In the so-called Golden Age of Detective Fiction, there was a group of four or five writers considered the Queens of Crime: Margery Allingham, Agatha Christie, Ngiao Marsh, Dorothy L. Sayers, and Josephine Tey. Christie gets most of the glory in the US due to the Hollywood adaptations of her novels, but recently I’ve been reading through Sayers’ Lord Peter Wimsey and Montague Egg mysteries.

Anyone who has read Christie (even the modern, bowdlerized versions) knows they’re chock-a-block with racism, classism, and antisemitism, and, sadly, Sayers suffers from this as well. Unlike Christie, Sayers brings to bear her Oxford education, so her novels and short stories contain frequent allusions to and excerpts from writers ranging back into classic Greece and in a variety of languages. Like Christie, the plots are convoluted with any possible suspects and countless red herrings.

In her 1925 short story, “The Fascinating Problem of Uncle Meleager’s Will” (originally published Pearson’s Magazine, volume 60), Sayers includes a full crossword puzzle that Lord Peter Wimsey and his associates must solve to locate the referenced will. Normally, I let this kind of story just wash over me. I don’t try to solve the murder and I don’t try to analyze the clues. But in this case, I thought I’d try to solve the crossword.

Of course, British crosswords are different than the NY Times style with which I’m more familiar. Furthermore, the number of classical references quickly overwhelmed me. I wasn’t able to complete it. But maybe you will? I took the layout, clues, and solution and laid them out in a convenient PDF for your puzzling pleasure.

My cousin sent me a box of old photos that she had inherited from her mother. It turns out that my mother and her mother would send photo albums to one another throughout the late 1960s and into the early 1980s.

Many of these pictures are interesting to me, and I’d like to digitize them. The average online service wants between $0.65 and $1.25 to scan a print without doing touchup. I’ve used services to scan negatives in the past, but I have an old phot scanner and I have digital cameras that I could use to take photos of the prints.

The prints are degraded to various degrees and many are not really flat, so my first thought was to put them under glass and photograph them. I set up a rig to do that, but it was pretty finicky. Lighting to prevent reflections isn’t easy (I’m space-constrained by boxes of old junk in my office). The prints are many different sizes, and positioning each one took a lot longer than I wanted to spend on it. I don’t really need these in 12 or 24 megapixel detail, plus my macro lens is old and introduces some distortion.

So I decided to use my old Epson Perfection Photo 3170 from … ulp … 20 years ago. It’s USB-A and my current M1 MacBook only has USB-C ports, but I have plenty of USB-A to USB-C adapters for this kind of situation. I plugged the scanner into my M1 MacBook, but it was not recognized. I downloaded a new driver from Epson, but it wouldn’t install, giving me the helpful message “You can’t open the application “EPSON Scan Installer” because this application is not supported on this Mac.” Is that because it’s Intel code and I can’t run drivers in emulation? I have no clue.

I tried downloading VueScan, which is widely recommended for scanners where the driver is no longer provided, but it couldn’t see the scanner either. Mysterious. I’m beginning to think it’s something to do with the hardware itself. It used to work. Had the scanner died from sitting neglected?

I dug through one of those aforementioned space-constraining boxes of junk, and got out my Intel-based MacBook Pro from 2011. I powered it up, plugged the scanner in, and Image Capture immediately recognized it. So I’m scanning on the old machine.

Image Capture under old Mac OS is a little annoying, but I can scan 4 photos at a go into 32-bit TIFF files. I’m only scanning at 600dpi, so I’m getting roughly 6 megapixel scans of these photos. I considered scanning at a higher resolution, but the time and effort and storage involved didn’t seem to be worthwhile. I may regret this someday.

Anyway, here’s a birthday cake I decorated for my best friend Charlie back in March of 1978.

This guy was a great model. The hummer who’s claimed the front garden as his territory this year is not as happy in front of a camera.

I’ve seen this floating around the internet: “To want to meet an author because you like his books is as ridiculous as wanting to meet the goose because you like pate de foie gras.” — Arthur Koestler

I haven’t been able to find the original source of the quotation.

Much more frequently, I see this similar quotation attributed to Margaret Atwood: “Wanting to meet an author because you like his work is like wanting to meet a duck because you like pâté.”

This, however, I have found the source: “There’s an epigram tacked to my office bulletin board, pinched from a magazine — “Wanting to meet an author because you like his work is like wanting to meet a duck because you like pâté.”

This is from Atwood’s Negotiating with the Dead: A Writer on Writing.

So there it is. Atwood indirectly citing Koestler.

(This posting is in no way meant to diminish Atwood’s brilliance in any way or cast any aspersions on her. It’s more a comment about the Internet and the way attributions get lost and/or mangled.)

From (relatively) recent reading.

“[The prison] was an immense and solid building, erected at a vast expense. I could not help thinking, as we approached the gate, what an uproar would have been made in the country, if any deluded man had proposed to spend one half the money it had cost, on the erection of an industrial school for the young, or a house of refuge for the deserving old.” — Charles Dickens, David Copperfield

“Most of the men seemed to have been raised in hardship by stern, desperate parents. What struck me was the good they thought it had done them (I had yet to meet an adult man with a poor opinion of himself) and their desire to impose the same broken fortunes on other people, particularly on the young -though not their own young, of course.” — Mavis Gallant, “Between Zero and One”

“In the end, the bottom line was this: everything worked. Wherever you looked, you found. That was everyone’s worst nightmare. That was the excitement of it all.” — M. John Harrison, Light

“In the same way bad money drives out good, misinformation drives out information… Unless information is stabilized by a strong evaluative filter, such as science, with its controlled experiments and repeatable results, it gets swamped by simpler, stabler misinformation. If the people who design and run the Web don’t develop reliable ways to evaluate and stabilize information, the Internet may become the agent of social chaos.” — Samuel Delany, “Future Shock,” The Village Voice, 28 Dec 1999

“One of the biases of retrospection is to believe that the moral crises of the past were clearer than our own—that, had we been alive at the time, we would have recognized them, known what to do about them, and known when the time had come to do so. That is a fantasy. Iniquity is always coercive and insidious and intimidating, and lived reality is always a muddle, and the kind of clarity that leads to action comes not from without but from within. ” — Kathryn Schulz, “The Perilous Lure of the Underground Railroad”, The New Yorker, August 22, 2016