2025 Reading Roundup: By The Numbers

Time for my annual round-up of what I read and watched in 2025. Because I dropped the ball on doing monthly Round-Up reports, I’m going to run a few more detailed posts over the next week or two listing everything I’ve read or watched. Today’s post is mostly a “by the numbers” thing.

BOOKS

I did manage to read 123 books in 2025: 13 hardcovers, 49 softcover/paperbacks, 35 e-books, and 23 audiobooks. 19 of those titles were rereads, the rest books I read for the first time in 2025.

Monthly distribution: 7 in January; 9 in February; 9 in March; 6 in April; 5 in May; 11 in June; 9 in July; 10 in August; 13 in September; 5 in October; 13 in November; and 26 in December.

I read work from approximately 110 different creators (authors and anthology editors mostly; I did not track graphic novels editorial staff, colorists, and letterers this year).

17 of these books were for book clubs at Sparta Books in Sparta NJ and Stanza Books in Beacon NY. 12 of them were Advanced Review Copies (either print or from NetGalley). 3 of them were for my “Reread My Favorites” project (hopefully debuting on the blog soon.)

The shortest book I read was 41 pages long (Jeffrey Ricker’s short story collection Lies I Tell Myself: Stories), the longest 609 (Suzanne Finstad’s Natalie Wood: The Complete Biography).

Genre Breakdown:

·       Adventure: 1

·       Biography: 1

·       Crime: 1

·       Pop culture analysis: 2

·       Fantasy: 20

·       Historical fiction: 2

·       History: 2

·       Horror: 28

·       Memoirs: 25

·       Mimetic/current day fiction: 3

·       Mixed genre short story collections: 2

·       Mystery: 12

·       Mythology: 1

·       Romance: 7

·       Science: 3

·       Science Fiction: 11

·       Superhero: 2

·       Thriller: 1

·       True Crime: 1

These were my own rough classifications, and in hindsight I’m not sure why I broke crime fiction and mysteries into separate categories. I was surprised to realize I once again read a lot more horror than I thought. I didn’t read any playscripts this year for the first time in a while. And also, for the second year in a row, not a single poetry collection. I am not a big poetry reader, but I usually like to at least try to read a collection or two during National Poetry Month.

STORIES

I did manage to read 366 short stories in 2025 by 243 different authors (this includes translators).

The monthly distribution: 35 in January; 38 in February; 36 in March; 8 in April; 24 in May; 31 in June; 17 in July; 16 in August; 39 in September; 14 in October; 12 in November, and 96 in December. (Clearly, I was way behind my 1-per-day pace by the time I hit December, but a few anthologies and single-author collections helped me catch up.)

These stories came from 23 anthologies and single-author collections, 15 different magazines, 1 author Patreon site, 1 author website, 1 stand-alone e-book independently published, 3 printed chapbooks, and 2 novels (as back-matter). Last year, I calculated exactly how many stories came from each format, but as I’m running behind on this post, I’m going to skip that this year. In previous years I’ve also counted how many different editors were involved, but I neglected to accurately track that this year as well.

Genre breakdown:

·       Adventure: 3

·       Comedy: 3

·       Crime: 3

·       Fantasy: 102

·       Horror: 134

·       Mimetic/modern-day: 4

·       Mystery: 9

·       Science Fiction: 104

·       Super-Heroes: 4

Again, I’m surprised that I read a bit more horror than I thought I did. And I’m still not sure why I separated crime, mystery, and thrillers into distinct subcategories.

MOVIES

I didn’t even come close on my “watch 52 movies” challenge. I watched 3 whole movies in 2025.

I had challenged myself to watch more of the several hundred DVDs I own (split between movies and television series). 1 of the 3 movies watched was on DVD. The other two were in actual movie theaters.

Genre breakdown:

·       Horror (kind of): 1 (The Life of Chuck, a movie that is hard to categorize)

·       Super-Heroes: 2 (Superman and Fantastic Four: First Steps)

These 3 movies were the work of 3 different directors.

TELEVISION

I only managed to watch 63 distinct episodes across 9 series, so nowhere near the “1 episode for every day” goal.

Genre breakdown:

·       Comedy: 2 series

·       Science Fiction: 2 series

·       Super-Heroes: 1 series

·       Horror: 1 series

·       Crime: 1 series

·       Variety/Comedy Specials: 2

LIVE THEATER

I saw 11 live theatrical productions in 2025, so I missed my “average one per month” goal by 1! I attended these shows in 11 different theaters, 9 of which were in New York City. One was in the Los Angeles area, and 1 was a local high school production. 8 were musicals, 3 were dramas. One was a new production of a show I’ve seen live before (Guys and Dolls), and two were shows I’ve seen movie or filmed stage versions of (Moulin Rouge and Pirates of Penzance).

OTHER LIVE EVENTS

I also tracked what other live events I went to. I attended:

·       one college graduation (my goddaughter’s, from the University of Pittsburgh),

·       1 baseball game (our local minor league team, The Sussex Miners)

·       1 work convention

·       2 book conventions/festivals (PulpFest; Milford Readers and Writers)

·       1 antiquarian book fair (in NYC)

·       1 annual birthday bookstore crawl (in NYC)

·       4 In-Person Author Events (1 at Kew and Willow in NYC, 3 at Stanza Books in Beacon)

·       6 online author events (mostly on C.S.E. Cooney and Carlos Hernandez’s Twitch channel)

·       16 book club meetings (6 at Sparta Books in Sparta NJ, 10 at Stanza Books in Beacon NY)

PODCASTS

I only really started listening to podcasts late this year (other than about a decade ago when I used to listen to the New Yorker’s short story podcast, back when I still had an iPod Nano). So of course I decided to track my listening: 54 individual episodes across 5 different podcasts. All of them were comic book-related with the exception of 2 episodes:

·       The Borgo Pass podcast (Universal Monsters): 2 episodes

·       World on Fire: the All-Star Squadron podcast: 3 episodes

·       The Boxing Glove Arrow podcast (Green Arrow): 5 episodes

·       JSA Presents (various Justice Society related shows): 16 episodes

·       The History of Comic Books in 500 Issues: 24 episodes

COMIC BOOKS

I also decided to track how many individual comic books (single monthly issues, or “floppies”) I read in 2025. The total was 467. 30 of those were rereads, the other 437 were new (and mostly newly published). These issues were stretched across approximately 112 different titles from 10 different publishers.

The monthly distribution: 32 in January; 55 in February; 15 in March; 34 in April; 45 in May; 42 in June; 35 in July; 29 in August; 31 in September; 66 in October; 29 in November, and 54 in December.

The genre breakdown:

·       Comedy: 2

·       Fantasy: 25

·       Horror: 44

·       Mystery: 7

·       Sports: 2

·       Science Fiction: 2

·       War: 2

·       Super-Heroes: 383

Summary of Challenges:

366 Short Stories Challenge: 366 of 365 read.

Goodreads Challenge: 123 of 120 read.

Movie Challenge: 3 of 52 watched.

Television Challenge: 63 of 365 watched.

Live Theater Challenge: 11 of 12 shows attended.

2026 Reading Challenges!

HAPPY NEW YEAR! Here’s hoping for a healthy book-and-story-filled 2026.

I always set myself more than one reading/viewing challenge per year. Some goals carry over from year to year, and some are new. Some are broad and some are themed. And in many cases, books read will help me meet more than one challenge. In 2024 I also started making some formal movies, television, and live theatre viewing challenges.

On the reading side of things, in 2025, I hit my overall book and short story goals but on the viewing side of things, I only got close to my goal for live theater, and majorly dropped the ball on my television and movie viewing goals. Instead of one large annual wrap-up post, I’m going to make a series of shorter posts: one for overall numbers (probably tomorrow), one for books, two for short stories (the first of which will go up on Sunday January 4), one for comic books, one for live theater and other live events (Thursday, January 8), and one for television/movies.

Once again, this year, I’m sticking mostly to the basic challenges:

365 SHORT STORIES CHALLENGE

Every year, I challenge myself to read one short story per day. Some years I keep the pace well, and some years I fall behind and then scramble to catch up (and some years, I catch up and fall behind again, and some years I blow past the goal handily). I’m defining “short story” as anything from flash fiction to novella-length. I am going to once again make an effort to review one or two stories every Sunday in my “Sunday Shorts” feature.

GOODREADS CHALLENGE

Goodreads allows members to set a challenge. In previous years, I’ve set goals ranging from 125 to 150 books. For 2025, I’m setting a goal of 120 to start with (10 books per month), and we’ll see what happens.

MOVIE CHALLENGE

I own a lot of DVDs. (I know, you’re shocked. Shocked!) Every year I say, “This is the year I’m going to make an effort to watch them!” And then, somehow, I … don’t. One year, I did a list of 12 and two alternates as I used to do for the ToBeRead Challenge, called it the ToBeWatched Challenge … and failed it miserably. In 2024, I got about halfway to the goal of 52 movies (an average of one per week). In 2025, not so much. So this year, I’m setting myself the same challenge. This includes movies on DVD, streaming services, and any trips to an actual movie theater (which have become rare for me).

TELEVISION CHALLENGE

Did I mention I own a lot of DVDs? And that I’m subscribed to a lot of streaming services? I did? Well, you won’t be shocked to know that it’s not all about the movies. So I’m setting myself a “TV Series Watch” challenge akin to my Short Story Challenge: an average of one full episode of a television series (regardless of length) for each day in the year, which this year means 365 episodes.

LIVE THEATRE CHALLENGE

I did pretty well with this one in 2025, even though I didn’t manage to post reviews of everything. So I’m continuing the goal for 2026: I want to see at least 1 live theatrical performance per month. Most of them will be in New York City, but I’ll count any play, musical, opera, ballet, or staged reading I see anywhere, regardless of whether it’s fully professional productions, college, community theatre, whatever. (Music concerts, author signings, and conferences/conventions do not count towards this but will be tracked separately.)

COMIC BOOK CHALLENGE

I also own a lot of comic books. I went “cold turkey” on buying new comics about 20 years ago for budget and space reasons. But then in 2018 Seanan McGuire and Saladin Ahmed, two authors whose work I love, started writing various comics for Marvel and thought brought me back into buying monthly comics. And I keep buying more. 2025 was the first year I actually tracked every individual comic book issue (“floppies,” as some people call them) I read, so I’m going to make this an official Challenge for 2026: as with the short stories and the television episodes, I plan to read at least one comic book (new or back issue) for every day of the year … so again, 365 total.

ALPHABET CHALLENGE

I saw at the beginning of 2025 several book bloggers posting about various alphabet challenges: one book title for each letter of the alphabet, one author for each letter of the alphabet. I made a good run at both in 2025 without necessarily making reading decisions based on either, so I think I’m going to do them again in 2026.

 NOVELLA NOVEMBER

I’ve made NovellaNovember (or, as another book blogger on Bluesky coined it, Novellavember) a thing for the past few years. My goal is to promote and discuss novellas and short novels (and even novelettes) throughout the month, including publisher, author and editor interviews. I say every year I’m going to shoot for a novella day, but I think I’ll make that a novella every two days for 2026.

OTHER UNOFFICIAL CHALLENGES

There are a few ongoing (in some cases, sort of life-long, or at least second-half-of-my-life long) challenges that I don’t think I’ve ever written about here. For instance, I’m well on my way to having read everything Bram Stoker ever wrote. Here are those challenges, and I’m going to do my best to create dedicated posts early in the year showing what I’ve already read/watched for each challenge and then update as I go along. Again, these are multi-year challenges:

·       The Complete Bram Stoker Read-Through

·       The Complete Seanan McGuire Read-Through

·       The Complete Silvia Moreno-Garcia Read-Through

·       The Complete Philip Jose Farmer Read-Through

·       The Complete Edgar Rice Burroughs Read-Through

·       The Complete Maurice Broaddus Read-Through

• The Complete Perry Rhodan Read-Through

·       The Complete Dark Shadows Rewatch

·       The Complete Doctor Who Rewatch

·       The Complete Star Trek Rewatch

·       The Complete Planet of the Apes Rewatch

·       The Complete Brother Cadfael Read-Through and Rewatch

·       The Complete A.A. Fair (Cool and Lam series) Read-Through

·       The Complete Marvel Comics 1970s Novels Reread

·       The Complete Hard Case Crime Read-Through

·       The Complete Radium Age of Science Fiction Read-Through

·       The Complete American Mystery Classics Read-Through

·       The Complete Doc Savage Read-Through

·       The Complete Three Investigators Read-Through

·       The Complete Man From U.N.C.L.E. and Girl From U.N.C.L.E. Read-Through and Rewatch

·       The Complete All-Star Squadron Reread

·       The Complete The Invaders (Marvel Comics) Reread

·       The Complete Starman (2000’s DC) Reread

·       The Complete Tomb of Dracula Reread

·       The Complete Micronauts and ROM Reread

·       The Complete Shakespeare Watch (either Live theater or filmed)

·       Read A Book or Story From Every Nation in the World

·       Read a Book From Every State and US Territory

·       Read a Book from Every Canadian Province/Territory

And one of these days I would really like to finish creating a list of every book I remember reading in my life.

ACCOUNTABILITY

So how am I going to hold myself accountable? I’m planning to bring back my monthly Reading RoundUps. (I know, I know … I said this in the 2025 Challenge post and failed miserably at actually doing it. Second time’s the charm?) I’m not going to rename/rebrand because I like the alliterative title (which falls well in line with Series Saturday, Sunday Shorts, and a few other blog series I’m hoping to make regular features again in 2026), but those posts will also track the Viewing challenges.

I would love to hear what YOUR Reading, Writing, or Viewing Challenges are for 2024. Let me know in the comments!

Theatre Thursday: Passengers

This past weekend, we paid our first visit to the Perelman Performing Arts Center in New York City, down by the World Trade Center, to see Passengers by the 7 Fingers. It was an incredible experience.

Description: My hand, holding the program for Passengers, in front of the main section of seating in front of the stage

Written, directed, and choreographed by Shana Carroll, Passengers is an intriguing mix of dance, gymnastics, silkwork, trapeze, juggling, polework, acrobatics, singing, vocalization, and spoken word – truly the “multidisciplinary” show it is advertised to be. The performers (at our performance: Sereno Aguilar Izzo, Eduardo De Azevedo Grillo, Kaisha Dessalines-Wright, Marie-Christine Fournier, Marco Ingaramo, Anna Kitchtchenko, Maude Parent, Michael Patterson, and Will Underwood) were all absolutely fantastic; it would be almost impossible to single any one of them out for praise over the others. They are truly an ensemble, and it appears from looking at the Perelman PAC website that the show might change subtly depending on which members of the company are in a particular performance (for instance, the website includes a photo of a cast member doing high-wire balancing, which was not in the performance we saw).

The loose concept of the show is that the unnamed characters (and each cast member plays multiple roles if I interpreted things correctly) are all passengers on a train. Throughout the performance, they bond, fall in love, separate and reunite (romantically and platonically); they experience the highs and lows of all kinds of relationships. Their emotions run from the comic to the heart-breaking, and most of it is expressed via movement and body language only. There are a couple of compelling monologues and songs and one very funny dialogue about the nature of time travel which serve as breathers from the more physical aspects of the show (even the most talented dancers, gymnasts and acrobats need a break!), but the most poignant moments come through the physical movements. The silkwork and trapeze work were particularly stunning and emotional; the juggling was hysterically funny; the contortionist aspect was mind-boggling, and the polework was mouth-droppingly exhilarating.

The 7 Fingers are billed as “Montréal’s acclaimed contemporary physical theater group” and they absolutely lived up to that acclaim.

Passengers runs at the Perelman Performing Arts Center at 251 Fulton Street in Lower Manhattan through June 29th, 2025, only. I highly recommend seeing it before it closes if you’re in the NYC area. The 7 Fingers website indicates the show will also play in Boston for the month of September.

Description: the lobby marquee for Passengers (a photo of Grand Central Station’s main departures board) behind piles of luggage, a clock, and an empty bench.

I’ve always loved live theater, and in the past couple of years I’ve been making a stronger effort to see more of it. Theater Thursday is a new occasional series where I talk about live theater, both shows I’ve seen recently and shows I’ve loved in the past.

Theatre Thursday: Kowalski

My first theatrical show of 2025 was Kowalski, at The Duke on 42nd Street in New York City.

In Kowalski, playwright Gregg Ostrin imagines what might have gone on the night Marlon Brando showed up at Tennessee Williams’ Provincetown house to audition for the role of Stanley Kowalski in the Broadway production of A Streetcar Named Desire at the behest of director Elia Kazan. I am a sucker for tales of backstage/off-screen drama, so I knew I had to see Kowalski even with as little as I know of the personal lives of Williams and Brando (does that make me a bad theatre fan? Should I turn in my gay card?), and no matter how much of the 90-minute encounter is conjecture on Ostrin’s part.

Robin Lord Taylor was mostly known to me previous to this as Oswald Cobblepot, a.k.a. The Penguin, on Gotham, but his turn as Tennessee Williams now supersedes his TV work in my mind. His body language betrays Williams’ combination of insecurity and hubris with almost every gesture, some of it flamboyant enough to be real and real enough to avoid caricature. His whiskey-soaked voice soars when he’s excited and drops gutturally when he’s no longer amused, trying to stay in command of his home despite the overwhelming presence of Brando (and eventually, Brando’s female traveling companion).

Brandon Flynn (also previously known to me mostly from his television work on 13 Reasons Why, where he proved he could handle tough material) captivates from the moment he breaks into Williams’ house (easy, because the front door doesn’t latch properly); he exudes the calm sexuality Brando did at the start of his career mixed with playfulness but underscored with some bitterness. He avoids doing a Brando impersonation, giving his dialogue just enough of a mumbly quality to justify the number of times Williams comments on the way he speaks but otherwise avoiding the cliches.

When Taylor and Flynn are alone on stage together, they have a connection that made the audience the night I saw the show sit still and focus on every word, every gesture. The connection is in turn playful (especially with the misunderstanding of their first meeting), commiseratory (sharing stories of troubled childhoods), and confrontational (as each tries to control the other). Even when the characters are angry with each other, when Williams sulks or Brando rages, the actors are perfectly in synch.

While this is essentially a two-man show, there are three other characters. I estimate two of them have about twenty minutes of stage time each, and the third less than that. Ellie Ricker’s Jo, the young girl who has traveled with Brando to Provincetown from New York only to be left behind at the bus station until she takes matters into her own hands, is effervescent and easily manipulated by both men. I spent the whole time she was on stage wanting to tell her to pay attention to the way they’re using her as a pawn. When she does, Ricker’s transition from sweet to hurt to angry is pitch perfect. Alison Cimmet (who I think I last saw way downtown in a production of Machinal, twenty or more years ago) plays Williams’ long time friend Margo Jones … and man, do I wish the script gave her more to do. She is wonderfully acerbic as the long-supporting friend who is deeply hurt by being passed over as director of Streetcar in favor of the much more in-demand Elia Kazan; acerbic but loving. She and Lord also have solid chemistry in their too-few scenes together. Sebastian Treviño has the least stage time as Pancho, Williams’ live-in lover. He handles what little he’s given to do (sexily smolder, physically threaten, get drunk) very well but the Pancho is there mostly as a possible basis for the role Brando is there to audition for.

If I have any complaint about the show, it’s the way it is structured as a memory play. The first minute or so, with an older Tennessee Williams sitting in a chair talking to an unseen, and unheard, television interviewer, felt awkward and unnecessary, as did the closing narration.

Colin Hanlon’s direction is superb, making full use of the single set (the living room and kitchen of Williams’ home) designed by David Gallo with an eye towards keeping your attention on the actors. Jeff Croiter’s lighting design is subtle and warm and Lisa Zinni’s costumes capture the essence of Williams and Brando with period perfection. The Duke at 42nd Street is an intimate black box space which made it even easier for the audience to be pulled into the drama. I hope the show does well enough to garner a transfer to a Broadway house eventually, but I fear some of the immediacy of being in a smaller house will be lost. So go see Kowalski during this initial limited run. It closes February 23rd.

Kowalski set design by David Gallo, lighting design by Jeff Croiter

I’ve always loved live theater, and in the past couple of years I’ve been making a stronger effort to see more of it. Theater Thursday is a new occasional series where I talk about live theater, both shows I’ve seen recently and shows I’ve loved in the past.

Theatre Thursday: THE HILLS OF CALIFORNIA

I’m a bit late when it comes to admiring the work of Jez Butterworth. But after seeing The Ferryman in 2019, the first of his plays I’d ever seen staged, I vowed not to miss whatever came next. (I saw the mostly American replacement cast a month or so after the show won the Tony Award for Best Play, and the show blew me away, even with some not-so-great fake Irish accents in the mix.) So as soon as The Hills of California was announced, I knew I had to see it. We got tickets for what I didn’t realize at the time was the final preview performance, September 28th. The show officially opened the next night. You won’t be surprised to hear that it blew me away.

The Hills of California is set in a family-owned hotel/rooming house in Blackpool, England in 1976, where the estranged Webb sisters are reuniting in their childhood home upon the impending death of their mother. Well, three of them are. Jill has apparently never moved out and been their ailing mother’s caregiver for quite some time. Youngest sister Ruby shows up with her husband Dennis, followed shortly by third sister Gloria with her husband and offspring – but only Jill is convinced that oldest sister Joan will bother to come from America. The play explores, through scenes set in 1976 as well as flashbacks set twenty years earlier, what drove these sisters apart; they were extremely close as kids, with each other and with their single mother Veronica despite her taskmaster-like method of bringing them together as a four-member version of the Andrews Sisters and conflicting stories about what happened to their father. There’s a lot of great four-part harmony singing in the flashbacks; not so much in the 1976 scenes.

As my friend Dave said: “It’s a Jez Butterworth drama. You know from the beginning something bad is coming. It’s just a matter of when it happens and what the fallout is.”

I’m a big fan of stories that alternate present and past to build tension, and Butterworth manages it expertly here, with just enough time spent in each time frame before a switch occurs to move the action forward and reveal something about how each sister has changed, progressing inexorably towards the reveal of the bad thing that happened (which I won’t spoil here) and clarifying what we already know of the fallout in the characters’ present.

As adults, Helena Wilson’s Jill is the people-pleaser, Ophelia Lovibond’s Ruby the most naïve, and Leanne Best’s Gloria the inexplicably bitter one. Each actress was fantastic, and the distance between their character played perfectly. The scenes where they try to confront that distance, without truly getting to the heart of what pushed them apart, were tension-packed and at points heart-breaking. Equally heart-breaking was watching the scenes with their much more joyful, playful, bonded younger selves (Nancy Allsop as Young Gloria, Nicola Turner as Young Jill, Sophia Ally as Young Ruby, and Lara Donnell as Young Joan), knowing where those relationships are headed. Sam Mendes clearly had the younger and older actresses spend time together perfecting matching body language and facial expressions; there was no doubt from the moment the younger versions stepped on stage who was who. The younger actresses are also all wonderful singers, it should be noted.

If there’s a core character the play revolves around (which even in ensemble shows like this there usually is), it’s mother Veronica in the flashbacks. Lara Donnelly was a tour-de-force in the role. Veronica is a strict “stage mother” but also fiercely protective of her daughters, and there are moments when the fight between ambition and protectiveness threatens to overwhelm her. Donnelly’s swings from one to the other, and the internal conflicts that result, were impressive. Donnelly also plays the adult Joan in the play’s final act, and I can honestly say I didn’t realize it was the same actress (obviously, I didn’t read the full cast list in the Playbill before the show, nor did I really pay attention when the adult sisters comment on how much like Mother Joan was…).

If I have any complaint about the show, it’s that Ruby’s husband Dennis (Bryan Dick), and Gloria’s husband Bill (Richard Short) and kids Tony and Patty (Liam Bixby and Nancy Allsop) seem truly extraneous in the 1976 scenes and don’t really add to any understanding of how the sisters are different as adults (particularly the two children, who are in one scene together), whereas the other adults in the flashback scenes (especially Richard Lumsden’s Joe Fogg, Bryan Dick’s Jack Larkin, and David Wilson Barnes’ very skeevy Luther St. John) add to our understanding of Veronica and how far she’ll go to both promote and protect her daughters.

Kudos also must be given to designer Rob Howell and lighting designer Natasha Chivers for creating a set that feels cavernous and claustrophobic at the same time, reflecting the sisters’ closeness and division. Director Sam Mendes uses the rotating stage to move between the present and the past, which further illustrates how the sisters’ relationship has changed: in the past, they are always gathered around the kitchen table, where boarders/guests are not allowed; in the present, they only interact in the hotel’s lobby/common room, as though they are all guests/visitors in what used to be their home.

The Hills of California closed on Broadway in December. I am sure it will be nominated for several Tony Awards this season.

I’ve always loved live theater, and in the past couple of years I’ve been making a stronger effort to see more of it. Theater Thursday is a new occasional series where I talk about live theater, both shows I’ve seen recently and shows I’ve loved in the past.

2025 Reading Challenges

I always set myself more than one reading challenge per year. Some carry over from year to year, and some are new. Some are broad and some are themed. And in many cases, books read will help me meet more than one challenge. Last year I also started making some formal movie, television, and live theatre viewing challenges.

On the reading side of things, in 2024, I hit my overall book and short story goals and blew past my non-fiction reading sub-goal, but didn’t complete any of the other reading challenges I set myself. On the watching side of things, I exceeded my goal for live theater, but only hit about 70% of my television goal and slightly less than 50% of my movie-watching goal.

So I decided this year, I’m sticking to the basics:

365 SHORT STORIES CHALLENGE

Every year, I challenge myself to read one short story per day. Some years I keep the pace well, and some years I fall behind and then scramble to catch up (and some years, I catch up and fall behind again, and some years I blow past the goal handily). I’m defining “short story” as anything from flash fiction to novella-length. I am going to once again make an effort to review one or two stories every Sunday in my “Sunday Shorts” feature.

GOODREADS CHALLENGE

Goodreads allows members to set a challenge. In previous years, I’ve set goals ranging from 125 to 150 books. For 2024, I’m setting a goal of 120 to start with (10 books per month), and we’ll see what happens.

MOVIE CHALLENGE

I own a lot of DVDs. (I know, you’re shocked. Shocked!) Every year I say, “This is the year I’m going to make an effort to watch them!” And then, somehow, I … don’t. One year, I did a list of 12 and two alternates as I do for the TBR Challenge, called it the TBW Challenge … and failed it miserably. Last year, I got about halfway to the goal of 52 movies, an average of one per week. So this year, I’m setting myself the same challenge. This includes movies on DVD, streaming services, and any trips to an actual movie theater (which have become rare for me).

TELEVISION CHALLENGE

Did I mention I own a lot of DVDs? And that I’m subscribed to a lot of streaming services? I did? Well, you won’t be shocked to know that it’s not all about the movies. So I’m setting myself a “TV Series Watch” challenge akin to my Short Story Challenge: an average of one full episode of a television series (regardless of length) for each day in the year, which this year means 365 episodes.

LIVE THEATRE CHALLENGE

I did pretty well with this one in 2023, even though I never posted about it (because I posted extraordinarily little here in 2023, but that’s a subject for another post), so I’m making it official for 2024: I want to see at least 1 live theatrical performance per month. Most of them will be in New York City, but I’ll count any play, musical, opera, ballet, or staged reading I see anywhere, regardless of whether it’s fully professional productions, college, community theatre, whatever. (Music concerts, author signings, and conferences/conventions do not count towards this.)

ACCOUNTABILITY

So how am I going to hold myself accountable? I’m planning to bring back my monthly Reading RoundUps. I’m not going to rename/rebrand because I like the alliterative title (which falls well in line with Series Saturday, Sunday Shorts, and a few other blog series I’m hoping to make regular features in 2025), but those posts will also track the Viewing challenges.

I would love to hear what YOUR Reading, Writing, or Viewing Challenges are for 2024. Let me know in the comments!

Reading Round-Up: August 2024

Here’s what I read, listened to, and watched in August 2024!

BOOKS

I read 8 books in August: 3 in print, 3 in e-book format, and 2 in audio format. They were:

1.       My West Side Story: A Memoir by George Chakiris and Lindsay Harrison (E-BOOK, Non-fiction Challenge)

2.       A Journey to the Center of the Earth by Jules Verne, (Narrated by Tim Curry) (AUDIOBOOK)

3.       Superman Batman: Saga of the Super Sons by Bob Haney, Dick Dillin, Vince Colletta, Tex Blaisdell, and others (PRINT; Graphic Novel Challenge)

4.       Stormgate Press Quick Reads Book #1: The Purple Mystique by Charles Millhouse (PRINT)

5.       Tournament Manners: A Martial Arts Mystery by Jess Faraday (E-BOOK)

6.       In the Hands of Women by Jane Loeb Rubin (PRINT) REVIEW HERE

7.       The Butterfly Mosque: A Young American Woman's Journey to Love and Islam by G. Willow Wilson (AUDIOBOOK; Non-fiction Challenge)

8.       A Princess of Mars: Shadow of the Assassins by Ann Tonsor Zeddies (e-book) REVIEW HERE

STORIES

Here’s what I read this month and where you can find them if you’re interested in reading them too. If no source is noted, the story is from the same magazine or book as the story(ies) that precede(s) it.

1.       “The Darkness Between the Stars” by Richard Thomas in Lightspeed Magazine #171, edited by John Joseph Adams

2.       “Resistance” by Cat Rambo

3.       “The Quality of Mercy Is Not Strain'd” by Archita Mittra

4.       “Under the Skin” by Deborah L. Davitt

5.       “Mud Maidens Rise” by K.A. Wiggins

6.       “Look at the Moon” by Dominique Dickey

7.       “What's in a Name?” by Matthew Hughes

8.       “Child of the River” by Oluwatomiwa Ajeigbe

9.       “The Lazarus Cabal” by Sean Lee Levin, from The Lazarus Cabal, edited by Michael Croteau

10.   “Daily Nightly” by Jim Beard, from Moonstone Double Shot May 2024, edited by Joe Gentile

11.   “Streets of Blood” by Richard Scanlan

12.   “The Time Capsule” by Alice Towey, from Clarkesworld #214, edited by Neil Clarke

13.   “The Sort” by Thomas Ha

14.   “A Night in Purple” by Charles Millhouse, from Stormgate Press Quick Read Book #1: The Purple Mystique, edited by Charles Millhouse

15.   “Death in Purple” by Charles Millhouse

16.   “Into the Valley of Death” by William Meikle, from Creature Feature, edited by William Meikle

17.   “Home from the Sea” by William Meikle

18.   “A Rock and a Hard Place” by William Meikle

19.   “One Ear Left Over” by Jonathan Olfert, from Beneath Ceaseless Skies #413, edited by Sean H. Andrews

20.   “An Isle in a Sea of Ghosts” by J.A. Prentice

21.   “Once There Was Water” by Katie McIvor, from The Dark #111, edited by Sean Wallace

22.   “The Operculum Necklace” by Megan Chee

23.   “Bite Me, Drink Me, Get Me” by H. Pueyo

24.   “To Call the Lightning” by Rebecca Burton, from Kaleidotrope Summer 2024, edited by Fred Coppersmith

So that’s 24 short stories in August. Less than “1 per day” again, which keeps me slightly behind for the year! (August 31st was the 244th day of 2024.)

MOVIES

I watched four movies in August:

1.       We Are Doc Savage (2024)

2.       Logan (2017)

3.       The Hitch-Hiker (1953)

4.       West Side Story (1961)

The week ending August 31st was the 35th week of the year, so I’m still behind on the “1 movie per week” challenge.

TELEVISION

·       Batman: Caped Crusader Season 1, Episodes 1 – 10 (10 episodes) REVIEW HERE

·       Slow Horses Season 3, Episodes 1 – 6 (6 episodes)

·       Only Murders in the Building Season 4, Episode 1 (1 episode)

·       The Lord of the Rings: The Rings of Power Season 2, Episodes 1 – 3 (3 Episodes)

That’s 20 episodes of television, which puts me still well below the “1 per day” I was shooting for and keeps me behind the pace for this challenge.

LIVE THEATER

I saw two live theatrical performances in August:

1.       Back to the Future: The Musical (Winter Garden Theater, New York City) REVIEW HERE

2.       Once Upon a Mattress (Hudson Theatre, New York City) REVIEW HERE

Summary of Challenges:

“To Be Read” Challenge: This month: 0 read; YTD: 6 of 15 read.

366 Short Stories Challenge: This month:  24 read; YTD: 226 of 366 read.

Goodreads Challenge: This month: 8 read; YTD: 83 of 120 read.

Graphic Novels Challenge:  This month: 1 read; YTD: 16 of 52 read.

Non-Fiction Challenge: This month: 2 read; YTD: 14 of 12 read.

Read the Book / Watch the Movie Challenge: This month: 0 read/watched; YTD: 2 read/watched.

Movie Challenge: This month: 4 watched; YTD: 21 of 52 watched.

TV Shows Challenge: This month: 20 episodes watched; YTD: 169 of 366 watched.

Live Theater Challenge: This month: 2 shows attended; YTD: 11 of 12 attended.

Macbeth Monday: Macbeth (an undoing)

Let’s face it: the women of Shakespeare’s Macbeth are ill-served by the script. The witches are largely stereotypes, there to move the plot along and provide some spookiness amid all the murder; Lady MacDuff appears in only one scene, by the end of which she’s dead; and while she is as commanding a presence as her titular husband at the start of the play, Lady Macbeth’s impact on the action quickly diminishes to nothing, ultimately resulting in an off-stage suicide. Over the years, there have been many attempts to delve deeper into the characters of the women of Macbeth (and their real historical counterparts) or to rewrite their roles and histories. One such successful recent attempt is Zinnie Harris’ Macbeth (an undoing), produced first by the Royal Lyceum Edinburgh and then brought to the states at Polonsky Shakespeare Center’s Theatre for a New Audience in Brooklyn, New York, where I saw it in its limited run in April 2024.

Harris puts the women at the center of the action, restructures their relationships to each other (Ladies Macbeth and MacDuff are cousins, raised together; Lady Macbeth and the Witches (here called Carlin, Mae, and Missy) have a history) as well as to the men (the marriage of MacDuff and Lady MacDuff is far from harmonious here), reorganizes the famous speeches to bring out different depths.

And damn, is it powerful stuff. (I’m not going to pretend the power of the piece is why I’m posting this review five months after I saw the show, which would be a lie. It’s pure procrastination. But here we are.)

As much as I love Shakespeare’s play, it has long bothered me (as it has so many other people; I am hardly the first to point this out) how diminished Lady Macbeth’s role becomes, and how sharply her character changes midway through the play. At the start, she is the strong one, holding to their shared purpose, pushing Macbeth to do what must be done to secure the prophecy the witches gave him, while he is the one who is indecisive, who hallucinates both visually (the dagger) and aurally (the voices crying “Macbeth doth murder sleep…”). Then that all changes, with Lady Macbeth going insane between scenes, reappearing as guilt-wracked sleepwalker, then dying off-stage while Macbeth stays “strong” (for some value of the word) against his rebellious thanes. Harris turns this on its head, in a fantastic sequence of scenes that serve both characters better, in my humble opinion. These are scenes that Shakespeare probably couldn’t have written in his time, but they work now.

Of course, they work so well because they are in conversation with Shakespeare’s work rather than trying to replace it. Throughout the script, several characters break the fourth wall (most notably Carlin, the eldest “witch,” at the start of the play and at the start of the second act, but also Lady Macbeth and others) acknowledging not only that they know they’re in a play but also that they have veered from the script to look at the story from a different angle. That new angle allows Harris to discuss misogyny, gaslighting, and the threat men seem to think strong women pose (in a particularly telling moment, the Thanes begin to address Lady Macbeth as “King,” and claiming it is his Lady who is slowly going insane … because they just can’t deal with the idea that a woman might be running the country not just capably but more capably than the man they elected; remembering those scenes now, in late August 2024, they definitely resonate stronger).

The production is set in a kind of nebulous 1930s, with costumes and furniture clueing the audience in. The staging made incredible use of moving mirrored walls, which indicate not just the walls closing in on the Macbeths but also how everyone’s actions reflect upon themselves and others. As you may be able to tell, I’m trying not to spoil too much of Harris’ changes; there are some moments that need to be seen in their fully staged glory to be as thought-provoking as they should be.

I do have to credit the cast. Nicole Cooper as Lady Macbeth, Emmanuella Cole as Lady MacDuff and Mae (the middle witch), Adam Best as Macbeth, James Robinson as Banquo, and Liz Kettle as Carlin led a great ensemble. This is not to denigrate the rest of the cast. These characters are on stage the most and command most of the attention. Kettle’s Carlin (who at the top of the show is giving a tweak on the lines Shakespeare gave the Porter, who is otherwise missing) was particularly captivating.

If you get to see a performance of this script, don’t hesitate! It’s an intense night of theater, but well worth the intensity to see a familiar story from an angle that plays off the original’s timelessness while still pointing a lens at our modern world.

I was unfamiliar with Zinnie Harris’ work before this, but I will be seeking out performances of not only her reconstructions/reinventions of other classic plays but her totally original work as well.

It is no secret that my favorite Shakespeare play is Macbeth. I’ve lost count of how many live productions of it I’ve seen, plus movie and TV versions I own in various formats, not to mention all the novels, graphic novels, and non-fiction books. Macbeth Monday is intended to be an occasional feature on the blog where I discuss whatever version or aspect of the story catches my attention at a particular moment.

READING ROUND-UP: July 2024

Here’s what I read, listened to, and watched in July 2024!

BOOKS

I read 15 books in July: 9 in print, 3 in e-book format, and 3 in audio format. They were:

1.       Represent! by Rosalie Mastaler, Hunter Mastaler and Brant Day (PRINT)

2.       Let the Games Begin by Rosalie Mastaler, Hunter Mastaler and Betty Yuku (PRINT)

3.       Hunter's Tall Tales by Rosalie Mastaler, Hunter Mastaler, and Danelle Prestwich (PRINT)

4.       A Scout Is Brave by Will Ludwigsen (E-BOOK) REVIEW HERE

5.       Caesar Now Be Still (Wilson Hargreave #1) by Frank Schildiner (E-BOOK) REVIEW HERE

6.       Changes in the Land by Matthew Cheney (PRINT)

7.       Prez: Setting a Dangerous President by Mark Russell, Benjamin Caldwell, Wilfredo Torres, Mark Morales, and others (PRINT, Graphic Novel Challenge)

8.       Reflections (Indexing #2) by Seanan McGuire (AUDIO)

9.       Star Trek Adventures: The Operations Division Supplemental Rulebook by Chris McCarver, Andy Peregrine, Jack Geiger, and others (PRINT)

10.   Dancing on the Edge by Russ Tamblyn (AUDIO, non-fiction challenge)

11.   Lovely Creatures by KT Bryski (PRINT)

12.   A Stick-Figure Macbeth by Mya L. Gosling (PRINT) REVIEW HERE

13.   Super Sons: The Complete Collection Book 1 by Peter J. Tomasi, Jorge Jiminez, Patrick Gleason, Carlo Barberi, and others (PRINT, graphic novel challenge)

14.   We by Yvgeney Zamyatin, translated by Clarence Brown (AUDIO)

15.   Victory Harben: Tales from the Void, edited by Christopher Paul Carey (E-BOOK, ARC (book to be published in September)

STORIES

Here’s what I read this month and where you can find them if you’re interested in reading them too. If no source is noted, the story is from the same magazine or book as the story(ies) that precede(s) it.

1.       “The Last Lucid Day” by Dominique Dickey in Lightspeed Magazine #170, edited by John Joseph Adams

2.       “The Only Writing Advice You'll Ever Need to Survive Eldritch Horrors” by Aimee Picchi

3.       “The Heist for the Soul of Humanity” by Filip Hajdar Drnovšek

4.       “The Aliens Said They Want to Party” by Joel W.D. Buxton

5.       “Songs of the Sorrow of Thorns” by Amayah Perveen

6.       “The Red Queen's Heart” by Vanessa Fogg

7.       “A Guide on How to Meet the Deity of Many Faces” by Oyedotun Damilola Muess

8.       “Between Above and Below” by Carrie Vaughn

9.       “The Girl Who Loved Peacocks” by Seanan McGuire, from the Author’s Patreon

10.   “The Terms and Conditions of Kindness” by James Bennett, from The Dark #110, edited by Clara Madrigano and Sean Wallace

11.   “That Maddening Heat” by Ray Cluley

12.   “Every Hopeless Thing” by Tia Tashiro, from Clarkesworld #214, edited by Neil Clarke

13.   “Pellucidar: Dark of the Sun” by Christopher Paul Carey, from Victory Harben: Tales from the Void, edited by Christopher Paul Carey

14.   “Victory Harben: Clash on Caspak” by Mike Wolfer

15.   “Victory Harben: Stormwinds of Va-Nah” by Ann Tonsor Zeddies

16.   “Victory Harben and the Lord of the Veiled Eye” by Christopher Paul Carey

17.   “Jason Gridley of Earth: Across the Moons of Mars” by Geary Gravel

18.   “Beyond the Farthest Star: Rescue on Zandar” by Mike Wolfer

19.   “Grottmata” by Thomas Ha, from Nightmare Magazine #142, edited by Wendy N. Wagner

20.   “Automaton Boy” by Sara S. Messenger

21.   “The Museum of Cosmic Retribution” by Megan Chee

22.   “Tamaza's Future and Mine” by Kenneth Schneyer, from Asimov's Science Fiction 582/583, edited by Sheila Williams

23.   “The Phantasmagoria of Castle Specfel” by Greta Hayer, from Kaleidotrope Summer 2024, edited by Fred Coppersmith

So that’s 23 short stories in July. Less than “1 per day” again, which puts me slightly behind again for the year! (July 31st was the 213th day of 2024.)

MOVIES

I watched one movie in July:

1.       The Prime of Miss Jean Brodie (1969)

The week ending July 28th was the 31st week of the year, so I’m still way behind on the “1 movie per week” challenge.

TELEVISION

·       Star Trek: Prodigy Season 2, Episodes 1 – 20 (20 episodes)

That’s 20 episodes of television, which is well below the “1 per day” I was shooting for and keeps me behind the pace for this challenge.

LIVE THEATER

I didn’t get to any live theatrical performances in July!

Summary of Challenges:

“To Be Read” Challenge: This month: 0 read; YTD: 6 of 15 read.

366 Short Stories Challenge: This month:  23 read; YTD: 202 of 366 read.

Goodreads Challenge: This month: 15 read; YTD: 75 of 120 read.

Graphic Novels Challenge:  This month: 2 read; YTD: 15 of 52 read.

Non-Fiction Challenge: This month: 3 read; YTD: 12 of 12 read.

Read the Book / Watch the Movie Challenge: This month: 1 read/watched; YTD: 2 read/watched. (I read The Prime of Miss Jean Brodie earlier in the year and finally watched the movie this month.)

Movie Challenge: This month: 1 watched; YTD: 17 of 52 watched.

TV Shows Challenge: This month: 20 episodes watched; YTD: 149 of 366 watched.

Live Theater Challenge: This month: 0 shows attended; YTD: 9 of 12 attended.

Theater Thursday: OR, WHAT SHE WILL

I think my first encounter with the writing of Liz Duffy Adams was as part of the writing staff for Serial Box’s (now Realm’s) four seasons of Ellen Kushner’s Tremontaine (the prequel audiobook series to Kushner’s “Riverside” fantasy series). I really enjoyed her episodes (but that’s a whole different blog post at some point). She’s been a playwright for far longer than I’ve been aware of her, and I began seeking out her published scripts, many of which are neo-Restoration or touch on that period.

I finally got to see a live performance of one of her works when Red Bull Theater produced a reading of OR (retitled Or, What She Will) at the Sheen Center Shiner Theatre in New York City on May 6, 2024 (yes, I’m behind on my theater reviews. Forgive me.) The reading was directed by Gayle Taylor Upchurch, and featured Kelly Curran as Aphra Behn, b as Nell Gwynne and others, and Santino Fontana as King Charles II and others.

This was an incredibly fun, high-energy evening. All three actors were wonderful; I was extra impressed when I found out they’d only had one rehearsal, that afternoon. They made effective use of a handful of props, including masquerade masks, and b and Fontana were a master class in transforming from one character to another, sometimes mid-sentence, through body language and vocal inflections. Fontana’s King Charles II and William (a former lover and fellow spy of Aphra’s) were equally earnest and slimy; b’s Nell Gwynne was sexual and sensual, her Maria the epitome of hapless and long-suffering. At the center of it all, Kelly Curran’s performance as Aphra Behn was captivating.

For those who may not know, Aphra Behn was a poet and former spy for King Charles II during his exile. She was one the first English women to make a living by writing, moving into playwriting after her time as a spy. Some of her early life is shrouded in mystery, as is whether she actually went to debtor’s prison and who paid off her debts to free her. She did eventually go to work for the King’s Company and the Duke’s Company, theatrical troupes that would have brought her into contact with famed actor Nell Gwynne.

OR attempts to answer some of the questions of Behn’s adult life in the form of a neo-Restoration comedy, postulating romantic/sexual liaisons between Behn and King Charles II, Behn and Nell Gwynne, and giving a possible origin point for the affair between Nell Gwynne and King Charles II. There’s lots of bedroom farce type comedy, characters being shuffled from room to room or being forced to hide in wardrobes to keep them from seeing each other, as Aphra Behn tries to juggle not just visits from three different present and former lovers but also from Aphra’s elderly servant woman Maria and from Lady Davenant, patroness of the Duke’s Company, from whom Aphra hopes to secure work after being released from debtor’s prison.

I can only imagine what a fully staged production of OR would look like, with all the slamming of doors, hiding in wardrobes, and quick costume changes with two actors playing the majority of the roles. During the reading, the cast did a wonderful job of implying all of this physical comedy without much in the way of actual movement.

The script allows for the possibility of Lady Davenant, who enters in a breathless rush and delivers a two-and-a-half-page monologue without pause before sweeping out again, to be played by either of the performers who are not playing Aphra. In the reading, Santino Fontana delivered the energy and the comedy perfectly – although as is the nature of readings, he lost his place mid-monologue and turned finding it again into a bit that had the audience laughing along with him.

OR, set in the 1660s, is particularly topical right now, dealing as it does with, as the program notes state, “a cyclical view of history: against a background of drawn-out wars and a fervent counter-culture of free love, gender fluidity, political optimism and pastoral lyricism…” that we’ve seen in the 1960s and are seeing currently. Written during the early years of the Obama administration, it feels even more contemporary in the political climate of Fall 2024.

If you can find a performance of OR in your area, I highly recommend seeking it out. I may as well also mention here that Liz Duffy Adams’ Born with Teeth, about the professional and personal relationships between William Shakespeare and Christopher Marlowe, is playing at the Oregon Shakespeare Festival through the fall. I have yet to read the script or see a production, but it sounds as interesting as OR.

A full list of the works of Liz Duffy Adams can be found on her website.

I’ve always loved live theater, and in the past couple of years I’ve been making a stronger effort to see more of it. Theater Thursday is a new occasionally series where I talk about live theater, both shows I’ve seen recently and shows I’ve loved in the past.