to the moon, bruv, and you’re hung up on whether Lampedusa was large enough to hold a fight between six knights?
That done Orlando looks out and sees a boat approaching. But before Ariosto tells us who that is, it’s off to Bradamante, who’s back to being all emo again.
I tell you. These two,
Bradamante and Ruggiero?
Complete trainwreck people.
Sure, they’re deeply in love, but the second they’re apart it’s like they’re expecting the worst of the other and ready to commit suicide. Bradamante is back to thinking Ruggiero hates her. She mopes to Melissa. She mopes to Marfisa. It’s Marfisa that tells her to get a grip. Ruggiero’s an honorable man. Etc. Etc. Bradamante is calmed… for now.
But what happens next is a complete side track. Ariosto switches to Rinaldo, who’s been chasing Angelica since the start of this book. He’s all messed up about her and sends people out to find where’s she gone. Eventually, Rinaldo seeks out Malagigi and that one uses his magic to discover how Angelica slept with Medoro and left with him for Asia. He tells all this to Rinaldo who does what all sullen men do when unlucky in love. They seek out someone to do violence upon. Rinaldo sets off east saying he wants to get his horse Baiardo back. He sets off and promptly encounters a monster.
This monster is a monstrous female figure covered in lidless eyes, ears, and snakes. This monster gets Rinaldo in her clutches and won’t let go, even when he tries to run away. He thinks all is lost, but before right before the end another knight rides up. He drives the snake away with his flaming mace. Then he takes Rinaldo to a pool where the waters will quench his thirst and free him from his obsession for Angelica. When Rinaldo asks the knight’s name, the knight says his name is Scorn, and like that he disappears.
I guess this whole interlude was an allegory about unworthy women should be scorned or something. Actually, this whole Rinaldo bit now and in the next canto is heavy with Kubler-Ross stages of grief for relationships allegories.
Rinaldo wonders what that was all about, but he’s glad to hate Angelica now and no longer love her. He continues on. Somewhere in Switzerland he hears how there’s to be a duel between Agramante and Orlando, and so he decides to make for that. Soon after he encounters another knight who offers to put Rinaldo up for the night.
It’s then that the men start talking about matrimony. We learn that Rinaldo has a wife. Night comes. Rinaldo and his host sit beside a great fountain where statues of women are kept on pedestals. This fountain gets described in intricate detail. All the statues give Ariosto a chance to commend the virtues of his female contemporaries. The host asks if Rinaldo wants to make a wager. Wager? Yes, wager. Does he think his wife is virtuous?
You see the host says he has a cup that spills before you can drink it if your wife is cheating on you.
What do you say Rinaldo? Care to see if you can drink from it?
CANTO SCORE CARD
Knights: Orlando, Brandimarte, King Agramante, Oliver, Sobrino, Gradasso, Marfisa, Rinaldo, King Charlemagne,
Swords: Durindana, Balisarda
Mages: Melissa, Malagigi
Damsels: Clarice (Rinaldo’s wife), Angelica (they’ve been slut-shaming her fierce, but she and Medoro got out of this the happiest)
Magic Items: Flaming Mace of Scorn, Cuckold’s Cup,
Monsters: The Monstrous Female With a Thousand Lidless Eyes, Scorn (looks like a knight)
Orlando Furioso, Canto XLI
In this installment we are once again reminded that things have names.
Knights have names.
Horses have names.
Swords have names.
Also much cross-cutting ensues.
On land Dudone knows he’s beat. Ruggiero hasn’t been giving his all. They decide to cease fighting. Dudone asks what Ruggiero wants as a prize and he says some of your prisoners. (There are seven Saracen kings here and they all have names I can’t bother remembering.) Dudone hands these people over and they along with Ruggiero set sail. As soon as they do the weather turns and before long they’re all stuck in a great storm. The captain and crew make to abandon ship. Ruggiero does the same. He leaves his armor, weapons, and horse behind and leaps overboard. Everyone else apparently dies, but he manages to swim to an island. There he meets a hermit and the hermit teaches Ruggiero his cathechism and baptizes him.
There’s also something about having seven years yet to live but it’s okay because you’ll found this awesome family and they’ll grow so powerful that they can hire this guy named Ariosto to write your whole life story.
Meanwhile the ship that Ruggiero abandoned survives the storm and reaches Africa where it washes up near Orlando and the Gang. Inside are Ruggiero’s weapons and stuff. This being Balisarda (sword) and Frontino (horse). They’re pleased with this and Orlando doles out the gear. There’s an aside here about Fiordiligi who wails so much at the leaving of Brandimarte that Astolfo and Sansonetto have to drag her back to her chambers where she promptly takes to bed, but not before weaving Brandimarte a black surcoat decorated with jewels. Then it’s off to the island where King Agramant waits.
They get there too late to fight, so it’s nighty-knight. During the night Brandimarte goes over and visits the Saracens because he and King Agramante were once great friends. We get a bit of Brandimarte back story here. He was a Saracen up until he fell in love with / met Orlando. And now he wants Agramante to quit being Muslim and get baptized, but Agramante is like get the flip outta my face knave. And honestly, I don’t blame him. Brandimarte totally comes off as a missionary tool during this bit. In general Brandimarte is mostly a tool.
Morning comes and it’s time for the melee.
On the Christian side are Oliver, Orlando, and Brandimarte. On the Saracen side are Agramante, Gradasso, and Sobrino. Gradasso has Durindana (sword) and Baiard (horse) and Orlando has Balisarda (sword) and Unnamed (horse).
The fight is exciting stuff. Big steel cage tag team champs Wrestlemania vibes. Orlando’s horse gets knocked out. Agramante goes after Oliver. Brandimarte knocks Sobrino clear out of the saddle. Brandimarte goes to help Orlando. Gradasso fights Brandimarte. Sobrino gets up. Orlando knocks down Sobrino and climbs on a horse. He makes to assist Brandimarte. Gradasso turns to fight him. Sobrino gets back on his feet and backstabs Oliver’s horse. Horse and rider Tumbe. Brandimarte goes to help his friend. Agramante rushes in. Swords flash. Graddaso knocks down Orlando. He turns and Brandimarte’s about to kill his king. He rushes in. And orlando wakes up in time to see his beloved Brandimarte struck down.
“And from his charger Brandimarte fell,
And with blood which from his head drained
In widening crimson streaks
the sand was veined.”
Orlando charges Gradasso, and that’s where Ariosto ends the canto.
Pure cliffhanger material.
You might get some more of these this week and next. There are five cantos left and I would like to be done with this project by December 31st.
CANTO SCORE CARD
Knights: Dudone, Ruggiero, Seven Saracen Kings, Orlando, Brandimarte, Oliver, Astolfo, Sansonetto, Agramante, Gradasso, Sobrino,
Damsels: Fiordiligi the Tragic
Horses: Frontino (formerly Ruggiero’s, now Brandimarte’s), Baiard (Gradasso’s horse that belonged to someone else before), Brigliador (Agramante’s horse),
Swords: Balisarda (formerly Ruggiero’s, now Orlando’s), Durindana (formerly Orlando’s now Gradasso’s)
Mages: Falerina the witch who forged Balisarda, a Hermit
Orlando Furioso, Canto XL
I humbly beg your apologies. Last post I said that Orlando was the captain of the fleet, but I was wrong. It’s actually Dudone the Dane who is the captain. Mea culpa. I will find myself a suitable rock with which to pound my chest.
We start with a big sea battle that goes badly for the Saracens. Dudone employs Greek fire and soon Agramante’s fleet is ablaze. Agramante escapes, but the illustration paints a grim picture.
Back in Africa, we find Orlando, Astolfo, and the gang getting ready to attack Biserta. There are prayers. In the city the whole Muslim population turns out to pray for protection. This is all a call back to when Rodomonte attacked Paris back in canto whatever (it was Canto XVI).
Battle ensues. It’s grisly as we have come to accept from previous instances. Brandimart climbs a ladder but it breaks before his men can follow him, so he gets stranded in the city. Honestly, Brandimart seems a shit knight. Ariosto keeps saying he is one of the best, an equal almost to Orlando, but whenever we read about him he’s getting kicked in the nuts by events. The Patroclus vibes are strong with him.
Despite being stuck in the city Brandimart hacks and hews his way through the inhabitants. Again shades of Rodomonte here inside the walls of Paris, but, unlike the savage Rodomonte, Brandimart doesn’t slay his own troops and rush off before his comrades can reach him. When they do reach him, the battle’s won and it’s off to killing, looting, raping, and pillaging which Ariosto mentions.
So well done, fellows. True paladins of the faith.
From there it’s back to Agramante on a boat – or is it back to Dudone (Dude-One?) on a boat – or is it back to Ruggiero who has set off to find Agramante and ask him if he really and truly broke his oath about the duel fought back a few cantos ago? Anyway, it’s one of those things. Agramante encounters Gradasso on an island and they propose sending a messenger to Orlando saying let’s you and your crew fight me and my crew. Orlando accepts but lacks the weapons to do so with honor (Gradasso has his sword right now). Despite this he equips himself as well as he can and sets out with Oliver and Brandimarte. Meanwhile Ruggiero encounters the burnt ships of Agramante’s fleet and sets off along the coast only to encounter Dudone. Dudone attacks him. He fights with an iron club. But the club has no name. That’s all left unresolved when the canto ends.
Next time I don’t know what will happen, but I assume someone will get punched. Or we’ll be thrown to some other place and hear the names of another thousand characters. Until then!
CANTO SCORE CARD
Knights: King Agramante, Dude-one the Dane, Orlando, Astolfo, Sansonetto, King Branzardo (ruler of Biserta), Prester John, Oliver, Brandimarte, King Bucifar (ruler of Algaziers), Sobrino (Agramante’s councillor), Ruggiero
Horses: Brigliadoro (Orlando’s horse with King Agramante), Baiardo (someone’s horse Astolfo’s? Rinaldo’s? currently with Gradasso)
Swords: Durindana (Orlando’s sword with Gradasso), Balisard (Ruggiero’s sword)
Orlando Furioso, Canto XXXIX
This is it.
This is the canto we’ve all been waiting for.
This is the canto where Orlando gets his wits back.
The canto where Orlando is FURIOSO NO MORE!
But first Ruggiero and Rinaldo continue with their slap fight, and while Rinaldo is all “I’m gonna kill him”, Ruggiero is all “I can’t because he’s my fiancé’s brother!”
Needless to say the Muslim army is like, Ruggiero, bruv, what are you doing? Even King Agramant is like, “This sucks.”
And that’s when Melissa the Sorceress steps in and casts Alter Self and makes herself look like Rodomonte. She goes over to King Agramant and is like, “King Bruv, dafuq you doing? Why not let me fight?” And Agramant is like “Dude, where have you been!?!” And Melissa-Rodomonte is like “Places.” And Kind Agramamnt is like “Good enough” and he calls an end to the duel.
And, if you remember the duel’s agreement, Ruggiero said he’d switch sides if King Agramant stopped the fight. Well, looks like that happened. (sneaky, sneaky Melissa!)
Needless to say the duel ends and all hell breaks loose. The armies set on each other’s throats. Bradamante and Marfisa wade deep into the fray and start killing people left and right. Like hounds allowed after their quarry after being held back so long. (Ariosto, you calling the Lady Knights bitches?)
Meanwhile a bunch of shit is happening in Africa. Astolfo and his Nubian army are capturing cities left and right. In one of them they find Dudone the Dane. Who’s he? Some guy, but he’s a Sailor Guy. Once he’s free he gets with Astolfo and the two of them start strategizing their return invasion of Europe. Dudone’s like “We need a navy” and Astolfo is like “Watch this!” And he takes some leaves and with the blessing of Saint John throws them on the sea and POOF the leaves grow and transform into ships. And this navy captures the ship Rodomonte sent over with his captives and in those they find this guy, that guy, and the other guy (Brandimarte). Fiordiligi shows up and she and Brandimarte have a reunion. And soon all the Christian knights are gathered and mustered and ready to bring the war back home when out of the wilderness comes this howling mad man.
That’s right! It’s our boy Orlando doing the Furioso! He’s threatening everyone and Brandimarte and all his former friends try and subdue him and it takes like five of them to hold him down and when they have him subdued Astolfo gets the vial of Orlando’s wits (the one he got on the moon) and pours it down Orlando’s throat. At which point, Orlando forgets all about Angelica and comes to his senses.
Now they can go back to Europe and kick Agramant’s ass.
Meanwhile, Agramant’s had the worse of it and decided to flee for Africa. He’s piled his remaining troops on board his boats and set off.
But what’s this on the horizon?
A fleet of boats! And with Orlando at the helm!
Oh no!
Agramante, bruv, you fucked!
CANTO SCORE CARD
Knights: Rinaldo, Ruggiero, Marfisa, Bradamante, King Agramante, Astolfo, Orlando, Salvaggio, Sansonetto, Brandimarte, Dudone the Dane… and a bunch of other people. I have to admit that whenever Ariosto says so-and-so or so-and-so was there I feel like it’s like whenever Simon the Devious shows up with his crew in What We Do In the Shadows. Sometimes it’s just NAME and I’m left wondering if it’s a person, kingdom, or horse.
Damsels: Fiordiligi who is also called Fiordilisa
Mages: Melissa
Monsters: None
Magic Items: Leaf boats, Orlando’s bottle of wits
Yesterweird 