“Yellowknife” is now available at Amazon and Smashwords! (And because I’m participating in Smashwords’s Authors Give Back sale, for the next couple days you can get it free from Smashwords!) For anyone who’s read my story “The Wisdom Goddess Star,” this novelette is set in the same world, though with a different group of characters.
Inspector Naval is not that sort of inspector. He examines safety code violations, claims of mismanaged funds, workplace accidents. He is not a private eye, he is not a detective, he is not a genius of deductive reasoning. But Mars has scarcely any law enforcement, so when Margaret Hoehn turns up dead at an International Martian Program facility, Inspector Naval is the best the IMP can send.
Margaret Hoehn died at Yellowknife, an isolated research base mainly dedicated to studying the extraterrestrial bacteria found there. It was in the room containing this very bacteria that Hoehn was found dead from CO2 poisoning. In such a small facility, with constant surveillance footage ruling out most suspects, there’s a narrow pool of people who could’ve killed her—or maybe it was suicide, or just an accident. Regardless, Naval is still out of his depth, and he’ll have to adjust to the peculiar rhythms of life at the small, insular colony if he’s ever going to find out what really happened.
In addition to the novelette, this publication also includes an afterword by the author about how a mystery fiction class and research on Antarctica influenced the writing of the story.
Get excited! These are the plays I write and the plays I love to read, this is why they’re great, this is why you should write them too! I wrote this a year ago, edited it a lot more recently, and I’m publishing it now! These are strange times but they won’t be the strangest, let’s go! Download the manifesto in these formats: PDF — Epub — Mobi — Docx. Or read it below:
This manifesto addresses itself to two groups of people—playwrights, and writers of science fiction and fantasy.
People who can call themselves both are its intended result.
Theatre enriches science fiction and fantasy. Science fiction and fantasy enrich theatre.
Very little speculative theatre exists; very much should.
For the purpose of this manifesto, I distinguish the type of work I am calling for, “speculative theatre,” from the already existing vein of theatrical works which merely incorporate science-fictional or fantastical elements (e.g. the angels in Angels in America, the ghost in Hamlet.) As well, I use “speculative” and “science fiction and fantasy” interchangeably for convenience.
The majority of plays which utilize SFF elements do so only as an outgrowth of character, theme, plot, adapted myth, etcetera.
In a “speculative” play, as I define it, character, theme, and plot spring from the SFF world (or the SFF element, though it often implicates the entire world.) In a “speculative” play, the world extends beyond characters, story, and even author.
Both types of play create a world or redefine our own, but speculative plays use the invented world as the foundation, and then speculate, while non-speculative plays use their SFF element to point back to characters, plot, theme, or the real world.Read More »
If a cataclysmic shattering world could write a novel, this would be it. The organizing principle of Dead Astronauts is not chronology, nor non-linear chronology (a book told out of order still postures itself against a fixed, correct order which the reader can construct in their mind.) The organizing principle is ecology, iteration, echoes. I had a dream recently where someone told me they “experience things cumulatively,” which I find to be an oddly apt description of this novel. You experience this book cumulatively. The book takes place in the world of Borne, but it may as well not, because aside from the familiar post-apocalyptic landscape and the similarly surreal lifeforms that populate it, the way the world behaves is just totally different, starting with the timeline-hopping Dead Astronauts.
The second chapter of the book, and also the longest, follows these titular characters, “the three.” If not for this section, the book wouldn’t have anything close to a main plot, just lots of small stories filling in the histories of different places, the backstories of different characters. So, what is the narrative? “The three,” Grayson, Chen, and Moss, are on a seemingly futile mission to reclaim the City from the Company, a mission they’ve repeatedly undertaken across multiple alternate timelines, facing different variations of the same archetypal characters each time, often (always?) ending in failure.
But … why? This chapter was probably my least favorite—the parts of it that I liked most were the parts delving into the astronauts’ pasts, while the actual narrative through-line, this mission, just wasn’t all that compelling. What are they reclaiming the city for? What would they do once its reclaimed? The thing Grayson Chen and Moss seem to care about most is each other, not the City. Grayson and Moss may have personal reasons to want to exact vengeance on the Company, but … enh, that’s more my own speculation than anything the text explores. And unlike in the Area X trilogy, the hollowness of the mission isn’t developed and spotlighted as a theme, it just feels like flat writing.
Once the title characters get out of the way, other chapters shine a lot brighter, like that of Charlie X, a scientist at the Company with a fast deteriorating memory, or the chapter for the Dark Bird, a deadly, tortured creation of the Company. These chapters are much less narrative-focused, more non-linear and experimental (granted, even the Dead Astronauts section is far more experimental than something like, say, Borne—it’s a testament to how wild this book is that that chapter seems conventional in contrast to everything else.) Probably my favorite chapter was “Can’t Forget,” a vigorous, hateful 60 pages narrated by the Blue Fox, describing an ancestral memory of humankind’s assault on foxes, through fur-trapping and climate change up to the Company’s experiments on and exploitation of the Blue Fox as a biological reconnaissance tool. I could write a post about that chapter in itself—the use of huge walls of repeated text, the effect of actually reading through it, the defiant and truly inhuman voice VanderMeer achieves. There are a few single sentences in the chapter that floored me, simple phrases that land with explosive impact because of how the text builds up to them.
Truly, VanderMeer’s prose is great throughout the whole book, it’s as inventive as the novel’s overall structure. He gives lots of focus to the materiality of words, their sound, their weight when repeated over and over, with less emphasis on strict semantic meaning. Characters stutter out series of rhyming words, text appears in blocks with big vacuums of white space in between. Just as this world is full of characters whose striking, mythological stature transcends a more realist, psychological approach, the language often strives for force, vitality, in order to transcend the mere conveyance of information.
If a cataclysmic shattering world could write a novel, this would be it. And because of its non-linear nature, because the narrative is more a decentralized history than a single plot, it beckons to be reread, reread in pieces, in sections, out of order or over and over again. If you like VanderMeer’s more experimental stuff, definitely check this out. There is little out there like it.
Death’s End is the conclusion to the Remembrance of Earth’s Past trilogy. Spoilers for the first two books, which I reviewed here. Death’s End more or less picks up where The Dark Forest left off, with Trisolaris in an uneasy cold war with the Earth, and Luo Ji sitting with his finger on the button. I say “more or less” because the book actually does take some time to go back to the “Crisis Era,” describing a failed espionage project, and introducing us to the book’s main character, Cheng Xin. This brief episode at the beginning, where we see a human brain sent out to the Trisolaran fleet, is the last bit of set-up Liu needs—after a book and a half of waiting for the fleet to arrive, we finally have a book where, start-to-finish, humanity is dealing with immediate existential threats, or suffering immediate damages. With the exception of these few chapters of anticipation at the beginning, the whole book is falling dominoes.
And the scope of the book is truly phenomenal, full of so many historical episodes across different eras of human existence. I say “historical” because that’s really the only way to describe it, even though it’s a history of the future. Cheng Xin is the main character, as she lives through many different epochs by undergoing “hibernation” for long periods of time, but human civilization is the protagonist. It is humanity that is at stake, humanity that must act, humanity broken and humanity triumphant. And so many of these episodes are captivating little stories in themselves—a war crimes trial of the survivors of the Doomsday Battle, the horror of mass-resettlement to Australia, and three intriguing and cryptically coded fairytales which form a strange, imagistic core to the book much in the way the game Three-Body did to the first novel. This serial nature is also similar to the first novel, but here, each episode has two previous books’ worth of material to build on, bringing all that unstoppable momentum crashing forward on and on. It makes for a solid read.
I also greatly enjoyed the book on a thematic level. It covers a lot of ground, and a lot of different sci-fi concepts, but above all it is a profoundly sorrowful book, a book about death—of people, of civilizations, of the universe. It is pre-apocalyptic, post-apocalyptic, and intra-apocalyptic all at once. It also manages to leverage some basic observations about the universe, along with some of Liu’s own postulations, to reach terrifying conclusions about the fate of all things, similar to the ominous overtones of the first book. The idea of the “Dark Forest” is already harrowing enough, but Death’s End promises even more terrifying ideas about the nature of space and cosmic intelligence, about the utter insignificance of our place in existence, and it delivers on those promises in spades.
If you enjoyed the first two books, definitely read this one. If you enjoyed the first one but not so much the second, I’d still highly recommend Death’s End. While it’s a lot longer, not nearly as compact as The Three-Body Problem, it still feels like a return to form, in the ways I’ve mentioned above. And if you haven’t read any of the trilogy, I highly recommend all of it. As a whole, it present a dark and captivating vision of galactic civilizations, and humanity’s future among the stars.
Some blog housekeeping: No more “What I’ve Been Reading” posts! Only individual reviews from now on! Basically, the “What I’ve Been Reading” posts made sense when I first started doing them because the reviews were quite short, and they were a quick way to throw in a bunch of reviews in the middle of some other series of blog posts. However, now I tend to write longer reviews, and if I feel like I can only write a paragraph about a book, I just don’t write anything. Also, for the foreseeable future book reviews and other kinds of reviews will be the only thing going up on this site, so I have no need to condense them and make way for other posts. Also, no more “Recommendation Dump” posts. Just gonna atomize everything.
I mean, probably. Maybe I’ll still bundle reviews together from time to time. Who knows. But that’s why this review is its own post, even though its not super long, and that’s how it’ll be from now on.
Acceptance is the final book in Jeff VanderMeer’s Southern Reach trilogy, the rest of which I reviewed a while ago, here and here. Spoiler warning for those books, I guess?
There are three major narrative threads in Acceptance, which the book alternates between by chapter—the lighthouse keeper, the Director, and Ghost Bird & Control. The Lighthouse Keeper’s story occurs before Area X has taken over the coast, though it soon becomes clear that Area X’s arrival is impending. The Director is the director from Annihilation, and her narrative takes place before the events of that book, showing the lead up to that expedition. Ghost Bird and Control (the book also alternates between them by chapter, though their stories form one continuous narrative) are entering Area X and trying to find the Biologist, their story picking up right where Authority ended.
All of these component parts are great. The Director chapters are reminiscent of Authority, getting into the oppressive, decadent world of the Southern Reach agency, a long slow burn with the “12th expedition” looming on the horizon. The Ghost Bird and Control chapters are more like Annihilation, though a bit faster, punchier—a return to Area X, with new revelations, new menacing phenomena, and a steady drive toward a mysterious objective. And the lighthouse keeper chapters feel completely new, with Saul Evans (the lighthouse keeper) being maybe the most normal character in the whole trilogy? I came to quite enjoy these chapters, settling into the small coastal town setting, getting to know Saul, and slowly seeing the gruesome shadow of apocalypse fall across everything.
However. The sum is less than the parts. Authority, the previous book in the series, was a very slow book, but I came to enjoy it, its immersive quality and careful consideration. The Director and Lighthouse Keeper chapters are, likewise, fairly slow, the characters don’t have big objectives, and they present worlds you really want to sit with. By contrast, the Ghost Bird and Control chapters are maybe the most action packed of the trilogy—if the books have been building up to anything it is these chapters, and you just want to keep reading, keep pushing deeper into Area X and closer to their goal. So the faster chapters break the immersive, slow-burn pacing of the slower chapters, and the slower chapters wreck the momentum of the faster ones.Read More »
My short story “Fuck You Pay Me” is now available in Reckoning 3! Reckoning is a non-profit journal that publishes poems, artwork, stories, and essays about climate change and environmental justice. My writing aside, you should absolutely check them out. They do fantastic work and support a broad range of artists, and I’m thrilled to be included in this year’s issue.
As for my story, “Fuck You Pay Me” is a story about two high school seniors who will be graduating soon, facing a world severely effected by climate change, and watching their opportunities dry up before their eyes. So, using an accountability AI to calculate the dollar amount that they are owed by the world, given the damage that climate change has done to them, they decide to balance the scales of climate justice and rob a wealthy family. Other stuff happens, and it takes place around Christmas, so it’s a perfect story for the holidays!
Currently you can buy an ebook of Reckoning 3 here. If you can’t spare the seven bucks right now, everything in Reckoning will be published online over the next six months, so you’ll be able to read my story free in April 2019—and if you want a physical copy, tthose will be available in June 2019.
Just as I did last year, here are two collections of all the plays I published in the past year, and all the short stories I published in the last year. I’m now less enamored of the idea of this being a “complete works” series, for various reasons which I explain in the forewords of these anthologies. Mainly, what does “complete” even mean? Regardless, these collections really do have all the pieces I self-published while I was 20, and all the afterwords I published with them. And I will continue this series, because I like having a cheap way for people to buy my stuff—the collections just might always not be annual, or they might not always be “complete.”
20; Two plays and a monologue contains Suggest the Empire, Chimaera Cries ON STREAM!!!!!, and Tallahassee Ca. 2045—including a brands new afterword for Chimaera Cries ON STREAM!!!!!! You can get it on Smashwords or Amazon.
20; A collection of short stories contains “A Clash at Grozny Airfield,” “The Wisdom-Goddess Star,” “Beneath Them,” and “ChannelCon ’30.” You can get it on Smashwords or Amazon.
I wrote this post before Ursula K. Le Guin passed, though it seems fitting now to open it with these words of hers, in response to the question, “What do you want to happen to your books after you die?”: “I want them to be available, I want cheap paper editions of them, I want them to be continuously downloaded in forty different languages, I want them to be read, I want them to be argued about, I want people to cry over them, I want unreadable dissertations written about them, I want people to get angry with them, I want people to love them.” Well, I’ve read a second-hand cheap paper edition of The Left Hand of Darkness, gotten angry with it, kind of loved it in a few moments, argued about it (in my head, with myself and with two different versions of Le Guin), and now, behold, an unreadable dissertation blog post. Hopefully, this is exactly as Le Guin would wish. Rest in peace.
The Left Hand of Darkness is one of those books I’ve always felt silly for not having read—and likewise, Ursula K. Le Guin is one of those authors I’ve always etc. Not just because Left Hand is considered a classic, and Le Guin one of the greatest, most influential sci-fi/fantasy writers, but because it’s the kind of sci-fi and fantasy that really interests me. Sci-fi with a focus on society, on the world, on characters. Not to mention, the gender thing—I’ve always heard that Le Guin is a great feminist writer, someone who subverts and challenges our ideas about gender, and especially about women. And Left Hand is, of course, the gender book—or the book without gender. A world where the dominant sentient life-form has no biological sex—fantastic. I’m always interested in that kind of premise, I always like to see deconstructions and reconstructions of gender. Yet, I somehow never got around to reading it, I always had some other book or author I was more interested in. I finally decided to read the book when I got it in a white elephant gift exchange, and, for months, had the physical copy sitting about in my bedroom somewhere, staring at me.
So I read it. One less thing to feel silly about Francis, good job. After reading it, and kind of wondering what everyone else saw in it re: the discussion of gender, I read Le Guin’s essay on the book, “Is Gender Necessary?” Actually I read the “Redux” version, which was written over a decade later, with annotations from Le Guin clarifying and arguing with her past self. In some ways, the redux essay is a revisiting of a revisiting—Left Hand came out in 1969, “Is Gender Necessary” (henceforth to be referred to as IGN) in 1976, and the redux in 1988. Which would make this blog post a commentary on a commentary on a commentary on a book, at least in some part.
I’ve struggled with how to write this post. It seems unfair to review the book as if its some kind of argument—in fact, Le Guin herself mentions this in “Redux,” when she writes that “critics of the book insisted upon talking about its ‘gender problems’ as if it were an essay not a novel.” That line instantly made me think of “Cat Person,” the Kristen Roupenian short story that made the rounds last year, and which was bizarrely referred to as an “article” or “essay” by some. These stories did not ask to be scrutinized as perfectly hygienic arguments about gender and sexuality. The idea that Left Hand is an incredible classic which strikes right to the heart of gender politics is external to the book. So I’ll do my best to separate the two, to review the book as just a book, before specifically going into why I found it lacking in terms of gender commentary.Read More »
I’ve just published “Beneath Them,” a short story available on Smashwords and Amazon.
In this piece of flash fiction, without warning, thousands of alien spaceships have appeared above major urban areas around the globe, and some have descended to devastating effect. Although the aliens have expressed a lack of ill intentions, and a desire for “recreation,” no one really knows what they are doing on Earth. The only thing that is clear is their overwhelming power, and their overwhelming intelligence.
In the shadow of this invasion, life goes on as Atlanta resident Cheyenne, and her younger cousin Denise, deal with roaches in their apartment.
Also included in this publication is a brief afterword, in which I describe my own encounter with a cockroach which inspired this story.
Merry whatever and joyous thingummy everyone! All of my ebooks are on sale on Smashwords for the month of December! Most of them are 50% off, and the newer releases (19 and 19, “A Clash at Grozny Airfield,” and Suggest the Empire once it’s published later this month) are 25% off. And “Just Dig” is 34% off. Cause it wouldn’t let me do 50%, cause the price is already almost at the minimum.
In Grozny, the first ever all-robot military unit fights an integrated army of humans and robots. The clash is viewed by five American travelers in an airport café—a veteran, a journalist, two young sisters, and a barista—as the events unfold on TV. Each traveler has a different connection to the distant battle, and they all watch with more and more rapt attention as the integrated forces close in.
Also included is a brief afterword about how I came to choose the setting of the story and write that Chechnya post, and the meaning of the acronym ITF.
These aren’t really new—but the format is! Now you can get all the plays I’ve published this past year, or all the short stories I’ve published this past year, in one collection. The plan is to do this every year, with the titles corresponding to my age when I published the stories. Like a Complete Works series, but being put together contemporaneously.
19; A collection of short stories includes “Just Dig,” “The War on Hormones,” “De.mocra.cy,” “Grumbles,” “Boom Town,” and “Calamcity,” as well as all the afterwords I wrote for those stories. As always, you can get it on Smashwords and Amazon.
EDIT: As of June 12, 2020, He Molested Kids has been removed from 19. Explanation here.
19; A collection of plays contains Beach Realty of Sandcastle Isle, He Molested Kids, Monastery, and We’ll Tell Happy Stories, and the afterwords I wrote for those plays. Available on Smashwords and Amazon.
This was originally a writing exercise for my Foundations of Creative Writing class. I revised it a few times for that class, and I’ve toyed around with posting it here. Now, with the publication of “Calamcity,” I can leverage it into a promotional tool for that novelette, so it’s like I’ve got to publish it now, right? So, here it is:
The Forgotten Coast
I finally went on one of those kitschy submarine tours around the sunken wreckage of Pensacola and PCB and the Forgotten Coast. Hurricane Erica wrecked the shop, so I’d been sitting around waiting for the insurance company to get back to me, to see whether I was finally down the drain after circling it so long—and I saw an an ad with a coupon code for the Forgotten Coast tour. A few years ago, Jesse had really wanted to go on it, just before her, Ed, and their kids moved inland, but I’d been sick. Not sick enough to not go, but I’d played it up like I was. I always knew that I could go to the coast whenever I wanted, so I never felt any urgent pressure to do so. It was all flooded already, a few years’ more sea-level rise wouldn’t change that. And the ruin-porn aspect of it chafed at me. I didn’t want to sit in a sub with a bunch of inlanders gazing in awe at my ravaged childhood like it was a disaster movie.
But I saw this ad with a coupon code, and I was doing nothing, and I had this strange feeling like maybe, with the shop in shambles, I would finally be moving inland like my family and friends had done years and years ago, and maybe this one stupid coupon was meant to be my last chance to see the coast—so I bought the discounted ticket. I took a bus down from Tallahassee to Milton, now a coastal town. It was mostly tourists getting onto the sub (I could tell by their clean, uncorrupted northern English and pale skin) and a handful of local kids with red-brown tans. At least, they looked like kids to me. Teens, early twenties, late twenties—kids.Read More »
We’re well into summer now, so I’ve just published a summery novelette about a topic that I just can’t leave alone: climate change in Florida. A couple years ago, I posted twopieces of research on beach nourishment—that research was done for this story.
“Calamcity” is set in a not too distant future, when beach erosion has accelerated dramatically due to rising sea levels and increased hurricane activity—but a new breed of bioengineered living shorelines appears to be a perfect solution to hold sand in place. To oversee a test-run of this technique, Joseph Lopez joins his brother Steve on Cape Dodd, a Floridian beach that has been battling erosion for years under Steve’s management. Joseph just wants to bring back the large, stable, sunny beaches of his youth, and provide a nice vacation house for his aging parents. But as Joseph and Steve find, Cape Dodd is in for a rough summer of constant hurricanes and mysterious mass die-offs of the living shoreline.
Also, I’ve just released the audiobook for “De.mocra.cy,” a short story about symbolic protest, gangs, and regulation in a democratically run MMO. The audiobook is written and performed by me, so if you enjoyed my production of The Absolute at Large, you should enjoy the performance of this story. The audiobook is available for digital download on CDBaby, on Audible and iTunes. You can listen to a sample of the audiobook in the video below. And you can listen to some outtakes and moments of silliness from the recording session in the video below the video below.
It’s summer now—I just finished my sophomore year of college, and high school students around the country are wrapping up their spring semesters—so here’s a novelette about high school, half of which I wrote during my senior year of high school, and half of which I finished after graduating. You can buy it on Smashwords or Amazon. Here’s the synopsis:
In the near future, bioengineering companies create neutralizers—unicellular organisms that can destroy sex hormones in the brain, hopefully improving the academic dedication of students. Silver Path, a new performing arts school, is a pioneer in requiring that its students be neutralized. This kind of environment is perfect for Edward Warwick, a 12th-grader intensely dedicated to acting, and intensely wary of romantic distractions. But over the course of his senior year at Silver Path, it becomes clear that there are many hormones other than testosterone and estrogen, and making it out of high school without any drama may not be as easy as a monthly neutralizer check-up.
The publication also contains an afterword in which I describe how my own final year of secondary education directly lead to, and provided fodder for, this story.
I’ve just published “Boom Town,” a short story available on Smashwords and Amazon.
The story takes place in a small town on the living planet of Eltru, when a vast reserve of fuel is discovered beneath the town. Katherine, a young girl whose family lives on a spice farm over the fuel reserve, quietly observes her parents as they struggle over whether or not to sell their land to a mining corporation, and move away from their home. She relies on her close relationship with her brother to help her understand the secret conflicts and tensions between the adults, and ends up keeping some dangerous secrets of Julian’s herself.
The publication includes an afterward where I describe how subscribing to Asimov’s influenced the story, and my writing sensibilities as a whole.
I’ve just published “Grumbles,” a short story available on Smashwords and Amazon.
The story is told by Claudio, who returns to the house of his uncle Terrance, one of his many guardians during his tumultuous childhood, to decide what memorabilia he wants to take with him on his move to the asteroid belt. As he sifts through old scrapbooks and toys, he re-discovers “Grumbles,” a robot companion from his adolescence with an acerbic, sardonic attitude. Space is limited on the shuttle out to the belt, so Claudio and Grumbles argue heatedly about which objects are worth taking, and which items present a distorted recording of the past.
The story was originally published in Kzine, and you can still purchase the issue it appeared in.
So Francis, why should I buy this thing, when I can buy another thing, which has the first thing in it, as well as other things for no additional cost?
Because you love me? Also, because this publication includes an afterword describing the origin of the story, the process of editing it, and some of my own memory-recording habits.
As of today, it’s Read an Ebook Week, so all my ebooks are on sale for 50% off on Smashwords, and my play We’ll Tell Happy Storiesis available completely free! From March 5-11, you can use coupon code RAE50 to get 50% off any of the ebooks, and coupon code SFree to get 100% off We’ll Tell Happy Stories.
EDIT: As of June 12, 2020, this play has been unpublished. I reread it recently and found it intellectually irresponsible, uncritically insensitive, and just annoying. Not because it’s apologia, but because all the characters are intentionally horrible and the last line is “Who fucking cares.” If I saw this play performed I would think it was wack and be annoyed I’d wasted 15 minutes. Because I’m the author, I can make it so it is never performed or read. So I have.
It has also been removed from the collection 19; a collection of plays.
I’ve just published He Molested Kids, a short play available on Smashwords and Amazon.
In this fifteen-minute play, four college students meet to plan a party, and end up sidetracked by an argument about the savior of the world. Just a few months after he defeated the Himalayan, allegations of sexual abuse have emerged around Dawa the Savior. This issue turns from small talk among a group of friends to an explosive argument with deep implications.
The publication includes an afterword in which I discuss the origins of the idea, and how my intro to political analysis class factored into it’s outlining.
I’ve just published “Just Dig,” a short story, available on Amazon and Smashwords. Here’s the synopsis:
Two brothers, asteroid prospectors, are awoken when an asteroid lands somewhere along the boundary between their little plot, and the enormous plot owned by their neighbors. They drive out to see on whose plot the rock has fallen, and who can claim it as theirs to sell. As they do, they argue about whether they can depend on luck to end a long dry spell, or if they’ll have to make their own luck to turn a profit.
Also included in the publication is a brief afterword, in which I explain the origins of the story, the edits it went through, and who won the 2014 FSU vs. Notre Dame football game.