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Q&A with Christopher Paolini and To Sleep in a Sea of Stars Cover Artist Lindy Martin!

We are still absolutely OBSESSED with the cover of opens in a new windowTo Sleep in a Sea of Stars by Christopher Paolini, so to celebrate the release of the paperback on October 19, we’re resharing an exclusive interview between Christopher and cover designer Lindy Martin! Check out their Q&A here, and a big thanks to Inside Faceout for providing this piece (original article opens in a new windowhere).


Answers by author, Christopher Paolini, curtesy of  opens in a new windowInside Faceout

Place holder  of - 58MARTIN: Did you consider what your cover would/should look like at any point during the writing process? If so, what did you have in mind and how does the final cover compare or contrast with your vision?

I usually don’t think too much about the cover while I’m writing the book. If an image or idea pops into my head, great, but I don’t make any specific effort in that direction.

Once the manuscript goes off to my publisher (Tor, in this case), then yes, I do spend a lot of time thinking about the cover. To Sleep in a Sea of Stars was particularly tricky because the design needed to strike a new tone. I’d been fortunate enough to get iconic covers for my fantasy novels. But this was the first book I’d written outside the world of Eragon—and my first adult novel—so striking the right balance with the text and art wasn’t easy. And it didn’t help that the title is so long!

The final cover is different than I originally imagined, but it does a wonderful job of complementing the title while also capturing the essence of the story. What makes it even more impressive is that Lindy did all this without actually reading the book! Well done!

MARTIN: How did your shift in genre affect the vision and expectations you had for this cover?

As a genre, science fiction often deals with space, the future, and technology. Not all the time, but as a rule, those themes are fairly common, and they stand in contrast with what one often finds in fantasy. Because of that, I knew that the cover of To Sleep in a Sea of Stars needed to be slick, modern, and—as so many sci-fi covers are—blue! (I seem to have a thing for blue covers.)

MARTIN: What stood out to you with this particular cover design? Was it “love at first sight,” or were you more slowly drawn to it after looking at and considering lots of options? How does it represent the story and how do you hope it will connect with readers?

My publisher and I looked at a number of different designs. At one point we were even considering a somewhat fantasy(ish) illustration. However, once we saw the current design, we knew we had a winner.

Design work is often iterative. Sometimes you’re lucky enough to get it right the first time, but usually it’s a process of honing your initial instincts until you find something that really works.

The cover of To Sleep in a Sea of Stars represents several key moments in the story, and most especially, a scene right at the end. It’s also evocative of the title itself. It does an excellent job communicating these points to readers.

MARTIN: From your perspective, what role does the cover play in the book writing and packaging process?

It plays an enormous role! We all say to never judge a book by its cover, but of course, we do exactly that. A good cover can be the difference between someone reading your novel or not. It’s the first line of advertising, as well as the first visual statement people see about the book.

I’m enormously pleased with this cover. From the moment it was revealed, people have loved it. Ever day I see comments on social media about how beautiful and powerful it is. And I agree. Twice in my career now—first with the Inheritance Cycle and now with To Sleep in a Sea of Stars—I’ve been fortunate to have amazing covers for my books. As an author, I couldn’t ask for anything more!

MARTIN: Do you have any suggestions for how designers and writers can work together better toward producing beautifully packaged books? 

In an ideal world, designers would have the time to read a book before creating a cover for it, and authors would have some graphic design experience so they could communicate effectively with their designers.

Since the world we live in is less than ideal, I suggest authors be as clear as possible on what they hope to achieve with their books. And for designers to pay close attention to the emotion that authors are hoping to convey. As long as a cover evokes the mood of the book, it’s successful.


Answers by cover designer, Lindy Martin, curtesy of  opens in a new windowInside Faceout

Image Placeholder of - 76PAOLINI: How did you become a book designer? Did you go to school to learn these skills, learn on the job with a publisher, or apprentice with someone? Are you self taught?

I have always had a deep love for stories, whether it was reading or writing my own. I knew I would love to work in publishing and to be a part of bringing stories to life in the form of key visuals, color, and typography.

I became a book designer at Faceout Studio almost four years ago after I graduated with my Bachelor of Science in Graphic Design and Photography from John Brown University. The program helped lay the foundation for the technical skills as well as creative problem solving. However, a lot of the hands on learning happened on the job as I gleaned more and more from each project, as well as from the designers around me.

PAOLINI: How do you approach designing a book cover? What do you need from the client?

Each project that I work on comes with a unique set of challenges, since every story, author, and audience looks different. The first step is to gain as much understanding of the plot, characters, and tone as possible. This might mean reading the manuscript, hiring a reader, or talking with the art director about key information.

From there, I dive into the creative process and it becomes a game of juggling type, color, artwork, and concept until it comes together to create something dynamic and eye-catching.

Sometimes this process of creative alchemy takes a matter of hours, but more often takes a lot longer. From there, it goes to the client for review and then goes through a series of revisions until every detail is just right.

The client provides meaningful and necessary art direction and insight. Understanding their perspective and what they are looking for helps me as the designer to get on the right track and create something that captures their vision.

PAOLINI: Can you share with us your experience of designing the cover for To Sleep in a Sea of Stars?

To Sleep in a Sea of Stars was a particularly fun project to be a part of. I loved reading the Inheritance Cycle, so I was very excited when I had the chance to design some cover options for Christopher’s new book. While I didn’t have the manuscript to read, I had the helpful guidance and art direction from Peter Lutjen, the art director at Tor, to help me narrow down the key story elements and tone necessary for the cover.

The selected cover was my favorite out of the options I created. I liked the bold, stark imagery and the juxtaposition between the geometric fractal patterns and the organic glowing stars. It felt like a snapshot of a person being transformed. I also knew the blue color palette would lend itself to look beautiful in a metallic print treatment.

The silhouette of the figure was modified from an underwater image which had the same qualities of a figure suspended in space.

Long titles can often be a challenge to work with, but in this case it worked well for framing the imagery and creating a focal point for the silhouette to sit in. A clean, modern typeface seemed to be the best solution to be in line with the sci-fi genre.

PAOLINI: What are some favorite covers you’ve worked on? And what makes so interesting?

Some recent ones would be Where the Lost Wander by Amy Harmon and American Awakening by John Kingston. These were opportunities to do something a little out of the box for the genre.

I appreciated that these projects allow the freedom to push the boundaries with the type taking on a role of representing the book’s concept.

PAOLINI: Do you have a favorite color or style that you find yourself returning to?

Not really! That’s the beauty of the job, every genre and story requires something different, something that pushes you out of your comfort zone. I particularly enjoy projects that require some sort of personal touch, whether that is a custom illustration, hand lettering, or original photography. As an artist, I enjoy being able to bring originality wherever I can.

Pre-order To Sleep in a Sea of Stars in Paperback Here

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Everything is Change by Alaya Dawn Johnson, author of Trouble the Saints

Placeholder of  -70Everything is change and everything ends, but can old things become new again?

Check out Alaya Dawn Johnson, author of the acclaimed novel opens in a new windowTrouble the Saints, and her essay below on publishing a novel for the first time in six years and writing about structural inequality, colorism, judicial and extra-judicial violence.


By Alaya Dawn Johnson

I wake up early these days, a few minutes after the sun. I had thought that mornings in the country would be blessedly peaceful, but honestly it’s a racket: donkeys braying, roosters crowing, dogs barking in territorial choruses, so many birds singing you feel their raw joy at the miracle of the rising sun in your bones. My insides twist every night with dreams I can hardly bring myself to remember—I was obliviously used to this before I started cultivating self-awareness, but it’s harder to bear now. There is less respite in the games of disassociation when you know what you’re playing. This is how I wake up: moving from the cacophony of my subconscious to the cacophony of a dirt road in rural Oaxaca. In between, when I am lucky, there is a momentary stillness, a place to appreciate where I am now, which is not where I have been. Hello, Alaya, I say. Today you have nothing to fear.

Mass has been canceled so the local evangelical church blasts its sermons with the dawn. Layered on top, from another set of speakers, public service announcements wish happy birthday to the Señora Lopez Merino and play Pedro Infante’s mañanitas. I roll out my yoga mat and do sun salutations to the actual rising sun, which I never saw in the city, and my dog—the first creature in my life I have cared for—noses my face as I stretch out my calves in downward dog.

This New Year’s I came to this same town, which I did not dream of living in, and drank mezcal and watched the stars and the moon and ate creamy apple salad. 2020 is my big year, I thought, and imagined how it would be: a big pre-pub book tour, with major events all over the US. A release party in New York City with all my friends and some big-name writers. I’d move back to NYC for the month of June, somehow find the money to pay for it. At last my new novel would come out, my first in six years, and with it an end to the necessary but sharp exile from my colleagues and industry in the US. I dreamed of attending conventions again and seeing old friends. I dreamed, let me be frank, of having more than a few thousand dollars in the bank.

The timeline shifted, the world changed. My visions of my career and life had to change as well. I feel very lucky that I have developed the flexibility to move with these changes, to imagine and create a new life on the fly: a new town, a new dog, scandalous mornings before the heat sets in. I miss my friends in the US. They populate the nightmares I remember: throwing a huge riot of a party and then realizing, after everyone has arrived, that we can’t be together right now, that we’re killing one another by just hanging out and enjoying one another’s company in enclosed spaces. I run around the party frantically, screaming at friends to leave. They give me disdainful looks and ignore me. My subconscious is saying: You wish you could see them again, but you know you can’t.

I don’t know how this book is going to do out in this strange new world we live in. In some ways, a novel about structural inequality, colorism, judicial and extra-judicial violence, the sacrifices we make to survive the oppressive systems of white patriarchy, is unexpectedly reflective of our national moment. But I haven’t been in the headspace to read novels since April and I know I’m not alone. Who will want to read about such heavy subjects when every glance through social or traditional media sears us with brutality? Is there catharsis at the end of my novel? I like to think so. It was so hard to write, I guess, and I’m so proud of what I finally managed to do. I reached my own catharsis when I finally understood how to fix the very last ten pages, a simple revision that required seven years of build-up to execute. One hour and it was done, Phyllis and Dev and Tamara’s story ended the way it needed to, and I cried. What were those tears? Sadness? Relief? Benediction? Or an understanding that everything ends?

At my uncle’s funeral a few years ago—he was a baptist preacher, so you can imagine the four-hour service, packed from altar to back doors, fanning ourselves with the programs—my other uncle performed a song: “Everything Is Change.” I think about that a lot. Everything is change. John Lewis fought his whole life for voting rights, and today the Voting Rights Act is gutted and elections with systematic disenfranchisement of Black voters are used to “elect” officials who will commit to continuing our disenfranchisement. Slavery never ended, it just moved to our prison system—an exception quite carefully included in the 13th amendment and duly exploited by the great-grandchildren of our founding slavers and their descendants. I remember when Obama was elected a number of Black representatives were also elected that same year. And to mark the historical accomplishment of these representatives, the headlines proclaimed, “first African-American representative elected since 1868!” It makes you wonder, doesn’t it, what world we would live in if the great promise of reconstruction had not been so brutally and violently repressed. People keep bringing up the specter of a new civil war, but I wonder: do we have the chance of living through a new, sustained reconstruction? Everything is change, which means that everything ends, but also that old things can become new again. We don’t have hands like in my novel, but never forget, we do have power. Our ability to acknowledge reality but imagine a new kind of life and then fight for it—that’s still some juju.

We will fight and even the fight will change. Nothing will ever be all right. I am learning to make a small, local kind of peace with that. I can wake up a little after the sun, listen to the birds and Pedro Infante, untwist my insides bit by bit. My first novel in six years is coming out today; I have to feed the dog. She waits for me every day, patiently, with an absolute faith in the morning.

Alaya Dawn Johnson is the author of opens in a new windowTrouble the Saints, on sale in paperback now.

Buy Trouble the Saints in Paperback

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The Most Interesting Humans Turned Weapons In SFF, According to Karen Osborne

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What is the best weapon you can have in a science fiction novel? Sometimes, the answer is ‘who’ and not ‘what.’ Karen Osborne, debut author of  opens in a new windowArchitects of Memory and the newly released opens in a new windowEngines of Oblivion, joined us to share her favorite humans turned weapons of science fictiondo you agree with her choices?


By Karen Osborne

Guns. Bombs. Bioweapons. Sometimes all of it is just not enough to get what you want. Whether you’re talking about reincarnated traitor generals or small children that know every magical spell ever written, a living, breathing human weapon is an absolute must for any decent aspiring space despot’s growing arsenal—because sometimes, you just need a weapon that can think on its own.

The recipe is simple: take one soldier with tactical talent, give them wildly destructive powers, remove the ability to make decisions for themselves, and stop treating them like a human being. Perhaps you’ll get lucky and they’ll stop thinking of themselves that way, too. They’ll pull their own pin and hug their own trigger.

Just be careful—sometimes your newly-forged weapons remember who they were before you came along…

Place holder  of - 27Essun and the Orogenes — opens in a new windowThe Fifth Season by N.K. Jemisin

At the beginning of The Fifth Season, all Essun wants is to be left alone to raise her children, but that’s not going to happen, as her husband is about to find out they’re all orogenes.

To be an orogene is to have immense power: to command the energy of the earth, to cause earthquakes and volcanos, to channel water and even kill others. To manifest as an orogene is to be feared. You risk being killed or given to the Fulcrum, an organization that will train you to channel your abilities and use them in service of the society that hates you.

But you don’t get a say about that. You become a weapon in the Fulcrum’s hands, to be used as seen fit. And after being taken from your parents, dehumanized, mistreated and enslaved, how long until you pull your own trigger?

At the beginning of this book, everyone finds out. An orogene rips open the center of the world’s great supercontinent, causing the apocalyptic, climate-changing Fifth Season, and, as the Fulcrum discovers, even a human weapon cannot look away from the power of love.

Placeholder of  -43General Shuos Jedao — opens in a new windowNinefox Gambit by Yoon Ha Lee

What immortal dictator doesn’t want a tractable pocket tactician? The leaders of the spacebound hexarchate have one in the form of Shuos Jedao, one of the most gifted military minds of his generation. There’s just one problem: he’s insane.

During his life, Jedao never lost a battle—until he turned heretical traitor and burned an entire fleet under his command. Jedao’s disembodied mind was stored away until the hexarchate needed a win, then forced to win battles for the hexarchate as punishment.

In his revenant form, he isn’t allowed to sleep, nor does he have control of the body into which he’s installed. This time, that body belongs to Kel Cheris, a math genius and dedicated soldier skating on the edge of heresy herself. He’s nothing more than an intelligent weapon meant to help Cheris win the next big fight.

But there’s a problem with hosting a pocket tactician who’s smarter than you. If the hexarchate can’t see what that is, not even immortality will be able to help them.

Image Place holder  of - 9Caliban — opens in a new windowCaliban’s War by James S.A. Corey

Any self-respecting space corporation out to create market-rattling bioweapons can be expected to dabble around with alien technology. Protogen is no exception, using forgotten street children from Ganymede as matrices for their walking bioweapon Hybrids.

At first, the program appears to succeed, with the supersoldiers able to move fast, survive in hard vacuum, and tear apart hull plating like tissue paper, and Protogen makes an army of Calibans. But whether it was the alien protomolecule or some last, aching humanity inside their monstrous blue carapaces, the Hybrids refuse to submit to anyone, even after the company installed bombs in their bodies as a control measure.

This isn’t the only time Protogen attempts to turn alien technology into corporate profit. On Eros, they infect enough people with the protomolecule that it makes an entire asteroid sentient. As the characters would eventually find out, big space rocks make pretty good weapons by themselves.

Image Placeholder of - 60The Archive — opens in a new windowDeath Masks by Jim Butcher

Even though the neutral Archive hasn’t yet been used as a weapon, she’s on this list because of how easily she could be—after all, in Harry Dresden’s world, knowledge is often power.

When we first meet the Archive, she doesn’t even have a name. The Archive is a child—and at the same time, a repository of all the human wisdom that has ever been written. Born to a mother that committed suicide rather than host the Archive, she’s been that way for as long as she can remember.

And that’s the problem. The Archive appears from book to book to mediate and fight for the side of good, but as a child, she doesn’t understand many of the things that she knows. She’s powerful, but she doesn’t understand just how powerful she could become. The sheer amount of power stuck in her changing teenage mind—well, anyone who spent three hours in a high school would understand why that might be concerning.

Luckily, the Archive is better off than some of our other walking weapons. She has Dresden’s assistance, as well as the help of her half-demon bodyguard, and she’s passed all the tests she’s been given. But who is to say that will always be the case?

image-37452Takeshi Kovacs and the Envoys — opens in a new windowAltered Carbon by Richard K. Morgan

In Morgan’s cyberpunk world, people are virtually immortal. Human minds are separated from bodies to be “re-sleeved” at will. Takeshi Kovacs was a criminal before he was a member of the United Nations Envoy Corps, a group of supersoldiers who aren’t trained as much as conditioned, able to achieve superhuman feats partially because their conditioning strips them of all inhibitions when it comes to violence. (There’s a reason Envoys are prohibited from holding public office.)

When Kovacs leaves the service, he becomes a criminal again, and his recidivism is understandable. It’s impossible for a post-conditioning Envoy to live a normal life. There’s no bumpy transition back to a civilian world because the changes to his mind make it impossible for him to become a civilian. Kovacs is arrested and imprisoned in digital storage for years before being resurrected to work hazardous private-eye gigs, because if there’s something a human weapon knows how to do, it’s dueling spy operatives, blowing out airships, and taking out mob bosses—while getting reincarnated to do it over and over again.

Kovacs, of course, finds his place in it. After all, he’s a weapon now.

Karen Osborne is the debut author of opens in a new windowArchitects of Memoryon sale from Tor Books now, and opens in a new windowEngines of Oblivion, on sale 2/9/21.

Order Architects of Memory Here:

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Order Engines of Oblivion Here:

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Excerpt: Dune: The Duke of Caladan by Brian Herbert and Kevin J. Anderson

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Poster Placeholder of - 20A legend begins in Dune: The Duke of Caladan, first in The Caladan Trilogy by New York Times bestselling authors Brian Herbert and Kevin J. Anderson.

Leto Atreides, Duke of Caladan and father of the Muad’Dib. While all know of his fall and the rise of his son, little is known about the quiet ruler of Caladan and his partner Jessica. Or how a Duke of an inconsequential planet earned an emperor’s favor, the ire of House Harkonnen, and set himself on a collision course with his own death. This is the story.

Through patience and loyalty, Leto serves the Golden Lion Throne. Where others scheme, the Duke of Caladan acts. But Leto’s powerful enemies are starting to feel that he is rising beyond his station, and House Atreides rises too high. With unseen enemies circling, Leto must decide if the twin burdens of duty and honor are worth the price of his life, family, and love.

Please enjoy this free excerpt of opens in a new windowDune: The Duke of Caladan, on sale 10/13/2020.


The person with the fewest accomplishments often boasts the loudest.

CHOAM Analysis of Public Imperial Histories

He was far from home and did not want to be here, but when the Padishah Emperor invited all members of the Landsraad, Leto Atreides had to attend. He was the head of a House Major, the Duke of beautiful Caladan, and Shaddam’s distant cousin. His absence would have been noticed.

Fortunately, this trip did not require him to go to the gaudy, noisy capital world of Kaitain. The heart of the Imperium simply did not have room for the extravagant new memorial that the Emperor envisioned, so Shaddam had chosen a planet no one had ever heard of. He needed a place where his accomplishments could truly stand out, and Otorio served that purpose.

As the Guild Heighliner arrived over the new museum planet, Leto sat restlessly in the Atreides space yacht, which was carried aboard the gigantic Guild ship. A pilot and a few retainers accompanied him on the trip, but the Duke kept to himself inside his private stateroom. He had long, dark hair, piercing gray eyes, and an aquiline nose. His demeanor showed a confidence that would not be overshadowed by the spectacle of the new museum complex.

While the Heighliner orbited, smaller ships lined up to descend from the cavernous hold in an orderly fashion. Otorio was a formerly insignificant world that had fallen through the cracks, forgotten for centuries by travelers, businessmen, colonists, and Imperial auditors. Rustic, unsullied, and serene, it had been an isolated tide pool in the ocean of Imperial politics.

Now, though, the planet was home to a gigantic new complex celebrating ten millennia of House Corrino rule. The fact that Otorio held so little else of note meant that Shaddam’s congratulatory museum would stand out more prominently than anything on the entire world. Leto knew how the Emperor thought. Many nobles would strive to catch the Emperor’s attention, to build on their wealth, to increase their influence or bring down rivals. Leto had no such agenda. He had his own significant holdings, a stable rule, and had already drawn the attention of Shaddam IV, good and bad, in prior encounters. Duke Leto had nothing to prove, but he would do his duty by attending.

So many nobles had made the Otorio pilgrimage to curry favor with the Emperor, it would take hours for all ships to disembark one at a time, and the Atreides yacht was by no means near the head of the line.

Since leaving Caladan, the Duke had tried to distract himself by working in his stateroom, studying records of the moonfish harvest, accounts of private boats lost in a recent typhoon, a glowing summary of his son Paul’s physical and mental training. The Heighliner had traveled from system to system, rounding up passengers from various planets, because there was no direct Spacing Guild route to an insignificant world like Otorio. Shaddam intended to change that.

While waiting, Leto activated the wallscreen to view the planet below. Veils of clouds daubed the atmosphere above oceans and green-and-brown landmasses. Shaddam’s massive new complex would have caused fundamental changes to the quiet world. Construction crews had swarmed Otorio, completely reworking the only large population center. Countless square kilometers were paved over. Monuments and statues sprang up like an algae bloom during a red tide: government complexes, civic centers, interactive displays, coliseums, and auditoriums. Expansive new performance stages could seat a hundred thousand people at a time on a world that, according to the census report Leto had read, previously had fewer than a million inhabitants.

His personal pilot buzzed across the yacht’s comm. “Our ship is now fourth in the queue, my Duke. We will be departing soon.” The man’s voice held a rural Caladan accent. Leto had chosen him along with a few local workers, who considered the assignment an adventure, and that warmed Leto’s heart. With few opportunities to travel off their homeworld, this was the trip of a lifetime for them.

“Thank you, Arko,” Leto said, making a point to use the man’s name. He switched off the comm and settled back against the supple leather of the seat.

Looking out the windowport, he mused that he should have brought Paul with him. Although Lady Jessica had no fondness for space travel, nor for court politics, their fourteen-year-old son was curious and intelligent, the pride of Leto’s heart. But the Duke decided not to involve his family in what would surely be a tedious, self-aggrandizing event for the Emperor.

He wouldn’t be able to keep Paul out of Imperial politics much longer, though. Leto was popular in the Landsraad, and House Atreides had substantial influence, even if the Duke ruled only one planet. Many Landsraad families might welcome a marriage alliance with House Atreides, and at fourteen, Paul was reaching the right age. . . .

Leto watched two vessels ahead of him disengage and drop down through the great open doors of the Heighliner hold. Some ships were nondescript, perhaps even leased for the occasion by poorer families or Minor Houses, while other vessels proudly displayed the colors and crests of House Mutelli, House Ecaz, House Bonner, House Ouard, and others.

After one more ship descended into the fine clouds, the Atreides yacht disengaged from its docking clamp. The suspensor engines thrummed. Leto gripped his seat as the yacht dropped, passing through orbital lanes down toward the upper atmosphere.

Arko transmitted, “It might get bumpy, my Lord. Several obstacles in high orbit across our path, leftover dump boxes and delivery haulers from the construction. Otorio control is diverting us.”

Leto peered out the windowport to see clunky drifting wrecks circling Otorio in blind, endless orbits. “I’m surprised Shaddam didn’t clear them away.”

“Construction was behind schedule, sir. Those are heavy equipment and supply haulers—empty, I’d suppose. Probably wasn’t financially feasible for the Emperor to move them all away in time for the celebration.”

Leto remarked to himself, “And Shaddam would never postpone the event for a more sensible date.” He added into the comm, “I trust your piloting.”

“Thank you, my Lord.” The ducal yacht diverted around the slowly tumbling objects that cluttered the orbital lanes.

More ships descended from the Heighliner bay, each one carrying representatives who would applaud the Emperor’s new complex. Leto would pay his respects and acknowledge the lengthy history of Corrino accomplishments. He would let himself be seen and fulfill his duty as a loyal subject.

“Just give us a soft landing, Arko,” Leto said into the comm, “and keep the yacht ready to depart. I’d like to go home as soon as I can reasonably make my excuses.” His heart, and his priorities, were with his people on Caladan.

The pilot sounded disappointed. “Will I have time to buy a gift for my sweetheart, my Lord? And souvenirs for my nephews?”

Leto smiled, indulging the man. He was sure the other retainers felt the same. “Of course. I doubt any part of this event will be speedy.”

As the craft glided smoothly toward the surface, he could see the geometric complex of Shaddam’s new Imperial museum, comprising many square kilometers of towering buildings, wide boulevards, plazas, and monuments—as if a swath of Kaitain’s metropolis had been uprooted and transplanted across the galaxy.

Arko brought the yacht down on the priority landing field adjacent to the new Imperial Monolith. The extraordinary spire was shaped like a narrow wedge, wider at the top and delicately balanced on a fulcrum in the central plaza below. From a distance, some claimed the structure looked like a huge spike driven through the heart of Otorio.

Leto’s pilot and crew were awestruck by the grandeur and would no doubt talk about this experience in Cala City taverns for the rest of their lives. With a quiet smile, Leto gave them a discretionary bonus of funds so they could buy commemorative trinkets, and turned them loose to explore. They went off with delighted gratitude, while he turned to his own official duties.

As Leto emerged from the yacht, he faced a cacophony of sensory impressions. Visiting nobles bedecked with gloriously colored robes and flashing jewels put on quite a show with excessive entourages, trying to look important. Pursuing their goal of being noticed, these ambitious nobles preened and strutted, and few gave him a second glance in his formal but unremarkable clothes. Content with the reputation of House Atreides, Leto ignored the snub. He didn’t need to prove his importance or wealth.

Even though he was the Duke of Caladan, he let himself vanish into the crowd. He often did the same at home, enjoying a few hours as a nondescript person so he could walk unnoticed among his own people. Now he strolled by himself into the vast network of fountains, statues, obelisks, and museum exhibits.

Imperial security forces patrolled the streets dressed in Corrino scarlet and gold, accompanied by fearsome Imperial Sardaukar, the Emperor’s private terror troops. Leto found their presence here interesting. Sardaukar were used for only the most elite missions; the fact that Shaddam assigned them here emphasized the importance of the gala. While Kaitain had innumerable centuries of established security routines, this planet was a clean slate. The show of force was not surprising.

Confident, Leto strode along the broad boulevards, where multi-terraced fountains gushed water and jets of steam; glass prisms split sunlight into rainbows. Towering statues of past Corrino Emperors made every ruler look handsome and brave. A polished biographical tablet on each plinth summarized that Emperor’s accomplishments.

Since the end of the Butlerian Jihad ten thousand years ago, the Corrinos— who took their name after the Battle of Corrin—had ruled as the dominant dynasty. There had been interregnums, coup d’états, and interim administrations by other noble houses, but some vestige of House Corrino always returned to power, marrying into the ruling families, taking control through bloody civil war or administrative fiat. With this celebratory city, Shaddam IV would make certain everyone remembered him and his ancestors.

Leto looked up at a three-meter-high metal colossus of Shaddam’s father, the “wise and benevolent” Elrood IX. He frowned at the glowing description on the plaque, knowing that old Elrood had been a petulant and vindictive man, and Shaddam himself had despised him. Leto’s father, Duke Paulus Atreides, had fought in the Ecazi Revolt to support Elrood, but the leader’s dishonorable dealings had greatly troubled the Old Duke.

Leto walked through the endless complex, his eyes oversaturated, his ears deafened by the clamor of celebration. The crowd was composed entirely of nobles or high-ranking functionaries who had received coveted invitations to this grand gala. He could imagine how Paul would have reveled in all these new experiences.

After an hour, already weary of the spectacle, he began to look for a quiet respite before he would go to see the Emperor himself. He circled around the largest statue near the base of the Imperial Monolith—the beautiful Madonna-like figure of Serena Butler cradling her baby, the martyred infant that had triggered the terrible war against the thinking machines. Her statue towered over a robust but gnarled olive tree that sprang up from the flagstones. A plaque noted that the tree was the last remnant of an extensive olive grove that had covered the lands here until recently. Now it had all been paved over.

Behind the Serena statue, Leto noted a back entrance to one of the large museum buildings. The enormous monument hid what appeared to be a warren of back alleys and service entrances. Confident that no one would pay any attention to him, he slipped under the sheltered overhangs, where bright sunshine dwindled into shadows. The plaza’s artificial mists and perfumes faded to more conventional smells, warm generator exhaust, a hint of garbage, the sweat of workers.

Leto ducked into a sheltered doorway under an overhang, and found the delivery entrance locked. He was alone. Shadows and silence breathed around him like a relieved sigh. Leaning against the alcove wall, he reached into his pocket and removed a tight shigawire spool and a pocket-sized crystal player. He smiled as he activated the recording.

The image shimmered before snapping into focus. Leto was glad to see the beautiful Lady Jessica, his bound concubine, his lover, the mother of his son. She wore a blue gown, a necklace of reefpearls from the Caladan coast. Her long, bronze hair was bound up in pins and carved seashell combs that highlighted her green eyes.

Her voice flowed like music, especially after the noise of the museum complex. “Leto, you said you would not view this until you reached Otorio. Have you been true to your promise?” Her voice held a teasing lilt.

“Yes, I have, my love,” he said aloud, in private.

Her generous lips curved upward, and she touched one of her ornate combs.

She knew him well.

One reason she had not accompanied him to the celebration was that she remained his mere concubine, not his wife, and that was how it must stay, for political reasons. Although he remained technically available for a marriage alliance, he accepted that it would never happen. Not after . . .

He winced as he thought about the bloody disaster of his near wedding to Ilesa Ecaz. So much blood so much hatred. As a Landsraad noble, he had to keep his options open, technically, but he had made up his mind not to accept any more offers of a marriage alliance. He needed to keep Jessica safe. Not that she couldn’t protect herself, with all of her Bene Gesserit training. . . .

On the holoprojection, Jessica continued talking, but her voice was itself the message, and that was all he needed to hear. His deep love for her was a weakness he could not allow anyone to see. “Come home to me safely,” she said. “Caladan will be here for you, as will I, my Duke.”

“My Lady.” He smiled as the message ended and the shimmering image faded away. He drew energy from her that he would need for the political obligations and maneuverings he must face now.

Before Leto stepped out of the sheltered doorway, another man darted into the narrow service passageways. He wore a charcoal-gray worker’s jumpsuit with tools at his belt, a loose pack over his shoulder. Knowing he was out of place, Leto prepared to make excuses if anyone asked why he was here, although a worker would not likely challenge a noble.

But the stranger did not notice him as he pressed into a sheltered corner and unslung his pack, glancing from side to side. With instinctive wariness, Leto remained in the shadows. Something didn’t feel right. This man’s manner was not that of a weary worker going about a tedious daily assignment; his movements seemed furtive.

Leto thumbed off the power to the crystal player so Jessica’s message would not replay.

The worker dug into his pack and removed a thin crystal filmscreen, to which he attached a transmitting device. Leto couldn’t see exactly what the man was doing, only that he called up images on the screen, orbital charts, curves, and bright pinpoints that burned red and green. The worker hunched over and spoke into the transmitter pickup. Leto could discern only “activate . . . systems . . . wait.”

The furtive man touched a corner of the ethereal screen, and from a distance, Leto saw images of the discarded dump boxes and cargo containers in orbit. Lights suddenly winked on in the great dark hulks.

The stranger snapped the screen shut and stuffed it back into his pack. Concerned, Leto drew himself up and emerged from his alcove. “You there! Hold!”

The worker bolted, and Leto sprang after him. The man turned a sharp corner into a side passage, slipped between stacked shipment cases, ducked low under an overhang. One corner, then another, a maze of access alleys. Leto ran after him, dodging debris and calling out, trying not to lose him in the clutter, until he burst out into the full, noisy city again.

A fanfare of brassy music played from loudspeakers, and Otorio’s sunlight dazzled him. Crowds and diversions drowned out Leto’s shout. He thought he saw the suspicious worker turn left, darting away.

Leto sprinted after the man, shouting, knowing there were countless security forces around the complex, not to mention Sardaukar, if only he could get their attention. He raised a hand, looking for the ubiquitous patrols, but saw only colorfully clad celebrants.

The city guard force found him as he called out again. Dressed in red and gold, the Imperial troops escorted a pompous-looking official who strode up to him. “Duke Leto Atreides of Caladan,” he said in a booming voice that somehow cut through the cacophony of the great plaza.

Leto spun. “Yes. I need to report—”

The official cut him off with a well-practiced smile, holding up a bejeweled message cylinder. “We have been searching for you since your yacht landed.” With great reverence, he extended the cylinder. “You may keep this personal invitation as a memento, perhaps display it on Caladan for future generations.”

The man cleared his throat and recited, “His Excellency, the Padishah Emperor Shaddam IV awaits you at a special reception in the Imperial Monolith. Come with me.” The official seemed surprised that Leto wasn’t swooning with delight. “Now.”

Copyright © Brian Herbert and Kevin J. Anderson 2020

Pre-order Dune: The Duke of Caladan Here:

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VIDEO: Cory Doctorow Introduces Masha in Attack Surface

We met the mysterious and morally ambiguous character Masha in Cory Doctorow’s Little Brother and Homeland, and we’re excited that she’s getting her time to shine in the upcoming book Attack Surface!

But what went into introducing this character? Check out Cory as he talks more about Masha, Attack Surface, and more here.

video

Excited for the book? Pre-order Attack Surface here!

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Can’t Get Enough of Trouble the Saints? Jazz Up Your Re-read with this Playlist!

Have you read Trouble the Saints, the dazzling new book from Alaya Dawn Johnson? Get ready for a jazz-age throwback playlist from the author herself!

“Juju assassins, alternate history, a gritty New York crime story…in a word: awesome.” —N. K. Jemisin, New York Times bestselling author of The Fifth Season

The dangerous magic of The Night Circus meets the powerful historical exploration of The Underground Railroad in Alaya Dawn Johnson’s timely and unsettling novel, set against the darkly glamorous backdrop of New York City, where an assassin falls in love and tries to change her fate at the dawn of World War II.

Amid the whir of city life, a young woman from Harlem is drawn into the glittering underworld of Manhattan, where she’s hired to use her knives to strike fear among its most dangerous denizens.

Ten years later, Phyllis LeBlanc has given up everything—not just her own past, and Dev, the man she loved, but even her own dreams.

Still, the ghosts from her past are always by her side—and history has appeared on her doorstep to threaten the people she keeps in her heart. And so Phyllis will have to make a harrowing choice, before it’s too late—is there ever enough blood in the world to wash clean generations of injustice?

Trouble the Saints is a dazzling, daring novel—a magical love story, a compelling exposure of racial fault lines—and an altogether brilliant and deeply American saga.

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Excerpt: The Dragon Waiting by John M. Ford

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Placeholder of  -45In a snowbound inn high in the Alps, four people meet who will alter fate.

A noble Byzantine mercenary . . .

A female Florentine physician . . .

An ageless Welsh wizard . . .

And Sforza, the uncanny duke.

Together they will wage an intrigue-filled campaign against the might of Byzantium to secure the English throne for Richard, Duke of Gloucester—and make him Richard III. Available for the first time in nearly two decades, with a new introduction by New York Times-bestselling author Scott Lynch, The Dragon Waiting is a masterpiece of blood and magic.

Please enjoy this free excerpt of  opens in a new windowThe Dragon Waitingon sale 09/29/2020.


Chapter 1

GWYNEDD

THE ROAD THE ROMANS made traversed North Wales a little way inland, between the weather off the Irish Sea and the mountains of Gwynedd and Powys; past the copper and the lead that the travel-hungry Empire craved. The road crossed the Conwy at Caerhun, the Clwyd at Asaph sacred to Esus, and the Roman engineers passed it through the hills, above the shore and below the peaks, never penetrating the spine of the country. Which is not to say that there were no ways in; only that the Romans did not find them.

From Caernarfon to Chester the road remained, and at Caerhun in the Vale of Conwy there were pieces of walls and straight ditches left where the legionary fort had held the river crossing. Roman stones, but no Romans; not for a thousand years.

Beyond Caerhun the road wound upslope for a mile, to an inn called The White Hart. Hywel Peredur lived there in this his eleventh year, the nine hundred tenth year of Arthur’s Triumph, the one thousand ninety-fifth year of Constantine’s City. This March afternoon, Hywel stood on the Roman paving below the innyard, and was King of the Romans.

Fields all his dominion rolled out forever before and below him, lined and set with trees that from the height were no more than tufts on a cloth of patchwork greens and browns. Conwy water was a broad ribbon stitched in easy curves across the cloth. The March air smelled of peat and moisture and nothing at all but its own cold cleanness on the sharp edge of spring.

The place Hywel stood was called Pen-y-Gaer, Head of the Fortress. There had been a fortress, even before the legions came; but of its builders too only stones were left, bits of wall and rampart. And the defense of the slope, a field of sharp-edged boulders set in ranks down the hill.

Hywel stood on the road and commanded the stones, soldiers without death or fear, like the warriors grown from dragon’s teeth in the story; any assault against them would break and be scattered. Then, at Hywel’s signal, his legion of horse would gallop forth from Caerhun and cut down the discomfited enemy, sparing only the nobles for ransom and tribute. His captains, in purple and gold, mounted on white horses, would drive the captive lords before him, shouting Peredur, Peredur! that all might know who was conqueror here. . . .

Not far up the road was a milestone; it was worn and half-legible, and Hywel knew no Latin, but he could read the name constanti. Constantine. Emperor. Founder of the Beautiful City. And now a god, like Julius Caesar, like Arthur King of Britain. Hywel would run his fingers in the carved letters of the name when he passed the marker, touching the figure of the god.

Three years ago, on the May kalend, he had stunned a sparrow with a sling pellet, bound its wings, and taken it to the milestone. It had trembled within his shirt, and then, when he set it down, become curiously still, as if waiting. But Hywel had had no knife, and was afraid to use his naked hands. By the time he had found two flat stones and done the thing, he could no longer remember his intended prayer.

Now, clouds drifted across the low sun, making shadow patterns on the ground. The river dulled to slate, then flashed bluesilver. The standing stones seemed to move, to march, beat spears on shields in salute. Sparrows were forgotten as Hywel moved his cohorts, as soldier and king and god.

Until dust rose, and men moved crosswise to the dream, light flashing on steel: real soldiers, on the road to the inn. Hywel watched and listened, knowing that if he were quite still they could not detect him. He heard the scrape of pikes on the paving stones, the stamp of booted feet, chains dragging. He let the breeze bring him their voices, not distinguishable words but rhythms: English voices, not Welsh. As they turned the last bend in the road, Hywel’s eyes picked out the badge they wore. Then he turned and ran lightly to the gate of The White Hart. As he crossed the innyard, a dog sniffed and raised its head for a pat that was not coming; sparrows fluttered up from the eaves.

The cruck-beamed serving hall was dim with afternoon. A little peat smoke hung in the air. Dafydd, the innkeeper, was working at the fire while Glynis, the pretty barmaid, wiped mugs. Both looked up, Glynis smiling, Dafydd not. “Well, my lord of the north, come in, do! While you’ve been with your councillors, this fire nearly—”

“Soldiers on the road,” Hywel said, in Welsh. “My lord of Ireland’s men, from Caernarfon.” He knew Dafydd’s anger was only mocking; when the innkeeper was truly angry he became deadly quiet and small-spoken.

“Well, then,” said Dafydd, “they’ll be wanting ale. Go you and draw a kettleful.”

Hywel, grinning, said, “And shall I fetch some butter?”

The innkeeper smiled back. “We’ve none that rancid. Now draw you the ale; they’ll not care to wait.”

“Ie.”

“And speak English when the soldiers can hear you.”

“Ie.”

“And give yourself a whipping, lad—I haven’t time!”

Hywel paused at the top of the cellar stairs. “There’s a prisoner with them. A wizard.”

Dafydd put the poker down, wiped his hands on his apron. “Well then,” he said quietly, “that’s bad news for someone.”

Hywel nodded without understanding and clumped downstairs. He drew the ale into a black iron kettle, put it on the lift and hoisted it up; and only then, standing in the quiet cellar, did he realize just what he’d said. He had heard the chains, right enough, but never once seen what was in them.

***

Eight men, and something else, stood in the innyard.

The men wore leather jackets, carried swords and pole axes; two had longbows across their backs. One, helmeted and officious, had a long leather pouch at his side, and a baldric from which little wooden bottles hung on strings. Charges of powder, Hywel knew, for the hand-cannon in the pouch.

The badge on the soldiers’ sleeves was a snarling dog on its hind legs; a talbot-hound, for Sir John Talbot, the latest Lieutenant of Ireland. Talbot had smashed the Côtentin rebels at Henry V’s order; it was said the mothers of Anjou quieted their children with threats of Jehan Talbó. Now that Henry was dead, long live Henry VI, and the advisors to the three-year-old King hoped the War Hound could quiet the Irish as well.

Four soldiers held chains that led to the other thing, which crouched on the ground, black and shapeless. Hywel thought it must be some great hunting-hound, a namesake talbot, perhaps, or a beast from Ireland across the sea; then it put out a pale paw, spread long fingers, and Hywel saw it was a man on hands and knees, in fantastically ruined clothes and a black cloak.

The thin hands left blood on the earth. There was a shackle, engraved with something, on each wrist and each ankle, linked to the leash-chains. The head turned, and the black hood fell back, showing dull iron around the man’s neck. The collar was engraved as well. Next to it was a straggly gray beard, a nostril with blood dry around it.

Hywel stared at a dark eye, glassy as with fever, or madness. The eye did not blink. The cracked lips moved.

“None of that, now!” shouted a soldier, and pulled the chain he held, dropping the man flat; another soldier swung the butt of his axe into the man’s ribs, and there was a hint of a groan. The first soldier bent halfway down and shook the chain. “ ’Tain’t beyond th’ law for us to have your tongue, an you try any chanteries.” To Hywel he sounded exactly like Dafydd’s wife Nansi scolding a hen that would not lay. The prone man was very still.

“Ale! Where’s ale!” cried the others, turning away from the prisoner, and Dafydd came behind Hywel with a tray of tankards, hot mulled ale topped with brown foam and steaming. “Here, Hywel. And Ogmius send us all the right words to say.” Hywel took the tray into the yard. A cheer went up—for him, he realized, and for one passing instant he was Caesar again—then the mugs were snatched from him.

“Here, boy, here.”

“Jove’s beard, that’s good!”

“Jove strike you down, it ain’t English beer.” The speaker winked at Hywel. “But it’s good anyway, eh, boy.”

Hywel barely noticed. He was staring again at the chained man, who still did not move except to breathe raggedly. A little of the cloak had blown back, showing the man’s shirt sleeve. The fabric was embroidered in complex patterns—not the Celtic work he knew, but similar, interlocking designs.

And The White Hart was an inn with good trade; Hywel had seen silk twice before, on the wives of lords.

“You have a care of our dog, there, lad,” said the soldier who had winked. His tone was friendly. “He’s an eastern sorcerer, a Bezant. From the City itself, they say.”

The City of Constantine. “What . . . did he do?”

“Why, he magicked, lad, what else? Magicked for th’ Irish rebels ’gainst King Harry, rest him. Five years he hid up in them Irish hills, sorcellin’ and afflictin’. But we ketched him, anyway. Lord Jack ketched him, an’ now he’s Talbot’s dog.”

Tom,” the serjeant said sharply, and the soldier stood to attention for a moment. Then he winked at Hywel again and tossed his empty tankard into Hywel’s hands.

“Have a look here, boy,” Tom said. The soldier reached down and grasped the manacle around the wizard’s left wrist, pulled it up as if there were no man attached to it. “See that serpent, cut there in th’ iron? That’s a Druid serpent, as has power t’ bind wizards. Old Irish Patrick drove all the snakes out of Ireland, for the good of his magic fellows. But we took some snakes with us. Snakes of leather, an’ iron.” The soldier let the shackle fall with a hollow clunk. The prisoner made no sound. Hywel stood fascinated, wondering.

“Innkeeper!” the serjeant said.

Dafydd came out, wiping his hands on his apron. “Yes, Captain?”

The serjeant did not correct his rank. “Have you a blacksmith here? This rebel’s harmless enough, but he’ll crawl off with half a chance given him. We’ll want him fixed to something with weight.”

“You’ll be staying here for a time, then?”

“We’re in no hurry. The prisoner’s to be taken to York for execution.”

A soldier said, “The Irish Sea were deep enough.”

“Not to bury his curse, man,” said the serjeant curtly. “Leave killing him to his own sort of worker.” He turned back to Dafydd. “Don’t worry about the lads, innkeeper; they’re good and they’ll obey me.” He weighted the last word slightly. “And they’re bloody tired of minding this rebel.”

“Hywel,” said the innkeeper, “run you and tell Siôn Mawr he’s wanted, with hammer and tongs.”

A high-voiced young soldier called after Hywel, “And you tell ’im this aren’t no horse wanting shod! A hammer on them chains—”

Hywel ran. He did not look back. He was afraid to. Under all the soldiers’ voices, under Dafydd’s, under his own breathing, he could hear another voice, whispering, insistent, like the beat of blood in his ears when all was still. He had heard it without pause since the sorcerer’s lips had moved without sound.

You who can hear me, it said, come to me. Follow my voice.

And as Hywel ran through the gathering dark, it seemed that hands reached after him, grasping at his limbs, his throat, trying to draw him back.

***

Nansi touched the spit-dog’s collar; it stopped walking its treadle, and Nansi carved a bit of mutton from the roasting haunch. The dog resumed turning the meat. Nansi put the mutton on a wooden plate with a spoonful of boiled corn, added a piece of soft brown bread.

“The soldiers didn’t pay for no meat for him,” said Dai, the kitchen boy.

“You needn’t tell me what they’ve not paid for,” Nansi said, tenting a napkin over the plate. “I hope he has his teeth; I daren’t send a knife. Here, Dai, go you quick, ere it’s cold.”

“Why do they beat him, if he can’t magic?”

“I’m sure I don’t know, Dai,” Nansi said, with a bitter look. “Take it, now.”

“I’ll take his dinner,” Hywel said, from the kitchen door. Dai’s mouth opened, then shut.

Nansi turned away. “I’ve drawn his water,” Hywel said. “And I’m not afraid of him. You’re afraid, aren’t you, Dai?”

Dai’s pudgy hands tightened. He was a year or so older than Hywel, and also an orphan. Dafydd and Nansi, who had no children, had taken them in together, and tried to bring them up as brothers. Hywel could no longer remember what that was like, even when he tried.

Dai said “Ie, feared enough. You feed him.” He handed the covered plate to Hywel, who took it with a nod. Hywel did not hate Dai; usually he liked Dai. But they were not brothers.

Just outside the kitchen, he picked up the hooded lantern and pot of ale he had set by the door, and crossed to the barn. Moonlight slanted across the interior. The wizard was sitting up against a post, all white and black in the light. His head turned slightly; Hywel held very still. The face was a skull’s, with tiny glints in the eye sockets.

Hywel hung the lantern from a peg and opened the shutter; the wizard winced and turned his face away.

It was all he could turn. A chain went through his collar, twice around the post and his upper body, holding him upright. The chains from his ankles were fixed to two old cart wheels. Hywel had seen Siôn Mawr the smith going home, and could not have missed the murder-black look Siôn gave him; now he understood it.

“It was you after all,” the chained man said, and Hywel nearly dropped the food. “Is that for me?”

Hywel took a step. The voice in his head was gone, but he still felt somehow drawn to the wizard. He stopped. “The soldiers say you can’t work magic, in those chains.”

“But you know better, don’t you?” His English had only a little foreign sound. “Well, they’re mostly right. I can’t do much, and I truly can’t escape. Come here, boy.” He moved his hands. Hywel turned away, not to see the sign.

“At least put my supper in reach. Then you may go. Please.”

Hywel moved closer, looked again at the wizard. The cloak was spread out beneath the man; it was lined with glossy black—more silk. Beneath the cloak he wore a dark green gown of heavy brocade, torn at every seam, showing the white silk shirt. Gown and shirt were embroidered all over with interlocking lines in gold and silver thread, with brighter colors worked between. The patterns drew Hywel’s eye despite himself.

He set the plate down in the straw, uncovered it. The man’s eyes widened, becoming very liquid, and he ran his tongue over very white teeth specked with dirt. He reached out, one-handed. Hywel saw that his wrist chains were linked behind his back. The wizard set the plate in his lap, and his delicate fingers hovered over it, talonlike, straining; there was not enough chain for his two hands to touch.

Hywel thought of offering to feed him, but could not say it.

The hands ceased to strain then. The wizard groped for and reached the napkin, shook it out, and arranged it as best he could over his shiny, filthy shirt. Then the thin fingers picked up a single kernel of corn and raised it to the swollen mouth. He chewed it very slowly.

Trying not to watch the wizard’s hands or eyes, Hywel uncapped the pot of ale. He took a twist of greasy paper from his belt pouch, opened it, and slipped the white butter within into the blood-warm ale. He stirred the pot with a clean straw and pushed it as close to the man as he dared. The wizard waited for Hywel to draw back, then picked up the ale and took a small sip. His eyes closed and he pressed his head back against the post, loosening the iron at his throat just slightly.

“Nectar and ambrosia,” he said. “Thank you, boy.” He put the ale down and picked up the mutton, took small, worrying bites.

Finally Hywel said, “You called me by magic. No one else could hear. . . . Why?”

The man paused, sighed, wiped his hands and lips. “I thought you were . . . someone else. Someone who could help.”

“You thought I was a wizard?”

“I called to the talent. . . . It spent me before I heard the answer. Hard to work with a boot in your ribs.” He reached for the bread, nibbled.

“I’m not a wizard,” Hywel said.

“No. I’m sorry. But I am glad you brought me this supper.”

They sat for a little while like that, the wizard eating slowly, Hywel crouched, watching him. To Hywel it seemed the man wanted to make his supper last all night. He said, “You thought I was a wizard.”

“I believe I explained that,” the man said patiently. “Isn’t it late for you to be awake still?”

“Dafydd doesn’t care, long as the fire doesn’t go out. You said it was somebody else you called. But I heard you. You called me.”

The man swallowed, licked his damaged lips. “I called to the talent. The power. It . . . radiates, like the light from a candle. I felt it, and answered back. That’s all.”

“Then I am a wizard,” Hywel said, breathless, triumphant.

The man shook his head, rattling iron. “Magus latens . . . no. Someday you could be, if you were taught. But now . . .” There was a noise within his throat that might have been a laugh. “Now you’re catalyzed. And I did it, now that I would not do it.”

Hywel said “Could you teach me?”

Again the choked laugh. “Why do you think I’m in chains, boy? I’d be dead now if they didn’t fear my death-curse so, and my tongue and eyes aren’t sure through tomorrow. Go to bed, boy.”

Hywel put his foot against one of the cartwheels chained to the wizard’s feet. He pushed. The chain shifted; in a moment it would be taut. It was astonishingly easy.

“Please,” the man said, “don’t.” There was no pleading in it, nor command. Hywel turned, saw the dark eyes ringed white and red, the face white as bare bone. And he stopped pushing. Perhaps if sparrows had voices . . .

“I am very tired,” the man said. “Please come tomorrow, and I will talk with you.”

“Will you tell me about magic?” Hywel’s foot was still on the wheel, but it had suddenly become very heavy and hard to move.

The man’s voice was weak, but his eyes were black and burning. “Come back tomorrow and I will tell you all I know about magic.”

Hywel picked up the plate and napkin, the ale pot. He stood, moved away backwards.

“My name,” said the wizard, “is Kallian Ptolemy. With the letter pi, if you can write.” Hywel said nothing. Everyone knew that wizards gained power by knowing names. He took the lantern from its peg, shuttered it.

Kallian Ptolemy said “Good night, Hywel Peredur.”

Hywel did not know whether to shudder or cry for joy.

Copyright © John M. Ford 2020

Pre-order The Dragon Waiting Here:

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Once a Poet….by L. E. Modesitt, Jr., author of Quantum Shadows

Placeholder of  -12L. E. Modesitt, Jr. is a force within the science fiction and fantasy community, but did you know his first dream was poetry? Check him out as he discusses his journey below!


As I’ve said before, although I’m known by most as a fantasy author, I never set out to be a fiction author at all. From my early teens I wanted to be a poet. In college, I was even fortunate enough to study with the late William J. Smith, who went on to become the U.S. Poet Laureate. But I never got beyond publication in small literary magazines, at least partly because I believe that rhyme and meter are an integral part of poetry, a belief not particularly fashionable in poetry venues, especially back then.

In my late twenties, after finishing my tour as a Navy pilot, failing as an industrial economist and as a real estate agent, I decided to try to write science fiction, not fantasy, and “hard” science fiction at that. I was moderately successful, if selling eight short stories, out of close to sixty submissions, over six years can be called “success.” Ben Bova changed that, by rejecting yet another story for ANALOG and refusing to look at any future stories until I wrote a novel. With that semi-dismal beginning, I wrote The Fires of Paratime, and so far, I’ve sold every novel I’ve written, thanks to Ben’s sage advice, but I didn’t give up on poetry.

For a fiction author, even a science fiction and fantasy writer, I have a lot of poetry in my work. My latest book – Quantum Shadows – even has the subtitle “Forty-Five Ways of Looking at a Raven.” That’s a double reference, both to the number of chapters in the book, and to the forty-five couplets or quatrains about a raven which precede each chapter. It’s also an oblique reference and metaphorical tip of Corvyn’s stedora to the poet Wallace Stevens, and his famed “Thirteen Ways of Looking at a Blackbird.”

Quantum Shadows may be my most obvious use of poetry, but it’s far from the only one. My very first novel, later reprinted in its original version by Tor as The Timegod, contains a drinking song that the protagonist declares is terrible doggerel. And he’s right, not because I wrote it, but because it was written as such. Most drinking songs are in fact awful rhymed doggerel. Song and music are integral parts of human culture, and some of the oldest human artifacts are bone flutes, yet very few F&SF novels contain songs or musical references, particularly those written until recently, but songs can tell the reader about a culture as well as about the singer.

As a side note, one of my pet peeves about the portrayal of songs by (some) writers is when they offer lyrics or partial lyrics and there’s no rhyme or meter. Anything with an oral and/or aural tradition requires both. When I pointed this out to one writer, who shall remain nameless, that writer said, “Well, I’m translating from their language. It doesn’t have to rhyme.” To me, that’s a lame excuse. If a writer can’t even come up with a couplet to get the message across… they shouldn’t even try. Write around it, but don’t pretend that clunky words are a song.

Until the last century or so in human history there has been a close linkage between poetry and music. While this tradition continues in classical art song literature, “modern” poetry has become much more the use of words to create striking effects, unrelated or only marginally related to rhyme and meter, while the only “popular” linkage of rhymed and metered words and music, particularly in western culture, appears to be rap.

Because I believe that most cultures, particularly lower-tech cultures, will link words and music, readers will find original song lyrics throughout my books, in those places where the songs further the story. Overall, the majority of songs appear in the Saga of Recluce, invariably in ordered cultures (those dominated by ordermages, also termed “black” mages), which shouldn’t be surprising, because music is ordered and highly structured, both of which are hard on chaos-mages (also known as “whites”).

But there’s also free-standing poetry. Magi’i of Cyador and Scion of Cyador are linked to each other and to the past of the Cyadoran empire by an imbedded book of poetry passed down to one of the protagonists, and the main character – Lorn – often reads sections of those poems and reflects on them and how they relate to his situation and to the past. The book is also a plot point. For those interested, the origin of the book is revealed in “The Vice-Marshal’s Trial,” which is the first story in Recluce Tales, and the role the book plays in Cyadoran history is revealed in another story – “The Choice.” Another story in Recluce Tales – “Songs Past, Songs of Those to Come” – portrays the role of song in leading to the fall of Westwind and the rise of the isle of Recluce.

The continuity of culture and the role of song in that continuity, particularly in lower tech societies, is often overlooked by writers, with the notable exception of Anne McCaffrey and her harpers and crystal singers. That continuity is something I’ve tried to portray in the Recluce Saga where the songs crafted by Nylan and Ayrlyn in Fall of Angels show up in later time periods.

In Endgames, the last book of The Imager Portfolio, because the two main characters are limited in their conduct and behavior around each other, they write to each other, commenting on poems from a book of verse, each in order to learn more about the other. The poems which they choose aren’t “generic.” They use phrases and references to the history of Solidar, its beliefs and myths, and its cultures, present and past, which, to me, adds a depth to that society.

And, because I believe poetry is indeed universal, songs soothe the widowed Ecktor deJanes in the far future Earth of Adiamante, and Archform:Beauty, although a future high-tech mystery thriller, ends with a poem… and flowers.

 

L. E. Modesitt, Jr. is the author of Quantum Shadows, on sale from Tor Books now.

Buy Quantum Shadows Here:

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The Lasting Legacy of George A. Romero: A Conversation with Tom Savini and Daniel Kraus

George A. Romero invented the modern zombie in his seminal film, Night of the Living Dead. Without Romero, there would be no World War Z, no The Walking Dead. Two of Romero’s biggest admirers and collaborators join together for a candid conversation on the themes, ideas and messages behind the legend’s greatest work: “The Godfather of Gore” Tom Savini (special effects artist, actor, director, stunt man, teacher, mentor) and New York Times bestselling author Daniel Kraus (The Shape of Water), who has posthumously completed the zombie novel Romero left behind when he passed in 2017. The newly released The Living Dead (August 4, 2020), is a story of the zombie plague, from first rising to the fall of humankind – and beyond. This conversation was moderated by film critic Walter Chaw.


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Download a Free Digital Preview of Attack Surface

Poster Placeholder of - 38Start reading bestselling author Cory Doctorow’s Attack Surface with  opens in a new windowa free digital previewAttack Surface hits shelves everywhere 10/13.

Most days, Masha Maximow was sure she’d chosen the winning side.

In her day job as a counterterrorism wizard for a transnational cybersecurity firm, she made the hacks that allowed repressive regimes to spy on dissidents, and manipulate their every move. The perks were fantastic, and the pay was obscene.

Just for fun, and to piss off her masters, Masha sometimes used her mad skills to help those same troublemakers evade detection, if their cause was just. It was a dangerous game and a hell of a rush. But seriously self-destructive. And unsustainable.

When her targets were strangers in faraway police states, it was easy to compartmentalize, to ignore the collateral damage of murder, rape, and torture. But when it hits close to home, and the hacks and exploits she’s devised are directed at her friends and family–including boy wonder Marcus Yallow, her old crush and archrival, and his entourage of naïve idealists–Masha realizes she has to choose.

And whatever choice she makes, someone is going to get hurt.

Download Your Free Digital Preview:

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