Name updates, Ask, Marsh, Motes Played layout

ask/content/coyote.tex

@@ -0,0 +1,56 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+To: Hold My Name
+From: Andréa C Mason#foundry
+
+You mythologize, I hear, about trickster gods. Can I hear a good one about a coyote?
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{Beholden To The Heat Of The Lamps}
+
+Andréa,
+
+It might be more accurate to call me a collector rather than an active mythologizer (for which you might seek out May Then My Name Die With Me; her \emph{An Expanded Mythology of Our World really is a work of art}). However, given our place up in the skies, I will tell you one that I read originally in comic form — something ancient that was uploaded shortly after AVEC was introduced — and perhaps we can expand on it from there, yes?
+
+Way in the beginning of time, back when the earth was young and not yet fully formed, back before even the small beasts of the trees awoke, the sky was all dark. There was some time spent on the sun and moon, yes, and those are stories of their own, and some day you will here the one about who took a bite out of the moon to sample its savor and found it wanting.
+
+What I am going to tell you, though, is why the stars are such a godawful mess.
+
+You see, one night, the great spirit was out placing stars in the sky one by one and in careful order, for placing the stars up in the heavens is important work. How else will the beasts of the land know where to go? How else will they tell the seasons?
+
+It is important work, yes, but incredibly fucking boring.
+
+Coyote came up to the spirit and said, "Ahoy up there, what are you doing?"
+
+"I am placing the stars," the spirit said, "so that the beasts of the land will know where to go and will be able to tell the seasons."
+
+"Oh," Coyote said. "Can I help?"
+
+The great spirit heaved a huge sigh. This was trouble, they knew. After all, come on. Coyote? But all he'd need to do is place the stars up in the sky, and the work really was fucking boring, so... "Alright, you may help. Here. Take these stars and place them up in the sky. I was thinking if we had– hey, wait!"
+
+"There is the buffalo!" Coyote cried, having placed the stars just so. "And there the crab! And look, see? There are the two sisters!"
+
+Another huge sigh. "Well...okay, I guess. They have to go somewhere, and those will still show well enough at night. Keep up the goo– uh...well, keep up the work."
+
+And so Coyote placed the stars, drawing all of the great beasts in beautiful points of light.
+
+"God, this is fucking boring," he thought to himself. "I am too wise and too clever by far for such a menial task. Fuck it!"
+
+With that last thought and an oversized shrug, he tossed the rest of the stars haphazardly up into the night and went about his business.
+
+Poor Coyote, though, he got too impatient for his own good and forgot to make a drawing of himself in the sky, and that is why, to this day, he howls up to stars in sadness, yip yip yi yi yi yip yip yaroooo~
+
+And there is where the legend ends, but it is not where our story ends, yes? What paw do you suppose Coyote had in the stars as we know them? What place does he have in the stories we have told ourselves about our lives up here in our System in the sky? And what of Castor and Pollux?
+
+Perhaps we could tell the story, as our dear May Then My Name did, of how we yearned to see who lived around those campfires in the black of night, how we would build ourselves an ark to sail the seas of space to find out.
+
+"Ah! The people! They are going up beyond the moon! How cold they will be!" Coyote might say, his usual helpful self. "I will stoke those fires and make them shine all the brighter when they are above the very air itself. Perhaps that will warm them and keep them cozy."
+
+What might Coyote do when all that did was make us long for more?
+
+All my best,
+
+Hold My Name Beneath Your Tongue And Know of the Ode clade

ask/content/get-sick.tex

@@ -0,0 +1,19 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Am sick, but makes me wonder-
+
+Do you find joy in being sick, Motes? Is there some childish 'joy' in being sick that you'd willing let yourself experience the common cold or minor flu to embrace?
+
+Also, favorite get well food that you have when/if sick.
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{And We Are The Motes In The Stage-Lights}
+
+Yes \emph{absolutely!} Once a year, every year, like clockwork, I come down with a case of the flu. Of course, a lot new uploads wind up getting 'sick' because that is precisely what they expect to happen, until they start to fall into the rhythm of being sys-side. You see that many people gathered in a public space after living through a pandemic or two and you just...get sick!
+
+Us founder types, not so much. We have it all figured out, right? Except that sometimes I \emph{like} being sick! I like it when people dote on me and put a cold washcloth on my forehead and bring me chicky schnoodle and banana and peanut butter sandwiches with the crusts cut off because my throat hurts.
+
+Ma says she likes that, too! She likes that she can cook some chicky schnoodle with extra soft noodles and bring it to me and maybe spend a bit of time doting on me. Beholden less so. She will get tired of pretending like she is going to catch whatever I have and just flop down next to me and eat all my soup.

ask/content/nerf-or-water.tex

@@ -0,0 +1,17 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Motes!
+
+Nerf gun or water gun?
+
+Which is better?
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{And We Are The Motes In The Stage-Lights}
+
+No! You cannot make me choose! I absolutely refuse. There is a special joy to dodging a water gun in summer and an equal joy in picking up the enemy's fired Nerf darts to reload.
+
+Also both Nerf darts and water from a water gun both taste really good if you are in the right mood.

ask/content/piggyback.tex

@@ -0,0 +1,14 @@
+Motes!
+
+Would you like a piggyback ride? And what's your favorite flavor of punch?
+
+Joyously,
+Seras Frame
+
+Yoooo frick me up with a piggyback ride! Gol dang! If you do not run around like mad so help me I will pull on your ears and call you names!!!
+
+Wait punch though\ldots
+
+God, I am going to sound ooold, but I like the punch that is ginger ale with sorbet in it! Lemon sorbet preferably, and the cheaper the better. It gets all weird and creamy and fizzy and way too friggin' sweet.
+
+Ah heck, I am going to get some ginger ale and make the \emph{worst} float\ldots

ask/content/prophetic-musings.tex

@@ -0,0 +1,96 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Slow Hours—
+
+It seems so often to me that you have the criss cross pattern of a schoolyard tool imprinted on your face, no doubt hurled at you by a god. Your predictions are truly uncanny at times. What are the best, worst, and best-worst of your prophetic musings that have come to pass? Do you regret the best? Are you proud of any worsts? Do you worry you have a line to somewhere you should not?
+
+I would ask if any of Jack's favorite sys-side baseball teams will win any Serieses this year, but he tells me that is blasphemy and I must not Profane the System's Favorite Pastime so. I asked whether he meant prophecy or baseball, and he did not speak to me for a week.
+
+Town crier to your scryer,
+Deny All Beginnings
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{Where It Watches The Slow Hours Progress}
+
+"The criss-cross pattern of a schoolyard tool imprinted on your face, no doubt hurled at you by a god"! Deny All Beginnings, you amaze, as ever. I will have you know that I showed this note to A Finger Pointing, who laughed, disappeared into the exchange for a bit, and then dreamed up precisely the schoolyard tool mentioned and hurled it at Motes. She was so startled that there were suddenly almost a dozen Moteses scattered around, and we had to make them all run around the outside of the building until she was able to stop giggling and merge down once more.
+
+You ask after prophecy, and you ask after bests and worsts.
+
+There are, I should note, a few different types of prophecy that I engage with. The least exciting of these is simply the result of having read a rather large chunk of System Central Library over the centuries. Our lives are not nearly so complicated as we might suppose, and we are not nearly so erratic as we might imagine. Many of these prophecies are simple predictions based on the shape of the story one is currently living in.
+
+A step beyond that is a type of prophecy that boils down to a cold read. While these might be less accurate, all other statements about fortune telling apply here: it is less about being accurate than it is about being adaptable. I do not need to tell someone exactly what will happen to them so much as what it is that they need to hear for a situation that is already happening around them.
+
+Between you and me, though, it is quite rare indeed that I am struck with an actual prophetic vision. I can count four such instances in my time as the clade's own prophetess. I will speak of none of them.
+
+Take, instead, a 'prophecy' that I gave to Motes nearly a century ago. This is one of my worst, of which I am quite proud.
+
+A large part of the crew were gathered on the stage after striking the set. For some reason, they tolerate me better than the actors, so I had joined them. Here we were on this flat plane of black painted wood, sitting or laying down and chatting about our days, when Motes crawled over to me and threw herself dramatically across my lap. She set up a cone of silence, and yet still was a long time in opening up, leaving me to pet over her ears and brush specks of paint out of her tail for several minutes before she started talking.
+
+"Slow Hours, I made a friend," she said. Even if her voice was not serious enough to give it away, she often just calls me 'Slow' when addressing me directly — one of vanishingly few people I will allow to do so — so for her to call me 'Slow Hours' (not even 'Slowers'!) meant that something big was afoot.
+
+"Tell me of your friend, my dear."
+
+"I met them at a dance," she said, not looking up to me. "I went out with Beholden and Unbidden to some crazy biker bar that was also having a mathcore band performing, and I met them in the pit."
+
+"You were your big self, yes?" I asked, referring to the form she assumed whenever she went out anywhere that it might cause a problem for her to be small, whether because she might get trampled or because people might assume untoward things about someone who could probably pass as a kid being there. A metal show at a biker bar fit both bills. She likely wound up looking like a 20-something hippie human, all flower crowns and sundresses.
+
+She nodded. "We danced for a bit in the pit and then got some drinks and talked outside, and then danced some more."
+
+"A good night, then?"
+
+"Very!" She grinned, but it did not last. "Very. They took me back to their place, where we got high, fooled around, and then talked into the morning."
+
+I nodded, waiting for her to continue.
+
+"And that was it. That is all I ever do, right? Go to a show, get wasted, maybe get laid, and then I go back to the stuff I really enjoy. I have my friends here, I have my work, I have you and Bee and ma and Beckoning and Muse, and that is all I need to continue on from one day to the next. I do not do love." She sighed, sounding miserable. "Not like that."
+
+"I sense a 'but', Speck."
+
+"Well..." She pushed herself up to sitting instead, slouching against my side. "I do not do love, but a lot of people do, including a lot of the people I wind up spending the night with in big girl mode. I am honest and up front with them: this is just for the night, this is just for the fun of it. I am a healthy woman in her 30s, yes? I am three centuries old, yes? I like sex as much as any three hundred year old woman in her 30s.
+
+"Most of them get it, too. They are usually after the same thing. I have occasionally had someone catch feelings for me, which is fine. We talk about it, negotiate boundaries, move on with our lives." She giggled, adding, "Once, one of them showed up here looking for me and ma just about tore him in half."
+
+"You are stalling, my dear," I said.
+
+She groaned and buried her face against my shoulder. "I knoooow. Anyway, this person and I got started talking about what we like in lasting friendships that we do not really care about in one night stands and they just...they just seem like a really good person."
+
+"And you think you might like follow up on that?"
+
+She shrugged. "They are just into all sorts of things that I am. They paint — people, mostly, and some animals — and also dig the whole small aesthetic and we like the same music, of course. They suggested we could do a regular sort of get together thing."
+
+"Have you told A Finger Pointing about them?"
+
+She shook her head. "I wanted to ask you what you thought."
+
+I asked her several questions about this person after that, and as I did, I felt a nagging sensation at the corner of my mind, a thread was being tugged and it was causing a ripple in the fabric of my understanding of the situation. Being tugged by who or by what, I do not know. That is one of those questions where, were I to try to answer it, the whole thing may well come tumbling down.
+
+"Speck," I said, interrupting her. She must have seen something on my face, for she went silent. "Here are two truths and a lie.
+
+"One: they are a fucking creep."
+
+There was a moment's shock before she giggled nervously. The flow of prophecy has a rhythm, though, if it is to be believed, and I had but to settle into that rhythm to let it land properly.
+
+"Two: you are lonely. You have us, yes. You have your clade and the rest of the troupe. You have your family and your work, but what you do not have are friends. You are friendly with everyone here, everyone here is your friend, but you do not have friends."
+
+She still looked wrong-footed, and had pulled away from me as though wary. "And the third?"
+
+"Three: much of that is our fault."
+
+"Yours as in the clade's?"
+
+The edge of prophecy let up off my throat, and I nodded. "There are as many reasons to keep someone for yourself as there are ways to do so. The whole of the fifth stanza — and, to a lesser extent, the whole of Au Lieu de Rêve — has closed around you. Not tight, of course, we are not keeping you trapped and hidden away, but we are all intensely, intensely protective of you. We have all endeavored to make your life here the best that it can be, as you have invited us to do. This was part of our conversations going all the way back, was it not? That you enjoyed leaning into being cared for, and we enjoyed having someone to collectively care for? We do not like creeps around our Motes, and so we see creeps everywhere."
+
+As she understood what I was saying, my own little game of two truths and a lie, her shoulders relaxed and she slumped against me once more, sniffling.
+
+"We all love you, Speck, that is all."
+
+It was not her prophecy, of course. It was ours. She is still good friends with that person to this day. That person and so many more.
+
+I am proud of it because I am proud of who she became, and it is the worst because we had to learn how to watch this precious thing we had set at the center of our lives in so many ways go interact with those we did not trust. It is the worst not because we had to trust her judgment, but because we learned how little we had trusted it leading up to that point.
+
+Tell Jack hi for me, and also "5-3". I will keep the teams to myself.
+
+— Where It Watches The Slow Hours Progress

ask/content/punch-denny.tex

@@ -0,0 +1,20 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Salutations, smallest of Odists!
+
+I come to you a simple badger asking of a favor. The next time you see your cocladist who is tall, has curly hair, and is wearing a t-shirt for a metal band you've never heard of, could you do me the courtesy of punching him as hard as you can in the arm? I would do it myself as he sits here next to me, but he has my arm pinned to the couch, and it would be a breach of my vow of pacifism.
+
+Warmest regards,
+Jack Haveck
+
+P.S.: from what Denny tells me of you, you may recognize any of the bands on his shirt. I would humbly request you sock him one anyway. Thank you.
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{And We Are The Motes In The Stage-Lights}
+
+Punch Denny? Okay! I will be sure to leave a fork at home. Do you want in on my life-insurance policy? :D
+
+But really though, he would probably just pick me up and hold me upside-down until I laughed so hard I felt like my eyes were going to fall out. Still going to punch him in the shoulder, though! That sounds fun~

ask/content/relative-scale.tex

@@ -0,0 +1,14 @@
+What was the relative scale of the impact of the Century Attack on Lagrange?
+
+(My intuition, from what little info I could find, is that the attack was roughly comparable to a tornado or bad earthquake: a noticeable (but not apocalypticly large) number of deaths and a good deal of (mental) injuries, and some lingering long-term environmental damage/things you needed to be more careful about for a while...)
+
+I Remember The Rattle Of Dry Grass:
+
+The Century Attack of 2399 took the form of a wide-scale crash of the individual instances on Lagrange. In 2.8 seconds, the System automatically shut down entirely to prevent further propagation of the crashes. It took 13 months and 10 days to bring the System back online.
+
+When full functionality was restored, it was discovered that 0.985\% of instances were unrecoverable. At the time of the crash, the total number of instances was approximately 2.3 trillion, meaning that approximately 23 billion souls were lost. Of this, approximately 39\% (8.9 billion) were instances of an entire clade being wiped out, whether because the instance was a tasker with no up-tree instances or because the clade was simply incredibly unlikely. This does not, however, take into account long-lived instances that had their own lives separate from their down-tree instances, individuals in their own right rather than ephemeral lives.
+
+The loss was sizable, and, as it became apparent, some tens of thousands more quit out of despair as they realized that their loved ones or family had been destroyed, only adding to the total losses.
+
+Life, as always, went on as best it could, and we learned to live with our new lives of lack and fear.
+

ask/content/repent-harlequin.tex

@@ -0,0 +1,15 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+To a Motes; what is your favorite game?
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{And We Are The Motes In The Stage-Lights}
+
+There is a game, a multiplayer one, called Repent, Harlequin! I found a while back that was like...there were two pause modes! One pause mode locked you into silence and just presented you with the option to quit or whatever, but the other pause mode would grab hold of you and all of your teammates and all of the NPCs and enemies and force you back through the motions you had just taken, slowly rewinding time.
+
+That was the only time in the game that you could talk with your teammates, too! You could not talk while you were fighting the enemies or progressing the story. You had to let time slowly roll backwards as you planned, which made planning really difficult, because a plan you had to go forward was probably dependent on you doing exactly the same thing that you had before, or the situation would have a different outcome. When you paused, you had to consider how long you would pause to talk, because if you paused too long, the game would rewind to before you had planned.
+
+I think I just like games with really neat core conceits! Sure, I may only get a limited replay value out of them but who cares! I get to talk about them like this~

ask/content/spiro-kaj-simpleco.tex

@@ -12,7 +12,7 @@ Not counting instance artistry (Sorry Dear), do you ever opt for effects that wo
 
 Dear and Heat And Warmth are both inspirations for Time Rushes and Motes and I. An integral part of our more spectacular productions involves construct, instance, and sim design. Of course, not everything is so \emph{modern;} most of our work is done analogue, although I do tend to go ham on the theatres themselves.
 
-In those hazy days when reputation had much greater significance, we depended upon these particular shows to promote Voces Sensuum across the greater System. I am relieved that the Exchange has deflated so much as it has; we are less bound to the whims of popularity and can focus exclusively on our own creative endeavors.
+In those hazy days when reputation had much greater significance, we depended upon these particular shows to promote Au Lieu Du Rêve across the greater System. I am relieved that the Exchange has deflated so much as it has; we are less bound to the whims of popularity and can focus exclusively on our own creative endeavors.
 
 We do still indulge in spectacle from time to time, however. Our audience is about as impressed by such things as we are, and roping in \emph{artists} rather than \emph{designers} allows us to lean into that in a way that better suits all our tastes.
 

ask/content/sport.tex

@@ -0,0 +1,19 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Hey there sport.
+You like sports?
+Sports sports sports
+Sportsly,
+Definitely Haveck and definitely not Denny using Haveck's phone
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{And We Are The Motes In The Stage-Lights}
+
+Sport? \emph{Sport?!}
+
+Hmf. Well, \emph{champ,} I will tell you, \emph{chief,} that I am absolutely no good at anything except tetherball, \emph{tiger!}
+
+Sport...

ask/content/tape.tex

@@ -0,0 +1,30 @@
+\cleardoublepage
+\begin{quote}
+\itshape\Large
+Beholden—
+
+Favorite music trends in the system. Tell me yours. Also if you know any good metal venues.
+
+🤘,
+Denny
+\end{quote}
+
+\cleardoublepage
+
+\subsection*{Beholden To The Heat Of The Lamps}
+
+Denny! Lovely to hear from you! Hope things are going well.
+
+It is no secret that I am quite into noise music. It drives A Finger Pointing nuts when I get super into it and cannot talk about the difference between various approaches. I could go on about the various noise music trends that I have seen over the years (there is white noise, yes, but what of pink noise? What of that rainbow selection of different statics? And god, give me stuttercore any day~), but one that I remember following incredibly fervently was that of reanalog death folk.
+
+Some clever trickster figured out how to make magnetic tape media — or something approximating it close enough — and recorded much of their music on it. All sorts of genres, of course, but all utilizing the limitations of the medium (see "I am sitting in a sim" for a particularly silly take). Thus was borne the reanalog metagenre.
+
+Me being me, though, what caught my attention was the way that some fucked with the media enough to nudge it well into the realm of unnerving, drawing out noises that I had not considered. The genre that benefited most from this particular uncanniness, though, was folk, and many began to play with shifting lyrics to existing tunes toward horror, telling strange tales of strange beasts over half-destroyed pianos and banjos on fire into a reel-to-reel recorder strung with half-melted tape.
+
+I cannot put my finger on why, but it was simply divine. Boss hated it, but too fucking bad~
+
+As for venues, you might actually have better luck asking Motes. I love metal, do not get me wrong, but that girl is fucking wild in the pit.
+
+🤘,
+
+Beholden

ask/content/trickster-gods.tex

@@ -0,0 +1,44 @@
+Hold my Name—
+
+You fascinate me, my dear. Bucking the gender conventions of our stanza, when did you decide? Did you know early? Gradual? Was it a snap or a well-reasoned, systematic approach? I took the torch from our down-tree instance, giving meaning to it I will never be sure he did, but where I chose to embrace and embody the decision of the deceased with gusto, you outpunked me and doubled back against it, subverting it with vigor.
+
+Your transness awes me. To so vibrantly exude your double-transness that is not contrary to my singular transness, but complementary, gives me not quite pause, but curiosity. Differently from my darling Jack you carry it as well. I have missed many an opportunity to talk to you directly, so let us fix that, yes? You can talk about it, yes? At length, yes?
+
+You mythologize, I report. You elevate gender into allegory, I pull it down to investigate it closely. We should be contradictory, but we are uncontradictory, both storytellers but straddling a line of fiction, tangling our whiskers in the same veil from opposite ends.
+
+Solidarity,
+—Deny All Beginnings
+
+It is always lovely to hear from you! Despite some of my misgivings about our down-tree instance that I have maintained over the years, there is something to be said about the lives that we have inherited, is there not? He decided nearly on a whim to head towards a specific image of some professor of history — we are nothing if not ourselves, we are nothing if not theatricians — and thus all of us forks of his wound up by default in a similar situation. It is all well and good for some to lean into that dramatic angle. I know that Teeth Of Death maintains that gender out of that particular mood. For others, it proved to be dysphoric, and The Living Know has gone back to the Michelle of our past.
+
+I considered that, myself. Did you know that? Know Nothing lingers still in masculinity out of sheer absentmindedness, but it was my study of the past through the lens of specifically trickster personalities that brought me up against a deliberate approach to identity.
+
+My original reasoning for delving into this study was as a task for the eighth stanza, for True Name and her ilk. Was there anything they could gain from the attitude of a trickster? Were there any warnings they could draw from unsuccessful attempts of trickster gods? Coyote for a while became a favorite of mine.
+
+One thing that I discovered as nearly a universal flexibility of form, and so I began to play around with that as well. I spent some time as a coyote, of course — non-anthro, mind, a little talking troubledog — as well as a monkey, an imagining of Eris (I still keep a golden apple pendant on me), and so on.
+
+It was this play that was the beginning of such feelings. This play became important to me, not least because of my relationship with Warmth and her friendship with Motes. Motes is a dear, of course, but her focus is specifically on play, and so I took a cue from her, and began to play not just with form but identity.
+
+Was I tall? Was I masculine? Was I a scholar? Was I a nerd? What was I? What was I?
+
+I spent a year after that as Michelle but...ah, why did that rankle? What was it about this form that was not quite right?
+
+We had those strange feelings of gender euphoria after the reduction, did we not? There was something there. There was this feeling of Not Just Woman, perhaps demiwoman, but even that was not quite right.
+
+Over time, it began to feel like I was still...kind of a man. I was not not a man. But also I was most certainly not one, either. I languished...
+
+I languished until I was invited to a weird hyperformal event, one of Rye's book releases. We all grumbled about it for our own reasons. It was all well and good to dress up in a suit, but a tux? Fuck that. Warmth dressed in its best mixture of clothes, something that shifted slowly over time between masculine and feminine, and yet those in attendance addressed em as almost exclusively 'she', and partway through, they pulled me aside to have a little grumbly bitch session. Motes came with — and at this point in our history, she had not openly leaned into kidcore in public at the suggestion of In Dreams and A Finger Pointing — and, at one point, burst into tears. She had dressed up in a pencil skirt and fine blouse, and it was making her absolutely miserable.
+
+As we comforted her, four or five Warmths surrounding her while I pet her ears, we all three of us got to talking about identity and the ways in which appearance and social situations ground up against that. Warmth wanted– no, needed that recognition of fluidity that night. Motes increasingly needed out of this strict adherence to form.
+
+But what of me? We came to no conclusions in that moment.
+
+It was not until later that night, Warmth wrapped up in my arms while we talked, that the idea of transition popped fully formed into my head. It landed on my shoulders and dug in its claws. It whispered in my ear of gender, of queerness. of identity.
+
+What the fuck did that mean for me, though? The me who is still Michelle Hadje is cisfeminine (mostly; the breast reduction, as mentioned, came with its own sense of gender play). Would me transitioning towards feminine be...I do not know, some sort of appropriation? Certainly I have been accused of that before (including by myself).
+
+And yet little enough of me feels like Michelle anymore. What of the portion that remains my downtrees? They remain (or, well, remained) masculine. Despite misgivings, they inhabited that gender, so, sure, I could transition, but what did that mean sys-side? There is no need for hormone replacement therapy, no need for surgery.
+
+I am eternally grateful that there is no shortage of trans folks on the System who remain explicitly trans. This has led to group of very tight friends, all of whom uploaded early in the System's history who all are working to transition inexactly. We do not want to just...be women (and while we are all transfeminine, there are several groups of transmasc folks as well; we are simply leaning into our own goals). We want to be trans women. It hurts to be called a woman. It aches when someone close to me says, "I just see you as a woman."
+
+It was a spur of the moment leap into one of the most deliberate things I have ever done in my life, and that life has been long. I cannot even begin to compress it into a letter. You and Jack should come over! I will rope Warmth into making something lovely, and hell, if you want to turn it into a whole-ass party, well, I know some skunks.

ask/content/why-so-small.tex

@@ -0,0 +1,12 @@
+Skunklet—
+
+How did you come to be so small? I am very unsmall, and I have never experienced being truly short. What joy do you find down there among the dandelions and shrubs?
+
+—Solidarity
+Denny
+
+`Down there'? \emph{`Down there'?!} Why I oughta...
+
+But in reality, it is nice being small! It kind of sucks when you need to run everywhere but your legs are too short, and there are times when I wish I was not relegated to climbing up on the counters to reach stuff — which is rarely! I can reach most things! — but it is all about the ways in which others treat you, yes? The troupe treats me like my raison d'être is to have fun, and they are right to do so. I can sit in laps! I can fit in small places! I can act like a frickin' kid and the automatic reaction of everyone around me is to just accept it. It is really affirming when the things you want out of life all boil down to the hedonism of play.
+
+My tail gets stepped on, I get kicked out of places for being too small, I get sneered at for doing some unspecified horrible thing — seriously, I have asked, and it is all bluster with no basis when someone gets fussy about the aesthetic — and it is all absolutely still worth it for the joy inherent in life down here among the dandelions and shrubs.

ebooks/Progress, Madison Rye/Marsh/Marsh - Madison Rye Progress.opf

@@ -0,0 +1,20 @@
+<?xml version='1.0' encoding='utf-8'?>
+<package xmlns="http://www.idpf.org/2007/opf" unique-identifier="uuid_id" version="2.0">
+    <metadata xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:opf="http://www.idpf.org/2007/opf">
+        <dc:identifier opf:scheme="calibre" id="calibre_id">59</dc:identifier>
+        <dc:identifier opf:scheme="uuid" id="uuid_id">16e472e6-e882-491f-85a5-e68c30dd9eeb</dc:identifier>
+        <dc:title>Marsh</dc:title>
+        <dc:creator opf:file-as="Progress, Madison Rye" opf:role="aut">Madison Rye Progress</dc:creator>
+        <dc:contributor opf:file-as="calibre" opf:role="bkp">calibre (5.37.0) [https://calibre-ebook.com]</dc:contributor>
+        <dc:date>0101-01-01T00:00:00+00:00</dc:date>
+        <dc:language>eng</dc:language>
+        <dc:subject>Post-Self</dc:subject>
+        <meta name="calibre:author_link_map" content="{&quot;Madison Rye Progress&quot;: &quot;&quot;}"/>
+        <meta name="calibre:timestamp" content="2024-05-03T22:59:15.542665+00:00"/>
+        <meta name="calibre:title_sort" content="Marsh"/>
+        <meta name="calibre:user_metadata:#mm_annotations" content="{&quot;table&quot;: &quot;custom_column_1&quot;, &quot;column&quot;: &quot;value&quot;, &quot;datatype&quot;: &quot;comments&quot;, &quot;is_multiple&quot;: null, &quot;kind&quot;: &quot;field&quot;, &quot;name&quot;: &quot;Annotations&quot;, &quot;search_terms&quot;: [&quot;#mm_annotations&quot;], &quot;label&quot;: &quot;mm_annotations&quot;, &quot;colnum&quot;: 1, &quot;display&quot;: {}, &quot;is_custom&quot;: true, &quot;is_category&quot;: false, &quot;link_column&quot;: &quot;value&quot;, &quot;category_sort&quot;: &quot;value&quot;, &quot;is_csp&quot;: false, &quot;is_editable&quot;: true, &quot;rec_index&quot;: 22, &quot;#value#&quot;: null, &quot;#extra#&quot;: null, &quot;is_multiple2&quot;: {}}"/>
+    </metadata>
+    <guide>
+        <reference type="cover" title="Cover" href="Marsh - Madison Rye Progress.jpg"/>
+    </guide>
+</package>

marsh/book.tex

@@ -43,9 +43,9 @@
 
     \vfill
 
-    {\Large\DisplayFont Madison Scott-Clary}
+    {\Large\DisplayFont Madison Rye Progress}
 
-    With contributions from The Lament, Andréa C. Mason, Caela Argent, J.S. Hawthorne, Krzysztof ``Tomash'' Drewniak
+    With contributions from Fireheart, Andréa C. Mason, Caela Argent, J.S. Hawthorne, Krzysztof ``Tomash'' Drewniak
   \end{flushright}
   \thispagestyle{empty}
 
@@ -104,7 +104,7 @@
   \addcontentsline{toc}{part}{Marsh}
   
   \chapter*{Reed — 2399}
-  \markboth{Marsh}{Madison Scott-Clary}
+  \markboth{Marsh}{Madison Rye Progress}
 
   \input{content/001}
   \input{content/002}
@@ -121,32 +121,15 @@
   \thispagestyle{empty}
   \cleardoublepage
   \chapter*{Reed — 2401}
-  \markboth{Marsh}{Madison Scott-Clary}
+  \markboth{Marsh}{Madison Rye Progress}
   \input{content/006}
   \input{content/007}
   \input{content/008}
-
-  \interlude{Millwright}{Andréa C. Mason}
-  \markboth{Millwright}{Andréa C. Mason}
-  \chapter*{Andréa C. Mason\#Millwright — 2403}
-  \input{content/millwright}
-
-  \newpage
-  \null
-  \thispagestyle{empty}
-  \cleardoublepage
-  \chapter*{Reed — 2401}
-  \markboth{Marsh}{Madison Scott-Clary}
   \input{content/010}
   \input{content/011}
-  \input{content/012}
-  \input{content/013}
-  \input{content/014}
-  \input{content/015}
-  \input{content/016}
 
-  \interlude{Nasturtiums}{Madison Scott-Clary}
-  \markboth{Nasturtiums}{Madison Scott-Clary}
+  \interlude{Nasturtiums}{Madison Rye Progress}
+  \markboth{Nasturtiums}{Madison Rye Progress}
   \chapter*{Beholden — 2401}
   \input{content/nasturtiums}
 
@@ -155,7 +138,24 @@
   \thispagestyle{empty}
   \cleardoublepage
   \chapter*{Reed — 2401}
-  \markboth{Marsh}{Madison Scott-Clary}
+  \markboth{Marsh}{Madison Rye Progress}
+  \input{content/012}
+  \input{content/013}
+  \input{content/014}
+  \input{content/015}
+  \input{content/016}
+
+  \interlude{Columbines}{Fireheart}
+  \markboth{Columbines}{Fireherat}
+  \chapter*{A Finger Pointing — 2401}
+  \input{content/columbines}
+
+  \newpage
+  \null
+  \thispagestyle{empty}
+  \cleardoublepage
+  \chapter*{Reed — 2401}
+  \markboth{Marsh}{Madison Rye Progress}
   \input{content/017}
 
   \cleartoverso
@@ -171,7 +171,6 @@
   %\input{content/a-well-trained-eye}
 
   \cleartoverso
-  \addcontentsline{toc}{part}{Stories}
   \thispagestyle{empty}
   \story{A Well-Trained Eye}{Andréa C. Mason}
   \markboth{A Well-Trained Eye}{Andréa C. Mason}
@@ -187,11 +186,16 @@
 
   \cleartoverso
   \thispagestyle{empty}
-  \story{Prophecies}{Madison Scott-Clary, with The Lament}
-  \markboth{Prophecies}{Madison Scott-Clary / The Lament}
+  \story{Prophecies}{Madison Rye Progress, with Fireheart}
+  \markboth{Prophecies}{Madison Rye Progress / Fireheart}
   \chapter*{Slow Hours — 2401}
   \input{content/prophecies}
 
+  \interlude{Millwright}{Andréa C. Mason}
+  \markboth{Millwright}{Andréa C. Mason}
+  \chapter*{Andréa C. Mason\#Millwright — 2403}
+  \input{content/millwright}
+
   \cleartoverso
   \thispagestyle{empty}
   \story{Sentences}{Krzysztof “Tomash” Drewniak}

marsh/content/columbines.tex

@@ -0,0 +1,24 @@
+I remember that sprawling labyrinth of garden boxes I tended with you, each an island of color made up of one biome or another. I remember stumbling across my down-tree and her partner, how you and I made a game of keeping \emph{just} out of sight of them. I wrote her a letter once raising the ante, daring her to spot us between the meandering alleys of our sim.
+
+I remember our pyromaniac phase. I remember how it \emph{really} worked for you. We danced, you know; in the way lovers do under the moonlight deep in the mountains. We had such a fright once when your dress caught fire as you pirouetted and it billowed out like a bellflower. That frumpy old thing was so ragged the coarse fibers made for \emph{choice} kindling. That really shook you up. That is a soreness we did not ever address. We just stopped sharing our nights over the fire for a long while.
+
+I remember standing at the window of our kitchen looking out over the shed whose roof was damp with fresh rain and holding one another side-by-side. I remember the coarse lace of your blouse's frilled shoulders, the dampness of your freshly-showered fur. I remember the smell of grilled cheese just about to burn as I kissed your temple, feeling in the moment as if I was saying goodbye to you.
+
+I remember how distant we felt. I shared my down-tree's desire to have the Ode clade in harmony, but our very \emph{existence} was transgressive. My relationship with you could \emph{not} be curtailed. Our down-trees danced in private profanity, my dear, but \emph{we} were inseparable.
+
+That was always the point, was it not? To lean into domesticity with one another? It was on just such a night that they forked, after all. So they went on to build their cabin in the woods, to sit under the awning of that porch bench of theirs to indulge the light of dawn and dusk alike. I remember how you began to count the colors, to make silly names from their kenning like \emph{lividpurple} and \emph{ultrablue} and \emph{sweetlight}.
+
+And I remember coupling on the Adirondack chair on that same porch while the sun was low, its plastic bowing, threatening to snap in half under our weight. I gave you that meteor shower of kisses down your neck, paw steadying your hips, when once you bucked and the thing gave out right then. We both shouted in surprise, then laughed at the absurdity of what had just transpired, and groaned as we licked our shard-bitten wounds.
+
+I remember the court of an abandoned schoolyard overgrown with frosted branches and cast in a blanket of blinding white. I remember the stillness of the air, the chill of that heavy silence that comes when a pressure front has rolled in and your voice carries twice as far. I remember the warmth of a paw on my back through fur, under a coat far too thick for my liking. I remember you sharing the air under my jaw. I remember how you just nudged me in that \emph{deadly} way of yours, the consequential buzzing up and down my neck, the way my arms subtly curled in against my chest as if to embrace you despite the weight of your head on my shoulder.
+
+I remember the first time we laughed about the joyless droop of young columbines, the way they hung limply from their stems like the trunk of an elephant. I remember how you were tickled by the flamboyance of their frilled hindpetals; by the bombast of ten and then their stamina like so many proud little dicks standing erect for all to bear witness, as if for us to do so was to be some kind of transcendental experience. I remember how wide your smile was that day when, still amidst a fit of giggling, I mused that I may make a garden of them if their shamelessness so attracted you. That brightness melted me; it made me what I am today.
+
+I see motes of memory all scattered about, significance imbued in pregnant silence and insignificant moments. I see fragments of a bigger picture all blown apart for me to collect and catalog later, presuming I remember their details at all. That is why I have written in my journal most of all about what I sense, what I feel, what I know, and less the precession of events.
+
+\begin{verse}
+Though neither one of us would see it be sown,\\
+I cherish this gift-memory as were it my own,\\
+So I will love you as she loved her;\\
+I will remember for all of us.
+\end{verse}

marsh/content/nasturtiums.tex

@@ -13,7 +13,7 @@ It has been seven days. One week, I promised myself. I would wait one week while
 
 It has been seven days of increasing surety that those who have perished in this event are gone for good. And if they indeed are gone for good then that means my beloved is gone with them.
 
-Do you remember when we came into being, A Finger curled and I? It was the night of that awful monologue, that little joke of a scene where I was set to read some truly embarrassing lines. ``We all play our parts. Some are towel boys and some lewd doctors\ldots{}'' I could remember the rest, but I do not want to. That line sticking in my craw is enough. I was a skunk that night because I did not want my face associated with those words. Burroughs! Christ.
+Do you remember when we came into being, A Finger Curled and I? It was the night of that awful monologue, that little joke of a scene where I was set to read some truly embarrassing lines. ``We all play our parts. Some are towel boys and some lewd doctors\ldots{}'' I could remember the rest, but I do not want to. That line sticking in my craw is enough. I was a skunk that night because I did not want my face associated with those words. Burroughs! Christ.
 
 It was awful. It was delightful.
 
@@ -23,7 +23,7 @@ It is too expressive now. It is full of tears and grief. It is full of despair.
 
 It is full of grief. It is full of despair.
 
-It was at that bar in the midst of our earnest discussion of taboos and friends. You assured me there was a shift in the air, that True Name, so staunch a personality within the clade, cared little about our relationship, but that she still encouraged our secrecy so as not to rock the boat for all of us, thanks to Jonas, but that perhaps soon, soon we would be able to hold hands in public, give each other little kisses and let those outside our stanza bear witness to what started as self love and blossomed into romance.
+It was at that bar in the midst of our earnest discussion of taboos and friends. You assured me there was a shift in the air, that True Name, so staunch a personality within the clade, was happy for our relationship, but that she still encouraged our secrecy so as not to rock the boat for all of us, thanks to Jonas, but that perhaps soon, soon we would be able to hold hands in public, give each other little kisses and let those outside our stanza bear witness to what started as self love and blossomed into romance.
 
 I acknowledge, of course, her relative aromancy, but for \emph{me} it was romance, and for her it was still love.
 
@@ -37,7 +37,7 @@ Of course I would! Of course I would. How could I not? How could I send her out
 
 So she forked into A Finger Curled and you forked into Beholden To The Music Of The Spheres.
 
-That was us. A Finger Curled and her Muse. Beckoning and Beholden. A different version of each of you that lived their quiet life in a cottage. A week and a day ago, we snagged a middling bottle of champagne and set up lawn chairs in the garden. A week and a day ago, Debarre stopped by to drop off a firework --- he only ever needed one to impress --- so that we could have our own little show. We each gave him a hug and he told us small stories of nothing we cared about, of the fledgling attempt at a Lagrange Council, quickly dispersed.
+That was us. A Finger Curled and her Muse. Beckoning and Beholden. A different version of each of you that lived their quiet life in a cottage. A week and a day ago, we snagged a middling bottle of champagne and set up lawn chairs in the garden. A week and a day ago, Debarre stopped by to drop off a firework --- he only ever needed one to impress --- so that we could have our own little show. We each gave him a hug and he told us small stories of nothing we cared about, of the fledgling attempt at a Lagrange Council quickly dispersed.
 
 We never did get to see the firework. It sits still on the paving stone where Beckoning placed it, ready to light on a midnight that never came for her.
 
@@ -47,7 +47,7 @@ Phys-side got the System up and limping a few times, I have heard, before it was
 
 Stable enough!
 
-Stability was \emph{us.} Stability was our lives. Stability was our quiet cottage. Stability was us heading to clubs and dancing until we wanted to pass out --- until we did, on more than one occasion, slumped against each other and panting in some corner booth. Stability was the four of us --- you and Boss, me and Beckoning --- meeting up for dinner every few years and sharing our laughter.
+Stability was \emph{us.} Stability was our lives. Stability was our quiet cottage. Stability was us heading to clubs and dancing until we wanted to pass out --- until we did, on more than one occasion, slumped against each other and panting in some corner booth. Stability was the four of us --- you and Boss, me and Beckoning --- meeting up for dinner every few months and sharing our laughter.
 
 Stability was her garden. Stability was the years she grew so much zucchini. Stability was loaf after loaf of zucchini bread, meal after meal of zucchini noodles, the grates of the grill getting weary of grilled zucchini.
 
@@ -55,7 +55,7 @@ Stability was the bright border of snapdragons and nasturtiums that bordered the
 
 This is not stability. For me, this will never be stability. She is twice lost, and from this she will never come back. Do not delude yourself, 23 billion of us are lost and will never come back. 23 billion souls forgotten by the dreamer who dreams us all.
 
-Today, I have picked the last of the nasturtiums --- for despite the seasons, some of her flowers grow year round --- and made myself one last grand salad. Bitter greens and those spicy-sweet flowers dotting it like colorful yellow-orange-red-purple confetti. Balsamic vinaigrette. A planked fillet of salmon. Crusty bread. The small things that I know how to cook.
+Today, I have picked the last of the nasturtiums --- for despite the seasons, some of her flowers grow year round --- and made myself one last grand salad. Bitter greens and those spicy-sweet flowers dotting it like colorful yellow-orange-red-purple confetti. Balsamic vinaigrette. A planked filet of salmon. Crusty bread. The small things that I know how to cook.
 
 Seven days have passed and I cannot live without her.
 

marsh/includes/copyright.tex

@@ -1,29 +1,38 @@
+\null
+\pagestyle{empty}
+\vfill
+\singlespacing
+{\small\parindent0pt\parskip5pt
+\noindent Copyright \copyright\ 2024, Madison Rye Progress and Fireheart. This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit \mbox{\emph{creativecommons.org/licenses/by/4.0/}} or send a letter to Creative Commons, PO Box 1866, Mountain View, CA
+
+ISBN: \ISBN
+
+\textit{Marsh}
+
+Cover \copyright\ 2024, Iris Jay --- irisjay.net
+
+\Edition\ Edition, \Year. All rights reserved.
+
+This book uses the fonts Gentium Book Basic, {\DisplayFont Gotu} and {\TitleFont Linux Biolinum O} and was typeset with {\usefont{OT1}{cmr}{m}{n}\XeLaTeX}.
+
+%Printed in the United States of America\\
+%\EditionsList
+}%\parindent0pt
+
+\clearpage
 \singlespacing
 \thispagestyle{empty}
 \begin{center}
-    \noindent {\DisplayFont Also by Madison Scott-Clary}
+    \noindent {\Large\DisplayFont Post-Self books}
     \TitleFamily
 
-    \vspace{2ex}
+    \vspace{2em}
 
-    \emph{Arcana — A Tarot Anthology}, ed.
+    {\large The Post-Self Cycle}\\
+    by Madison Rye Progress (as Madison Scott-Clary)
 
     \vspace{1ex}
      
-    \emph{Rum and Coke — Three Short Stories from a Furry Convention}
-
-    \vspace{1ex}
-
-    \emph{Eigengrau — Poems 2015-2020}
-
-    \vspace{1ex}
-
-    \emph{ally}
-
-    \vspace{2ex}
-    
-    \textbf{Post-Self}
-
     I. \emph{Qoheleth}
 
     II. \emph{Toledot}
@@ -32,45 +41,33 @@
 
     IV. \emph{Mitzvot}
 
-    \emph{Clade — A Post-Self Anthology}, ed.
+    \vspace{2ex}
+     
+    \emph{\large Clade — A Post-Self Anthology}\\
+    Various authors
      
     \vspace{2ex}
 
-    \textbf{Sawtooth}
+    \emph{\large Unintended Tendencies}\\
+    by JL Conway
      
-    \emph{Restless Town}
+    \vspace{2ex}
     
-    \emph{A Wildness of the Heart}
+    \emph{\large Marsh}\\
+    by Madison Rye Progress \emph{et al.}
 
-    \vspace{2em}
+    \vspace{2ex}
      
-    Learn more at \emph{makyo.ink/publications}
+    \emph{\large Motes Played}\\
+    by Madison Rye Progress \& Fireheart
+
+    \vspace{2ex}
+     
+    \emph{\large Ask. — An Odist Q\&A}\\
+    Various authors
+
+    \vspace{3ex}
+
+    Learn more at \emph{post-self.ink}
 \end{center}
-\vfill
-\singlespacing
-{\small\parindent0pt\parskip5pt
-\noindent Copyright \copyright\ 2024, Madison Scott-Clary. This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit \mbox{\emph{creativecommons.org/licenses/by/4.0/}} or send a letter to Creative Commons, PO Box 1866, Mountain View, CA
-
-\vspace{1ex}
-
-ISBN: \ISBN
-
-\vspace{1ex}
-
-\textit{Marsh}
-
-\vspace{1ex}
-
-Cover and illustrations \copyright\ IDK I'd like Jared Pechacek
-
-\Edition\ Edition, \Year. All rights reserved.
-
-\vspace{1ex}
-
-This book uses the fonts Gentium Book Basic, {\DisplayFont Gotu} and {\TitleFont Linux Biolinum O} and was typeset with {\usefont{OT1}{cmr}{m}{n}\XeLaTeX}.
-
-%Printed in the United States of America\\
-%\EditionsList
-}%\parindent0pt
-
-\clearpage
+\cleardoublepage

marsh/includes/variables.tex

@@ -1,10 +1,10 @@
-\def\Title{Mitzvot}
+\def\Title{Marsh}
 \def\Subtitle{}
 \def\FullTitle{\Title}
 \def\AuthorFirst{Madison}
-\def\AuthorLast{Scott-Clary}
+\def\AuthorLast{Rye Progress}
 \def\AuthorFull{\AuthorFirst\ \AuthorLast}
-\def\Illustrator{ILLUSTRATOR NAME}
+\def\Illustrator{Iris Jay}
 
 \def\Edition{First}
 \def\EditionsList{10 9 8 7 6 5 4 3 2 1}

mitzvot/content/006.tex

@@ -62,7 +62,7 @@ She looked thoughtful for a moment, then shrugged. ``Solid competition.''
 
 ``I do!''
 
-``Excellent, I shall allow you to live another day.'' She laughed and dotted her nose against eir cheek. ``I had considered becoming a panther for some time, but I am too attached to my tail.''
+``Excellent, I shall allow you to live another day.'' She laughed and dotted her nose against eir cheek. ``Sasha was a panther before she was a skunk, and I had considered returning to that for some time, but I am too attached to my tail.''
 
 ``Or it is to you.''
 

motes-played/book.tex

@@ -55,9 +55,9 @@
 
     \vfill
 
-    {\Large Madison Scott-Clary}
+    {\Large Madison Rye Progress}
     
-    and {\Large The Lament}
+    and {\Large Fireheart}
   \end{flushright}
   \thispagestyle{empty}
 
@@ -87,7 +87,7 @@
   \vfill
   \emph{To The Lament, who offered me reclamation.}
 
-  \emph{—Madison Scott-Clary}
+  \emph{—Madison Rye Progress}
 
   \secdiv
   \vfill

motes-played/content/afterword.tex

@@ -1,7 +1,7 @@
 \chapter*{Acknowledgements}
 \thispagestyle{empty}
 
-Thanks, as always, to the polycule, who have been endlessly supportive, but most especially to The Lament, so many of whose words appear within this book. Thanks as well as to Tomash, Ellen, Andréa, and all the rest of the Post-Self community, who have helped build this lovely world, and to Lilium who made me think most about the impact of my work.
+Thanks, as always, to the polycule, who have been endlessly supportive, but most especially to Fireheart, so many of whose words appear within this book. Thanks as well as to Tomash, Ellen, Andréa, and all the rest of the Post-Self community, who have helped build this lovely world, and to Lilium who made me think most about the impact of my work.
 
 Thanks also to my patrons:
 
@@ -16,6 +16,8 @@ Thanks also to my patrons:
     Alicia Goranson; Ayla Ounce; Bel; BowieBarks; Katt, sky-guided vulpine friend; Kindar; Muruski; Peter Hayes; Ruari ORourke; Sethvir; Yana Winters
 \end{description}
 
+\noindent\emph{— Madison Rye Progress}
+
 \newpage
 \thispagestyle{empty}
 \null
@@ -34,28 +36,20 @@ Thanks also to my patrons:
 \chapter*{About the authors}
 \pagestyle{empty}
 
-\begin{center}
-  \includegraphics[width=2in]{content/headshot.png}
-\end{center}
+%\begin{center}
+%  \includegraphics[width=2in]{content/headshot.png}
+%\end{center}
 
-\vspace{-1em}
+%\vspace{-1em}
 
-\noindent Madison Rye Progress, who often writes under the moniker Madison Scott-Clary, is a transgender writer, editor, and software engineer. She focuses on furry fiction and non-fiction, using that as a framework for interrogating the concept of self and exploring across genres. A graduate of the Regional Anthropomorphic Writers Workshop in 2021, hosted by Kyell Gold and Dayna Smith, she holds an MFA in creative writing and education from Cornell College in Mount Vernon, IA. She lives in the Pacific Northwest with her dog, as well as her partner, who is sometimes a dog.
+\noindent Madison Rye Progress and Fireheart are a couple'a nerds living in the mountains with their dog.
+%, who often writes under the moniker Madison Scott-Clary, is a transgender writer, editor, and software engineer. She focuses on furry fiction and non-fiction, using that as a framework for interrogating the concept of self and exploring across genres. A graduate of the Regional Anthropomorphic Writers Workshop in 2021, hosted by Kyell Gold and Dayna Smith, she holds an MFA in creative writing and education from Cornell College in Mount Vernon, IA. She lives in the Pacific Northwest with her dog, as well as her partner, who is sometimes a dog.
 
 \begin{center}
     www.makyo.ink
-\end{center}
 
-\vfill
+    \vspace{1ex}
     
-\newpage
-\null
-
-\vfill
-
-\noindent The Lament is a median system dedicated to the bittersweet in life, in storytelling, and in kink\ldots
-
-\begin{center}
     cohost.org/hamratza
 \end{center}
 

motes-played/includes/copyright.tex

@@ -1,63 +1,15 @@
-\singlespacing
-\thispagestyle{empty}
-\begin{center}
-    \noindent {\DisplayFont Also by Madison Scott-Clary}
-    \TitleFamily
-
-    \vspace{2ex}
-
-    \emph{Arcana — A Tarot Anthology}, ed.
-
-    \vspace{1ex}
-
-    \emph{Rum and Coke — Three Short Stories from a Furry Convention}
-
-    \vspace{1ex}
-
-    \emph{Eigengrau — Poems 2015-2020}
-
-    \vspace{1ex}
-
-    \emph{ally}
-
-    \vspace{2ex}
-    
-    \textbf{Post-Self}
-
-    I. \emph{Qoheleth}
-
-    II. \emph{Toledot}
-
-    III. \emph{Nevi'im}
-
-    IV. \emph{Mitzvot}
-     
-    \emph{Clade — A Post-Self Anthology}, ed.
-    
-    \emph{Marsh}
-
-    \vspace{2ex}
-
-    \textbf{Sawtooth}
-
-    \emph{Restless Town}
-
-    \emph{A Wildness of the Heart}
-
-    \vspace{2ex}
-
-    Learn more at \emph{makyo.ink/publications}
-\end{center}
+\null
+\pagestyle{empty}
 \vfill
 \singlespacing
 {\small\parindent0pt\parskip5pt
-\noindent Copyright \copyright\ 2024, Madison Scott-Clary and The Lament. This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit \mbox{\emph{creativecommons.org/licenses/by/4.0/}} or send a letter to Creative Commons, PO Box 1866, Mountain View, CA
+\noindent Copyright \copyright\ 2024, Madison Rye Progress and Fireheart. This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit \mbox{\emph{creativecommons.org/licenses/by/4.0/}} or send a letter to Creative Commons, PO Box 1866, Mountain View, CA
 
 ISBN: \ISBN
 
 \textit{Motes Played}
 
-Cover and illustrations \copyright\ Astolpho.
+Cover and illustrations \copyright\ 2024, Astolpho.
 
 \Edition\ Edition, \Year. All rights reserved.
 
@@ -68,3 +20,53 @@ This book uses the fonts Gentium Book Basic, {\DisplayFont Gotu} and {\TitleFont
 }%\parindent0pt
 
 \clearpage
+\singlespacing
+\thispagestyle{empty}
+\begin{center}
+    \noindent {\Large\DisplayFont Post-Self books}
+    \TitleFamily
+
+    \vspace{2em}
+
+    {\large The Post-Self Cycle}\\
+    by Madison Rye Progress (as Madison Scott-Clary)
+
+    \vspace{1ex}
+     
+    I. \emph{Qoheleth}
+
+    II. \emph{Toledot}
+
+    III. \emph{Nevi'im}
+
+    IV. \emph{Mitzvot}
+
+    \vspace{2ex}
+     
+    \emph{\large Clade — A Post-Self Anthology}\\
+    Various authors
+     
+    \vspace{2ex}
+
+    \emph{\large Unintended Tendencies}\\
+    by JL Conway
+     
+    \vspace{2ex}
+    
+    \emph{\large Marsh}\\
+    by Madison Rye Progress \emph{et al.}
+
+    \vspace{2ex}
+     
+    \emph{\large Motes Played}\\
+    by Madison Rye Progress \& Fireheart
+
+    \vspace{2ex}
+     
+    \emph{\large Ask. — An Odist Q\&A}\\
+    Various authors
+
+    \vspace{3ex}
+
+    Learn more at \emph{post-self.ink}
+\end{center}

motes-played/includes/pagelayout.tex

@@ -10,7 +10,7 @@
   \fancyhf[FRO,FLE]{\TitleFont{\thepage}}
   % \fancyhf[FRE,FLO]{\emph{Patreon Supporter Edition}}
   \fancyhf[HLE]{\TitleFont{\leftmark}}
-  \fancyhf[HRO]{\TitleFont{\AuthorFull}}
+  \fancyhf[HRO]{\TitleFont{Madison Rye Progress \& Fireheart}}
   \renewcommand{\headrulewidth}{0pt}
   \renewcommand{\printchaptername}{}
   \renewcommand{\chapternamenum}{}

toledot/content/004.tex

@@ -19,7 +19,7 @@ That is where Douglas lived along with about twenty others.
 
 To fund such a project, the torus had originally operated as a tourist destination. Many of the living spaces consisted of repurposed hotel rooms. It had long since ceased to serve in that capacity as humanity's curiosity for space dwindled and spaceflight from Earth once again began to rise in price.
 
-To build such a project, the area had been cleared of much of the Trojan asteroids that had collected there, either used for raw materials or slung out into space into eccentric orbits that would keep them from impacting Earth or winding up once again captured in the same Legrange point. Even still, one of the many jobs was to monitor the area for newly captured rocks and divert or collect them as needed. The material could be used for new solar panels, or perhaps the two five-thousand kilometer long launch arms sprouting on opposing sides of the torus, the Hall Effect Engines that kept the rotation of the station constant as the arms had been extruded from its surface, or of course the two new cylindrical launch vehicles at the tips of those arms that had, over the last two decades, been constructed as half-scale duplicates of the core.
+To build such a project, the area had been cleared of much of the Trojan asteroids that had collected there, either used for raw materials or slung out into space into eccentric orbits that would keep them from impacting Earth or winding up once again captured in the same Lagrange point. Even still, one of the many jobs was to monitor the area for newly captured rocks and divert or collect them as needed. The material could be used for new solar panels, or perhaps the two five-thousand kilometer long launch arms sprouting on opposing sides of the torus, the Hall Effect Engines that kept the rotation of the station constant as the arms had been extruded from its surface, or of course the two new cylindrical launch vehicles at the tips of those arms that had, over the last two decades, been constructed as half-scale duplicates of the core.
 
 Little of this mattered to Douglas.