I'm creating a recommended book list for students of South Asian history and politics.

What do you think should be on it?

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

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

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

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

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

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

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

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

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

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

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

WAR OF THE BOUNTY HUNTERS, the biggest and baddest Star Wars comics crossover of the modern Marvel era... begins in May.

What is it? Pretty simple:

Boba Fett vs... everyone.

Here’s the launch interview, and some additional thoughts in the

WAR OF THE BOUNTY HUNTERS runs from May to October, kicking off with an issue from me and my longtime friend and collaborator Steve McNiven. (We did Death/Return of Wolverine together, Uncanny Inhumans etc.) He’s INCREDIBLE, and I think this is his best work in ages. I mean...

Steve inked himself (to amazing effect), and the colors there are by the staggeringly talented Laura Martin.

It’s always special whenever I get to work with Steve, and this is no exception. There’s a fight sequence in that issue that (literally) has to be seen to be believed.

The story: Boba Fett has Han Solo at the end of EpV, but we know it takes him a while to get to Jabba in EpVI (he’s not there yet when Lando and Chewie go to Tatooine just after Empire.)

What took so long? Well, someone steals Han, and Boba has to get him back. NO MATTER WHAT.

That journey, which has MANY twists and turns, puts Boba up against the galaxy’s heaviest hitters, since basically all of the big factions and players have an interest in grabbing Han Solo.

I mean, think about it...

on a very basic level it is astounding to me that seemingly half the country is hooked on the adventures of The Vision & Scarlet Witch, whose last series together was a precise contemporary of Watchmen and The Dark Knight Returns, and which was quarter box fodder for decades

in hindsight, of course, the idea of framing a superhero story as a suburban dramedy seems novel and fresh to people, but that’s only because other people spent literally three and a half decades sleeping on it

now, of course, many new fans who look into the history of the matter might wonder why such a seemingly popular and fecund direction for these two characters was permanently shelved in the late 80s, what set of factors could possibly have -

they were able to put back some of what was broken - in time - but they never were able to get back to the marriage, and by the time the characters had new status quos in the early 90s the company had moved away from those kinds of genre experiments, and the rift became permanent

the Vision was a humorless drip for years, doing much the same schtick as Data during the precise years ST:TNG was airing

and as a consequence of those stories Wanda permanently became the poster child of women who cannot handle their power because of female inconstancy ...