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Rules vs. Guidelines in Fantasy

Rules vs. Guidelines in Fantasy

Image Placeholder of - 84The Witness for the Dead is hitting shelves on 06/22 and to celebrate, we’re doing a throwback to this amazing Rules vs. Guidelines in Fantasy guest post from author Katherine Addison! Check it out below.


By Katherine Addison

I have loved fantasy since I was a very little girl. My father read to me: L. Frank Baum, J. R. R. Tolkien, Susan Cooper, C. S. Lewis, David Eddings, Robert Jordan. As I grew older, I scoured both school and public libraries, read fantasy and science fiction and horror: Stephen King and Isaac Asimov and Ursula K. Le Guin, Samuel R. Delany and Lois McMaster Bujold and Angela Carter. I never stopped loving fantasy, never “grew up” into a preference for realism. And I have always, always loved what Tolkien calls secondary world fantasy, stories that take place in entirely made up worlds.

I love writing those stories as much as I love reading them. I love the freedom they offer for the exercise of sheer invention. And thus one of the things that frustrates me terribly about secondary world fantasy as a genre is how hidebound it has become. The combined impact of The Lord of the Rings and Dungeons & Dragons (both excellent entities on their own merits) has created a set of genre conventions that have almost become rules, rather than merely guidelines. One of these rules is that all fantasies shall be quests; another is that no fantasy world shall ever approach the Industrial Revolution.

Obviously, these rules get broken all the time, which is a good thing. But they remain in the background, like the ceiling in “The Adventure of the Engineer’s Thumb” that could lower and squash you at any time. And it can be very hard to think around them.

The Goblin Emperor was an attempt to contravene both rules. There is no quest, and this is a world with both magic and a lively technological and scientific community. (I never have understood why magic would negate technology, even though many stories I love take that as a guiding principle.) And the technology turned out to be decidedly steampunk.

I blame this on airships. Zeppelins and dirigibles and blimps and hot-air balloons. I love them, just as steampunk loves them, and insofar as I can tell you the idea that sparked The Goblin Emperor, it was the desire to put elves and airships in the same story. Once I’d made that world-building decision, the rest of it became inevitable, and I loved figuring out the details of how the airships fit into elvish society and thinking of names for the goblin steamships. When I realized the vast central palace could have a pneumatic tube system, I was excited for days.

The hardest part was the bridge that runs as a motif through the entire book. I’m not an engineer; I don’t have the first idea how you’d actually go about building a steam-powered retractable bridge. I was stuck on that problem for an incredibly long time. But Steven Brust said something that saved me. He said that when you’re describing made-up technology, he doesn’t want to know how it works, he wants to know how it runs. And that gave me the idea of a working model instead of a long expositional presentation, and that turned into one of my favorite set pieces in the book—which is also a scene in which magic and technology are used together.

Because as far as I’m concerned, the openness of invention in secondary world fantasy means that writers can build worlds where technology and magic are intertwined or where they are at odds or anything in between. If you can imagine it, fantasy will let you write about it, and that is the most powerful and enduring reason that it is my best-beloved among the genres.

Fantasy means never having to say, “It can’t be done.”

Katherine Addison is the author of the award-winning novel, The Goblin Emperor. Her next book, The Witness for the Dead, comes out from Tor Books 06/22/2021.

Pre-order The Witness for the Dead Here

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$2.99 eBook Sale: The Testament by Eric Van Lustbader

$2.99 eBook Sale: The Testament by Eric Van Lustbader

The ebook edition of The Testament by Eric Van Lustbader is on sale now for only $2.99! Download your copy now before Eric Van Lustbader’s next book The Kobalt Dossier comes out on June 1st!

Image Placeholder of - 65About The Testament:

For centuries, a hidden splinter sect of the Franciscans has guarded secrets that could transform the world. Now the safety of those secrets—and much more—depends on one man.

Braverman “Bravo” Shaw always knew his father had secrets. But not until Dexter Shaw dies mysteriously does Bravo discover the enormity of his father’s life as a high-ranking member of the Order of Gnostic Observatines. For more than eight hundred years, the Order has preserved an ancient cache of documents that could shake Christianity to its foundations.

But the rival Knights of St. Clement will stop at nothing to obtain the treasure, and now Bravo is a target and a pawn in an ongoing war far larger and more deadly than any he could have imagined.

From New York City to Washington, D.C., to Paris, to Venice, and beyond, the race is on for the quintessential prize…the Testament.

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This sales end 5/31/2021 at 11:59 pm.

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Forming the Perfect Fantasy Heist Crew

Forming the Perfect Fantasy Heist Crew

A Summoning of Demons is finally out in the world and while we’re so sad that the Chimera series is over, we are also SO ready to reenter Cate Glass’ world of forbidden sorcery and a ragtag magical crew of ready for whatever espionage, heisting, or skullduggery the Shadow Lord has in store for them.

To keep us going, we’re revisiting Cate Glass’ guide to forming the perfect fantasy heist crew! Join along and tell us in the comments which role you’d play in a heist.

Originally published June 2019.


By Cate Glass

Image Placeholder of - 73I’ve always loved spy stories, from The Scarlet Pimpernel to Len Deighton’s cold war novels to Robert Ludlum’s Bourne novels. I also enjoy elaborate heist stories like Denzel Washington’s “Inside Man,” Robert Redford’s “Sneakers,” and two of my favorite binge-worthy TV series—“Burn Notice” and “White Collar.”

These tales center on groups of skilled operatives who pull off amazing, twisty ventures that look very much like magic. When noodling around with my own project a couple of years ago, I decided I wanted to pull this classic story into a world of my own devising, to create my own group of agents or thieves and set them on intriguing adventures where the “magic” in the caper was actual magic!

First, where and when?

I envisioned a great city just moving into an age of enlightenment and the rule of law, where feudal barons are being replaced by merchants and bankers and explorers. Magic, believed to be the dangerous residue of the wars of Creation, has almost been eradicated, though the authorities are ever on the alert for magical activity. Rather than conquest and empire-building conflicts, I wanted to focus on localized intrigue and political skullduggery, struggles between new governance and old ways. Rather than battlefields, significant conflicts take place in salons or dining rooms, secret societies, artisan workshops, catacombs, public marketplaces, and dark streets. Combat involves betrayals, kidnappings, poisonings, and assassinations. And crises arise that need to be dealt with in secret, without the overt complicity of authorities.

Poster Placeholder of - 84But, of course, before I could devise a first adventure for my little group, I needed to figure out who they were! Sorcerers certainly, and in my world, magical talents are unique and rare. And for truly complex missions, they would need more than magic.

So I looked back at those agents and thieves I so enjoyed and assessed the tools they used to get their jobs done. They used laser glass cutters or elaborate climbing harnesses to get them into inaccessible places. They impersonated their marks by using tools that bypass retinal, voice, or fingerprint scanners. Communications were on earwig devices. Their weapons were things like laser–aimed dart guns or focused explosives. I also considered the classic TV show Mission Impossible, where the team was not composed of experienced spies with super electronics, but actors, mechanics, electronics experts, linguists, and the like—who brought their own particular set of talents and more mundane tools, like makeup, latex masks, and trucks, winches, power supplies, and common screwdrivers to do similar tasks. Though I wanted to put my adventure in an era more like the sixteenth century, the skills they would need were much the same.

Image Place holder  of - 63Time for a casting call!

WANTED, for four possible positions in or near the independency of Cantagna, applicants possessing one or more of the following job skills:

  • ability to breach secured facilities without detection
  • ability to replicate documents…and signatures…and artworks or other artifacts.
  • knowledge of history, art, law, government, important personages, and political and interfamily rivalries throughout the nine independencies of the Costa Drago.
  • high-level skills in weaponry and offensive and defensive combat.
  • impersonation.
  • costuming.
  • retrieval.
  • communications specialists.
  • improvise structural and mechanical devices in close quarters.

Applicants must be able to work in a variety of stressful environments in tasks which have no visible support from any official entity. Decent pay, but no benefits, no public acknowledgment of service, and most definitely no life, health, accident, or disability insurance.

After sorting through a variety of applicants with a variety of skills and background, I found my four. Like my favorite literary operatives, they should be able to create enough magic and mayhem to ensure the good guys – or mostly good guys – win the day.

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Six Things I Borrowed Wholesale From History for A Memory Called Empire

Six Things I Borrowed Wholesale From History for A Memory Called Empire

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You may not know what a Byzantinist is, and that’s okay. We didn’t either before we read A Memory Called Empire, the first book in Arkady Martine’s Hugo Award-winning Teixcalaan series. The series continues with A Desolation Called Peace this March.

Martine is a Byzantinist—a historian of the Byzantine Empire—and has a Ph.D. in History! Her series takes historical events borrowed from the annals of the human race, and plays them out in a galactic civilization that’s kind of like House of Cards in space.

Check out some of her inspirations below!


Six Things I Borrowed Wholesale From History for A Memory Called Empire

By Arkady Martine

  1. In the year 1044 AD, the Byzantine Empire annexed the small Armenian kingdom of Ani. The empire was able to do this for a lot of reasons – political, historical, military – but the precipitating incident involved the Catholicos of the Armenian Apostolic Church, a man named Petros Getadarj, who was determined to prevent the forced conversion of the Armenians to the Byzantine form of Christianity. He did this by trading the physical sovereignty of Ani to the Byzantine emperor in exchange for promises of spiritual sovereignty. When I started writing this book, my inciting question was: what’s it like to be that guy? To betray your culture’s freedom in order to save your culture? Except, y’know, in space.
  2. The number-noun naming system of Teixcalaan is a direct reference to the naming practices of the Mixtec people of Oaxaca, who, like many Mesoamerican peoples, were named for the day in the 260-day cycle of the year on which they were born: a cycle of thirteen numbers and twenty signs (animals, plants, and natural phenomena).
  3. Extemporaneous and extremely political court poetry contests like the one Mahit attends in the City were a centerpiece of Byzantine political life during the Middle Byzantine Period (approximately 900-1204 CE), and were used in much the same way as I’ve used them: to prove an orator’s intelligence and cultural competence, and also to make political arguments. Sometimes both at once. ‘Fifteen-syllable political verse’ is a direct lift from Byzantine literature.
  4. The acclimation by the legions of some general to emperorship – or the threat thereof – was a constant problem in the late Roman empire and into Byzantium, as imperial legitimacy was so tightly linked to military prowess, success, and the celebration of triumphs. Teixcalaan has similar issues.
  5. Blood sacrifice for luck, promises, and the preservation of society is common in many cultures, but I specifically built Teixcalaanli religion in reference to the practices of the Mexica … and in reference to the idea of summer kings, the king being linked to the land, and whose sacrifice might be the only thing sufficient to redeem that land, which is common in European pre-Christian cultures.
  6. Ixhui dumplings are 100% Turkish/Ottoman manti. They’re my favorite food that I can’t make to save my life, so of course I used them.

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What’s in a Teixcalaanli Name?

What’s in a Teixcalaanli Name?

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Arkady Martine’s brilliant (and now Hugo Award-winning) space opera A Memory Called Empire has a sequel coming next month and we NEED to share some of our many feelings. And our Teixcalaanli names.

That’s right. Like our protagonist Mahit, we love ourselves a bit of predatory space empire culture. That’s why we’ve all claimed names like 8 Gravity, 45 Neon, 23 Spandrel, and 13! Teapot.

Now you can join in the fun too. We’ve included our short and sweet name generator below, but if you’re ready to dig deeper for your perfect author-approved Teixcalaani name, we’ve got you covered. Continue below for Arkady’s guide to Teixcalaani names!

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BASIC RULES FOR TEIXCALAANLI NAMES

By Arkady Martine

 

Each Teixcalaanli personal name has a number part and a noun part. Both parts have symbolic meanings.

 

Numbers in general:

  • The number part of the name is a whole integer (i.e. no negative numbers, no decimals or fractions, and irrational numbers like pi or e are only for jokes). The range of numbers is almost always between 1 and 100, with lower numbers being more common.
  • Numbers from 1-20 are the most common number-parts, and suggest tradition and normalcy. Think about names like ‘John’, ‘Elizabeth’, ‘Maria Jose’, or ‘Mohammed’ – names that lots of people have and aren’t unusual choices.
  • Numbers from 21-60 are slightly more unusual but not weird in any way – they’re just the sort of name that is a little more unique. Think ‘Nadia’, ‘Malik’, ‘Yuko’, ‘Gabriel’ or ‘Makenzie’.
  • Numbers from 61-99 are less common, but no one is really going to blink at them too Think ‘Fashionette’, ‘Clemency’, ‘Ezekiel’, or ‘Thor’.
  • Numbers over 100 are like naming your kid ‘Moon Unit’ or ‘Apple’. Except in Teixcalaan you could name your kid Moon Unit or Apple…

Numbers in specific:

  • ONE – achievement, aggression, singularity, primacy, solidity
  • TWO – balance, reflection, liquidity, succession, mirroring
  • THREE – aggression and balance, think of a pointy but stable triangle
  • FOUR – intellect, broad-based knowledge, evaluation, strategy
  • FIVE – speed/quickness, humanity, diplomacy, exemplar-of-type (think of five fingers on a hand)
  • SIX – imperial power, ambition, multi-tasking, associated with the six directions of the world (N/W/S/E plus up and down) – Teixcalaanli symbolism is full of sixes
  • SEVEN – life of the mind, softness, care, security, unbiased evaluation
  • EIGHT – twice four, intellect applied, solutions
  • NINE – three threes, prickly, difficult, brilliant
  • TEN – reliability, omnipresence, financial success
  • ELEVEN – subversion, cleverness, flexibility … and loyalty. Tactics.
  • TWELVE – two sixes, power/authority, ambition but not the dangerous kind, success in money/trade

Numbers in the Teixcalaanli writing system:

Since Teixcalaan writes in characters (sort of a hybrid of Mayan glyphs and hanzi), there are multiple ways to write each number, most of which are not the simple way which is used in mathematics. Name-numbers have specific fancier glyphs, and these can be passed down or re-used. (See Eight Loop, the Judiciary Minister, and Eight Antidote, the imperial heir, who use the same number-glyph to write their names).

 

Nouns in general:

  • The noun part of a Teixcalaanli name is always a plant, an inanimate object, or a concept (in order of likelihood). No animals and no self-propelled inanimate things – i.e. ‘boat’ is an acceptable noun, but ‘self-driving car’ is not. (Honestly, both ‘Boat’ and ‘Self-Driving Car’ are names that Teixcalaanlitzlim would laugh at.)
  • Teixcalaan loves flowers. A lot of plant names are flowers and trees, including some unusual ones. See ‘Three Seagrass’, ‘Twelve Azalea’, ‘One Cyclamen’, ‘Eleven Conifer’.
  • Object names tend to be related to the natural world (‘Five Agate’, ‘Ten Pearl’), astronomical objects or phenomena (‘Sixteen Moonrise’, ‘Twelve Solar-Flare’) or common objects, often ones which can be held and manipulated. Tools are highly represented. (‘Nineteen Adze’, ‘Eleven Lathe’). Occasionally object names refer to architecture – ‘Five Portico’ is only a little bit odd as a name. (Something like ‘Two Paving-Stone’ would be odd, but no odder than a kid named ‘Winston’.)
  • Concept names again tend to be astronomical, mathematical, or scientific. ‘Six Direction’, for example, or ‘Eight Antidote’.
  • Often the noun part of a Teixcalaanli name is where a use-name or nickname is derived from. Some examples: Three Seagrass à ‘Reed’; Twelve Azalea à ‘Petal’; Two Cartograph à ‘Map’; ‘Eight Antidote’ à ‘Cure’.

Some symbolism for nouns, of what could be a very long list:

  • ‘Ink’ vs. ‘Inkwell’ – a person named Two Ink is someone who makes quick-thinking, indelible decisions, but a person named Two Inkwell is an endless store of new ideas. Both of these people are from traditional or tradition-minded families.
  • ‘Graphite’ – as opposed to ‘Carbon’ or ‘Diamond’, a child named ‘Graphite’ has a parent who is hedging their bets: ‘Graphite’ is flexible, changeable, useful in all its forms, while ‘Carbon’ has suggestions of ‘unavoidable, necessary’ and also ‘ashes’, and ‘Diamond’ is ‘inflexible, strong, beautiful’.
  • ‘Nasturtium’ – a victory flower! But also one you can eat as a delicacy. A Six Nasturtium is a name for a very ambitious child whose parent has aspirations of grand and flamboyant success … but a Two Nasturtium is a serene and delicate child whose success, while assured, does not have to be grand.

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Arkady Martine Answers: What’s It Like to Be Married to Another Writer?

Arkady Martine Answers: What’s It Like to Be Married to Another Writer?

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Image Placeholder of - 70Aspiring authors, listen up! Arkady Martine, historian, city planner, and Hugo award-winning author of space operas A Memory Called Empire and its sequel—out next month—A Desolation Called Peace, has writing survival tips and the scoop on what it’s like to be married to a fellow writer.

Is it a whirlwind of focus and productivity? Is it all procrastination and crying over word counts!? Find out below, and grab a copy of A Desolation Called Peace!

 


 

What’s it like being married to another writer?

Amazing. I recommend it, if you can swing it. Essentially – it’s like being married to anyone who shares your field, with all the delights and problems of working in the same area at the same time. We celebrate each other’s successes and support each other through publishing vicissitudes. Viv – my wife, whose books are currently with Orbit (the most recent is DREADFUL COMPANY, which has got the Paris catacombs and hellphones (think cellphones, but for calling Hell) in) – is my first reader and my physics-and-spaceflight-and-almost-everything-else consultant. But more importantly she’s my storytelling partner: because we’re both writers, we spend a lot of time talking about narrative, writing to each other, for each other. There are a lot of small easter eggs in my work which are for her, like a palimpsest or a secret gift. She makes me a better artist. She challenges me to write more clearly, with greater intensity of voice and character.

Also it’s pretty great to have someone who understands oh hell I’m on deadline, and who runs away with me to hotels for writing vacations. (A writing vacation is when you don’t get to leave the hotel room until you’ve got your words for the day, but someone else brings you food and makes the bed and there’s nothing around to distract you but your partner, who also has to make wordcount. We do this at least twice a year.)

 

How do you combat writer’s block?

This is a neat little trick to get back into writing a scene if you’ve been paused for a while, or if you can’t figure out how to start after a transition. It goes like this: describe – in detail, with precision – some architecture, someone’s clothing, something in your POV character’s visual field. Keep describing, but root that description in your POV character’s impressions and understanding of what they’re seeing. Keep describing until you figure out why your character would be looking so closely at that thing – and by then, you’re in the scene, you’ve got the voice, and you’ve probably done some accidental thematic and visual work to tie the story together.

This is, in fact, why my work is so goddamn full of descriptions of buildings and clothes and peculiar food items.

You can pull these setting-scaffolds out again in edits if they get redundant, but I usually leave them in – they’re less filigree than you’d think. They become fairly central to characterization – how does this character notice the world they move through?

 

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Excerpt: A Memory Called Empire by Arkady Martine

Excerpt: A Memory Called Empire by Arkady Martine

Missed the 2020 Hugo Award-winning A Memory Called Empire when it came out? There’s still time to get in a read before this year’s A Desolation Called Peace! Get started with an exciting sneak peek from Book 1 today!

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Image Place holder  of - 92A Memory Called Empire perfectly balances action and intrigue with matters of empire and identity. All around brilliant space opera, I absolutely love it.”—Ann Leckie, author of Ancillary Justice

Ambassador Mahit Dzmare arrives in the center of the multi-system Teixcalaanli Empire only to discover that her predecessor, the previous ambassador from their small but fiercely independent mining Station, has died. But no one will admit that his death wasn’t an accident—or that Mahit might be next to die, during a time of political instability in the highest echelons of the imperial court.

Now, Mahit must discover who is behind the murder, rescue herself, and save her Station from Teixcalaan’s unceasing expansion—all while navigating an alien culture that is all too seductive, engaging in intrigues of her own, and hiding a deadly technological secret—one that might spell the end of her Station and her way of life—or rescue it from annihilation.

 

Excerpt

She was lying on the ground, her cheek wet in the spilled water. The air roiled with thick, acrid smoke and shouting in Teixcalaanli. Part of the table—or part of the wall, some heavy immobilizing marble—had come down on her hip and pinned her with a radiating spike of pain when she tried to move. She could only see a partial visual arc—there were chair legs and debris blocking her—but in that arc was fire.

She knew the Teixcalaanli word for “explosion,” a centerpiece of military poetry, usually adorned with adjectives like “shattering” or “fire-flowered,” but now she learned, by extrapolation from the shouting, the one for “bomb.” It was a short word. You could scream it very loudly. She figured it out because it was the word people were screaming when they weren’t screaming “help.”

She couldn’t see Three Seagrass anywhere.

Wetness dripped onto her face, as wet as the spilled water but from the other side. Dripped and collected and spilled over the hollow of her temple and across her cheek and her eye and was red, was blood. Mahit turned her head, arched her neck. The blood flowed downward, toward her mouth, and she clamped her lips shut.

It was coming from Fifteen Engine, collapsed back into his chair, the front of his shirt—the front of his torso—torn open and away, his throat studded with shrapnel. His face was pristine, the eyes open and glassily staring. The bomb must have been close. To his right, from the angle of the pieces she could see.

Yskandr, Im sorry, she thought. No matter how much she dis-liked Fifteen Engine—and she had been developing a very direct and powerful dislike, just a moment ago—he was someone who had been Yskandr’s. She was Yskandr enough to feel a displaced sort of grief. A missed opportunity. Something she hadn’t safeguarded well enough.

A pair of knees in smoke-scorched cream trousers appeared in front of her nose, and then Three Seagrass was wiping the blood off her face with her palms.

“I would really like you to be alive,” Three Seagrass said. It was hard for Mahit to hear her over the shouting, and even the shouting was being drowned out by a rising electric hum, like the air itself was being ionized.

“You’re in luck,” Mahit said. Her voice worked fine. Her jaw worked fine. There was blood in her mouth now, despite Three Seagrass’s efforts to smear it away.

“Great,” said Three Seagrass. “Fantastic! Reporting your death to the Emperor would be incredibly embarrassing and possi- bly end my career and also I think I’d be upset—are you going to die if I move the piece of the wall that’s fallen on you, I am not an ixplanatl, I don’t understand anything about non-ritual exsanguination except not to pull arrows out of people’s veins and I learned that from a really bad theatrical adaptation of The Secret History of the Emperors—”

“Three Seagrass, you’re hysterical.”

“Yes,” said Three Seagrass, “I know,” and shoved whatever was pinning Mahit to the ground off of her hip. The release of pressure was a new kind of pain. The hum in the air was growing louder, the space between Three Seagrass’s body and her own beginning to shade a delicate and terrifying blue, like twilight approaching. The marble restaurant floor had lit up with a tracery of aware circuits, all blue, all glowing, coloring the air with light. Mahit thought of nuclear core spills, how they flashed blue as they cooked flesh; thought of what she’d read of lightning cascading out of the sky. If it was ionized air they were already dead. She struggled up on her elbows, lunged for Three Seagrass’s arm, and catching it, hauled herself to sitting.

“What’s wrong with the air?”

“A bomb went off,” Three Seagrass said. “The restaurant is on fire, what do you think is wrong with the air?”

“It’s blue!”

“That’s the City noticing—”

A section of the restaurant’s roof shuddered and fell, ear-shatteringly loud. Three Seagrass and Mahit ducked simultaneously, pressed forehead to shoulder.

“We have to get out of here,” Mahit said. “That might not have been the only bomb.” The word was easy to say, round on her lips. She wondered if Yskandr had ever said it.

Three Seagrass pulled her to her feet. “Has this happened to you before?”

“No!” Mahit said. “Never.” The last time there had been a bomb on Lsel was before she was born. The saboteurs— revolutionaries, they’d called themselves, but they’d been saboteurs—had brought the vacuum in when their incendiaries exploded. They’d been spaced, afterward, and the whole line of their imagos cut off: thirteen generations of engineering knowledge lost with the oldest of them. The Station didn’t keep people who were willing to expose innocents to space. If an imago-line could be corrupted like that, it wasn’t worth preserving.

It was different on a planet. The blue air was breathable, even if it tasted like smoke. Three Seagrass had hold of her elbow and they were walking out into Plaza Central Nine, where the sky was still the same impossible color, as if nothing had gone wrong.

Copyright © 2019

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The Poetry of A Memory Called Empire

The Poetry of A Memory Called Empire

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A Memory Called Empire elevates space opera to poetry—clever, deep, sometimes tragic, sometimes violent, always transcendent poetry that shines like the edge of a knife.” —Delilah Dawson

Have you read the lush, tense, dizzying and dazzling sci-fi masterpiece that is A Memory Called Empire by Arkady Martine yet? And if have, you were probably pretty impressed by all the detail of the Teixcalaanli culture—particularly all the poetry.

As you prepare for the sequel, A Desolation Called Peace (hitting shelves 3/2/21), check out Arkady as she talks integrating poetry and space opera in A Memory Called Empire, paperback out now:

 


 

By Arkady Martine

I’m not myself exactly a poet. I’ve written and published poetry – occasionally I’ve written and published good poetry – but I don’t have the control of the art form that a serious poet does, the understanding of why a poem lands or doesn’t land. What I do have is a decent ear for sentence rhythm, and a fair grasp of symbolic and allusive language, which is all you need to write poetry to stick in a book. Recently Rebecca F. Kuang, author of The Poppy War, introduced me to the Chinese poet Wen Yiduo via a Twitter thread: she quoted something he wrote in 1926, saying that “formal technique aids, not hinders, artistic expression and that poetry only attains perfection when the poet learns to ‘dance in fetters’”. The formal structure of poetry, with its rules and confinements and focusing power, is incredibly powerful, and I’ve used that concept of formal structure in A Memory Called Empire to show poetic skill.

Teixcalaanli literature – which is in many ways based on Middle Byzantine literature – is a literature that centers poetic forms. In part this is because their literature is one which is performed out loud in political settings, so oratorical verse, with rhythm and meter, is a valued skillset amongst the intelligentsia. (The poetry contests in A Memory Called Empire are a little bit like rap battles with politics in. Think of the Cabinet Battle songs in Hamilton and you’ve got the idea pretty much solid.) Most of Teixcalaanli classics are epic poems – and a lot of Teixcalaanli culture is expressed in verse and song. I think I wrote three full poems and many partial ones for the book, including a two versions of the same protest song, a political intervention in the form of a three-line epigram, and a public safety message that used to be part of an epic about city-building.

Absolutely none of that poetry was actually in meter.

First of all, the book is written in English, and the poems – if they were real – would be in Teixcalaanli. Writing in English meter wouldn’t match up with what the Teixcalaanli meter would be – and also I’m terrible at metered poetry. I can fake being a genius political poet in free verse. But if you want a sonnet from me, you’ll get a doggerel sonnet. (In correct meter. But the most twee correct meter you have ever encountered.) The choice to gesture at poetry instead of trying to achieve the heights of the form let me not get trapped in having to be really, really good. It’s a shortcut. But I wanted readers to think that Teixcalaanli poets were incredible, whether or not that particular reader liked English poetry – so I didn’t want to trip them up with English poetry poorly done, or which might ring false or silly and throw them out of the story.

 

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What Would You Keep in a Bag of Holding? (Chaotic Answers Only)

What Would You Keep in a Bag of Holding? (Chaotic Answers Only)

The Chaos and Cosmos continues!

We asked our Chaos and Cosmos authors: What would you keep in a bag of holding? And then we just sat back and embraced the chaos.

We have some ideas of our own of course: A lightsaber. Two-hundred and seven cheese wheels. A dragon egg maybe.

Let us know what you’d keep in yours in the comments!


What would you keep in your bag of holding?

Kate Elliott, author of Unconquerable Sun

A trans-dimensional gateway, and an unending supply of freshly baked cookies.

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Mary Robinette Kowal, author of The Relentless Moon

Fountain pens, paper, books, crochet, my laptop, and a blanket for a cozy nap. Also, my cat Elsie would probably be in there, because it is a thing that she can get inside that she should not be inside.

S. A. Hunt, author of I Come With Knives

Definitely not a portable hole, or another bag of holding. That’s a good way to rip a hole in space and time, and get sucked into the Astral Plane. What I would keep in my bag of holding? Probably a sword, my wallet, and chargers for my devices. Maybe a pack of soft-baked cookies and a water bottle.

Alaya Dawn Johnson, author of Trouble the Saints

Futon mattress, green tea, electric kettle, pens, ink, notebooks, towel, a lot of conditioner and a hair pick.

Ryan Van Loan, author of The Sin in the Steel

Oh! Can I say another bag of holding whose destruction results in opening a gate to the Astral Plane? No? Hmm…well I imagine it’d probably be pretty similar to the contents of the bag Hermione has in The Deathly Hallows. Books and glamping tents and more books and potions and wands and quills and ink and…have I mentioned books?

Kit Rocha, author of Deal with the Devil

A bowling alley (complete with skunky beer), fifty pounds of hot smoked salmon, and a 1961 Thunderbird.

Jenn Lyons, author of The Memory of Souls

If my backpack is anything to go by: fountain pens, journals, and watercolor supplies.

Andrea Hairston, author of Master of Poisons

  • Portals to other worlds
  • A bike that never rusts or needs air in the tire
  • Dark chocolate bonbons with caramel filling
  • A truth serum

Christopher Paolini, author of To Sleep in a Sea of Stars

Survival equipment and writing supplies.

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S. L. Huang, author of Burning Roses

Toilet paper. (Too real?)

Also a sword, my TI-92 graphing calculator, and a whole lot of tea.

Cory Doctorow, author of Attack Surface

A wet bar, an espresso machine, a burr grinder, well, I already have the bag I take on planes that has a sleeping bag, good pajamas, a hot water bottle, an ice pack, footie slippers, an eye mask…I’m the most comfortable man in the sky, so I’ll definitely carry all of that, some really good pens, more spare batteries than is wise, I could go on.

 Us: How many spare batteries is wise?

Like, if there was a lithium fire, you’d want it to be terrible but not catastrophic, that’s the wise level.

V. E. Schwab, author of The Invisible Life of Addie LaRue

Dark chocolate and really good English Breakfast tea, at all times.

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Relatable, right?

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Chaos and Cosmos: Choose. Your. Weapon.

Chaos and Cosmos: Choose. Your. Weapon.

Everyone knows that when challenged to a duel, it’s on you to pick the weapon. Fisticuffs? Fencing at dawn? Compliments? In order to be prepared to defend your honor, you should really have a weapon of choice.

Relatedly, in the event of an unfortunate fencing-at-dawn accident, what would you replace your hand with if it were chopped off?

We ask our authors the important questions.

What is your weapon of choice?
Or, if your hand was cut off what would you replace it with? 

Kate Elliott, author of Unconquerable Sun

If my hand was cut off I would replace it with a Swiss Army knife multi-tool prosthetic with additional sensitive claw grip.

Mary Robinette Kowal, author of The Relentless Moon

Weapon of choice: Namiki pilot fountain pen with Noodler Ink’s Black Swans in English Roses. 

S. A. Hunt, author of I Come With Knives

Chainsaw, of course. Barring that, a short-sword. Something agile, but still has a little reach. No! No! A hookshot! A claw-hand that shoots out on a cable!

Alaya Dawn Johnson, author of Trouble the Saints

Nothing beats a well-aimed throwing knife.

Ryan Van Loan, author of The Sin in the Steel

Can this be an ‘and’ question? Weapon of choice would be a Colt .45 (God made people, Sam Colt made them all equal right?) The truth is, I have a fascination with a double-edged broadsword with a basket-hilt and red leather lining (think Scottish sword), but I haven’t put my 10,000 hours in and would die…but if I could replace my hand with a badass sword AND have the Colt .45? Possibilities, friends, possibilities.

Kit Rocha, author of Deal with the Devil

A PS4 controller.

Jenn Lyons, author of The Memory of Souls

My weapon of choice would be vast cosmic powers. Because hell yes.

Andrea Hairston, author of Master of Poisons

The pen! (For both.)

Christopher Paolini, author of To Sleep in a Sea of Stars

Pistol-caliber carbine with armor-piercing rounds. If my hand was cut off . . . a phased plasma rifle in the 40-watt range.

S. L. Huang, author of Burning Roses

A laser. Because I could both cut through diamond AND entertain a posse of playful cats.

Cory Doctorow, author of Attack Surface

The Content Management System.

V. E. Schwab, author of The Invisible Life of Addie LaRue

Definitely a really old-fashioned dagger.

 

Stay tuned for even more Chaos and Cosmos!

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