Over the last decade, Orbit US, an imprint of Hachette Book Group, has quickly established itself as one of the premiere publishers of science fiction and fantasy, and a reliable source for everything from innovative works of science fiction to blockbuster epic fantasies. To celebrate the milestone, a selection of landmark Orbit titles is currently available on Nook for just $2.99 each, but we wanted to do more than point you toward some great titles, so we asked Orbit’s publisher, Tim Holman, to share a bit of history. Below his comments, you’ll find a timeline of key dates in Orbit’s history.
No, really, if you return to me a copy-edited article for my attention, and mention that you have made changes to the text (as well as changing the title to one that I think is misleading), please to be sending it to me with your changes tracked and marked up.
For if you are going to insult my ability to write English prose, I think I should be able to see how you have 'improved' my text without having to compare it line by line with the text I sent you.
I may possibly have dumped my bibliography on this editor's head...
A song that you would sing as a duet on karaoke. I don't do karaoke, and I don't do duets, so this is a bit of a non-starter for me.
No, let me explain, because I'm having fun answering this meme in way too much detail. I think karaoke is an absolutely excellent idea in theory. It's really great to encourage people to sing just for fun and not worry about skill level. And it's really great to use technology to play the backing music and display the lyrics so that someone can just get up and sing the melody with little preparation.
The problem is that for me personally, karaoke means packaging up 30 plus years of abject humiliation over not being able to sing in tune, and asking me to enjoy that in public. I find it hard anyway to make myself sing in front of other people; I do it, because I absolutely do believe that music belongs to everybody (not just people who are "musical"), and shared music is a great way for people to connect. Singing in front of an audience who are paying attention to me, or even worse, in a competition, however light-hearted, is too terrifying.
Duets are possibly extra impossible, because singing in unison with someone else is already hard for me. Especially if they have a lower range; I can't really hear octaves, so I find it very difficult to join in with someone singing in the bass clef range. Singing in harmony is really really hard, because not only do I have to sing the correct notes which I always find difficult to remember, I also have to match the note which is very imperfectly in my head while being distracted by my partner singing a different note that my actual ears can hear. I can sometimes do multi-part harmony if there are several people singing each section, so I can listen to someone else who is singing the same line as me. And I'm fine with parts in music in general when I don't have to worry about pitch. But a sung duet is really tricky.
And really, I can think of very few duets that I know at all, for whatever reason, even to listen to. Let's call the whole thing off might work, because (at least in this superlatively great version with Ella Fitzgerald and Louis Armstrong) it's mostly alternating verses or lines between the two singers rather than harmony. But hypothetically, if I were to find the courage to sing karaoke, I probably wouldn't start with something really amazingly great; somehow I'd feel less bad about murdering some ephemeral extruded pop product than attempting an actually good song.
I will admit, though, that my brother and I have been known to sing Always by Bon Jovi, as a sort of duet, sometimes in public and definitely not caring that neither of us can really sing. Partly because we always liked the dubious rhyme of:
I'll be there til the stars don't shineAnd partly because Bon Jovi can't really sing either, he just projected a persona calculated to appeal to teenaged girls in the 90s. So I probably wouldn't sing it actually in karaoke, and I probably wouldn't sing it with anyone other than my brother, but it seems slightly less impossible than any other options, so I think it seems in the spirit of the meme.
Til the heavens burst, and the words don't rhyme
( video embed )
While I was away I noticed on, I think, Twitter, which I was scrolling through while waiting at a bus stop/train station/whatever, somebody getting into a froth over somebody deleting their tweets upon
mature reflection, and how this was The Death of History.
To which my own reactions were:
a) Archivists have been thinking about the problems posed by the fragility of the digital record for a good couple of decades plus, this is not something no-one has noticed before. (Wasn't the Library of Congress archiving Twitter, and presumably there are some measures against tampering, if so? - hah, I see that there have been problems of processing and it's not actually accessible, or wasn't as at last year.)
b) Quite apart from the dangers of fire, flood and insect or animal depredation to which records in the more traditional forms have been exposed, there has been a fair amount of deliberate curating of the record over the centuries, by deliberate destruction or just careful concealment (whether it's the Foreign Office secret archive or the concealment of Turner's erotic drawings under a misleading file title).
c) While you can delete or destroy a particular record, you cannot always get rid of the information that it did exist - presumably it was other people commenting on the now-deleted tweets or retweeting them that led to the decision to delete them, but that doesn't eradicate the fact of their existence. This may even draw attention to the deleted record: this is why when I was still being an archivist we used to persuade donors not to ask for closures apart from those mandated by Data Protection, because the idea that something is *CLOSED* causes some people's ears to prick up in a supposition that there will be *HIDDEN SECRETS* (this was very, very, seldom the case).
I might also invoke the case that came up in Prince of Tricksters, where Netley Lucas under one of his identities was communicating with different officials and departments, possibly, it is suggested, as a means to confuse his trail: but, due to the growth of bureaucracy, as well as the social networks they belonged to, could also communicate among one another to discover that this was all the same guy.
There is also the phenomenon that I have mentioned to researchers, that yes [organisations of a certain ideological bent] have been very coy about placing their archives anywhere where people might do research in them; BUT the organisations and people they were against kept tabs on their activities, collected their literature, etc.
Also that if person/organisation's own papers do not survive, you can find out a good deal from the surviving records of those they interacted with.
grandma ( extreme old age is hard )
The garland is about 40 inches (1m) long, with 5 segments. I'm putting 4 roses on each segment, so that's 20 flowers. I've got ten made and ten to go, though I don't think I have enough of the variegated lavender yarn for the last one. Will have to improvise something. Then I can get it in the mail to Grandma.
Then today's newscycle pissed me off enough that I posted a WIP shot of my epic project, my 15" Statue of Liberty. I'm still awaiting lightweight yarn so I can make her robes that actually drape. Also a superhero cape.
In sum, yarning is coping.
What I read
A novella by Heather Rose Jones, Three Nights at the Opera (2014), prequel to Daughter of Mystery.
There was indeed a new Catherine Fox, Realms of Glory, delivered to my Kobo well in time to beguile my journeyings. Very good.
Alex Hall, Glitterland (2013): m/m contemporary romance, which was an absolute page-turner and I will even give it a degree of pass on the phonetic rendering of Estuarine speech, on the grounds that this might be down to the first-person narrator's attempt to depict Difference.
Charlie Jane Anders, All the Birds in the Sky (2016): I had a bit of a problem with the rather gender-stereotypical allocation of science vs magic, and also with the way that both of them, in particular Patricia, are shown as coming to their powers as a result of familial dysfunction and school bullying (are US high schools really quite so generally toxic as literature would have me believe?), which is not that dissimilar in its rather Spartan overtones to the ethos of the military school to which Laurence is briefly sent. But I read on.
Helene Wecker, The Golem and the Djinni (2013) - there were parts where I thought this was a bit slow, and possibly about showing off the author's research, but then it all came together with all the threads meshing at the end.
On the go
The end is almost in sight with Prince of Tricksters. Also continuing with Rejected Essays and Buried Thoughts, as and when.
Well, I have lately had delivered to my Kobo Kate Elliott's Buried Heart (2017), conclusion (?) to the Court of Fives series. But I've also, finally, received Monica Ferris's cozy mystery, Knit Your Own Murder (2016), at last a) out in paperback and b) actually in the mailer received from the seller.
One of your favourite classical songs.
Because I always end up picking Fauré's Requiem every time I answer a meme about music, I'll stick to a strict definition of 'song' and go with Les roses d'Ispahan instead:
( video (singing over animation of the score) )
The story behind this is that I fell in love with Fauré when I heard the school choir singing the Requiem when I was 12, and the singing teacher saw me falling in love and decided to try to teach me to sing, even though I notoriously couldn't hold a tune. And we talked a lot about singing Christian sacred music, but she also pointed out that Fauré wrote plenty of secular stuff, so I could learn that. Alongside lots of simpler things more appropriate for a beginning singer. And I loved all the repertoire I learned, but Les roses d'Ispahan best. Spending absolutely months trying to learn songs that were too hard for me gave me an appreciation that just listening to them never would.
Or, if I'm going with a strict definition of Classical, to get even further away from always going on about Fauré... most of the music I like is either Baroque or Romantic really, but I'm not against the entire Classical period. So let's go with Schubert, whom I always reliably like. I'm choosing the song Heidenröslein for the tune, even though I'm not wholly enamoured of the lyrics. I mean, it's Goethe, but it's also about the poet destroying his lover to punish her for rejecting him. Also because I discovered recently that there's a Rammstein song alluding to it, so I'm using the meme as an excuse to tell you about that.
( video embed, containing religious violence )