islands look fingers of
the ground reaching up
in honor of kaberett's poem 'w/hole-hearted'
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Hurricane Fever has a new cover. I mentioned it on twitter, but I snagged a higher resolution example for this blog post:
There were a handful of cover variants that Tor was considering for the book. Bloggers started passing around one that was used as a placeholder in the catalogue, and that was being strongly considered. In the end, though, we decided to go with the red and bio-hazard symbol look. The previous cover, though it looked awesome, was easily lost when put in a line up of other books due to the muted color palette and dark tones (lost in the shadows). Hopefully readers will agree that this is a more striking cover.
Here’s the back copy:
A storm is coming….
New York Times bestselling author Tobias Buckell (Arctic Rising, Halo: The Cole Protocol) has crafted a kinetic technothriller perfect for fans of action-packed espionage within a smartly drawn geo-political landscape. Roo is an anti–James Bond for a new generation.
Prudence “Roo” Jones never thought he’d have a family to look after—until suddenly he found himself taking care of his orphaned nephew. Roo, a former operative for the Caribbean Intelligence Group, spends his downtime on his catamaran, doing his best to raise a teenager on his own, and dodging the frequent, punishing hurricanes that are the new norm in the Caribbean. Roo enjoys the relative calm of his new life—until an unexpected package from a murdered fellow spy shows up. Suddenly Roo is thrown into the center of the biggest storm of all.
Using his wits—and some of the more violent tricks of his former trade—Roo begins to unravel the mystery that got his friend killed. When a polished and cunning woman claiming to be the murdered spy’s sister appears, the two find themselves caught up in a global conspiracy with a weapon that could change the face of the world forever.
As a reminder, the UK edition launches at the same time as the US. Here’s the cover:
[UK & Commonwealth: Hurricane Fever, July 3rd 2014, ISBN: 978-0091953539 Del Rey UK
The advanced reader copies came in as well, which means various reviewers will probably be getting their hands on copies sent from Tor soon:
I’m very excited about the bio-hazard symbol on the spine. The spine is more often how your book is seen by most readers:
The word commodification refers to the process by which something that is not bought and sold becomes something that is. As capitalism has progressed, more and more parts of our lives have become commodified. Restaurants are the commodification of preparing and cleaning up meals; day care and nannying is the commodification of child raising; nursing homes is the commodification of caring for elders.
We sometimes post instances of commodification that tickle us. Previously I posted about a company that will now put together and deliver a care package to your child at camp. A parent just goes to the site, chooses the items they want included, and charge their credit card. As I wrote in that post: “The ‘care’ in ‘care package’ has been, well, outsourced.”
I was equally tickled by a photograph, taken by sociologist Tristan Bridges, of pre-dyed Easter eggs:
This is a delicious example of commodification. If you don’t have the time or inclination to dye eggs as part of your Easter celebration, the market will do it for you. No matter that this is one of those things (e.g., a supposedly enjoyable holiday activity that promotes family togetherness) that is supposed to be immune to capitalist imperatives.
While we might raise our eyebrows at this example, newly commodified goods and services often elicit this reaction. We usually get used to the idea and, later, have a hard time imagining life any other way.
For more on commodification, peruse our tag by that name. This post originally appeared in 2012.Lisa Wade is a professor of sociology at Occidental College and the author of Gender: Ideas, Interactions, Institutions, with Myra Marx Ferree. You can follow her on Twitter and Facebook.
Last time, I shared videos of the opening sessions of the Transforming Hollywood: The Future of Television conference, recently hosted at UCLA, and organized by myself and Denise Mann (UCLA). I am grateful to David McKenna for his epic work in editing, mixing, and uploading these videos so quickly.
Today, I am sharing the video from the final two sessions of the conference — including my one-on-one exchange with Sleepy Hollow‘s Orlando Jones around the ways he has been using social media to interface with his fans and the politics of diversity and creativity in the contemporary television industry.
Indie TV: Where Creators and Fans Pilot New Shows
The Internet broke the network bottleneck. Through platforms such as YouTube and Vimeo, creators release series directly to fans who follow shows and share them with friends. Web-content creators can write stories in whatever length, style and genre they choose, on their own schedule, and with actors of their choosing. The result is a truly open television ecosystem, where creators, talent and fans work together to realize stories they want to see. Each of the producers on this panel contributes to this new vision of television by producing series for the Internet that are being shaped for traditional TV as well; (several of these web series are being developed for HBO). Issa Rae created The Misadventures of Awkward Black Girl with a small team and expanded the show using a successful crowdfunding campaign. Rae went on to produce additional series, including Amy Rubin’s Little Horribles, which Rubin released via her own Barnacle Studios. In the process, Little Horribles has become a hit with fans and with critics at Variety, LA Weekly and Splitsider, among others. Dennis Dortch and Numa Perrier launched the Black & Sexy TV network to showcase indie comedy, releasing their own hit series The Couple, and releasing additional series created by other emerging Hollywood talent. Jay Bushman helped The Lizzie Bennet Diaries grow into a deeply engaging transmedia phenomenon, which prompted viewers of the Jane Austen-inspired series to follow characters from YouTube to Twitter and Pinterest. Raising tens of thousands of dollars from fans, Adam Goldman created and wrote two critically-acclaimed dramas, The Outs and Whatever this is, exploring the realities of being insecure in New York City. After showrunner Brad Bell co-created Husbands with Jane Espenson, the indie hit caught the eye of CW executives, who used the series to launch their new online network. As these examples convey, the Internet has become an incubator for talented, next-generation web creators and web celebs, who, in combination with fan followers, are reinventing television for the digital age.
Moderator: Aymar Jean Christian, assistant professor, Northwestern University
Panelists: Brad Bell, co-creator and star, Husbands
Jay Bushman, producer and writer, The Lizzie Bennet Diaries
Adam Goldman, writer and director, Whatever this is
Numa Perrier, co-founder, Black & Sexy
Issa Rae, creator and star, The Misadventures of Awkward Black Girl
Amy Rubin, creator and star, Little Horribles
Fandom and the Future of Television Orlando Jones, Star, Writer, Producer, Sleepy Hollow with Henry Jenkins
At the opening of the panel, I share the story of how I first connected with Orlando Jones. Orlando, who is ever-present on Twitter, had referenced my book, Textual Poachers, which seemed to be a ready invitation to engage. I wrote back to say that I was following his new series, Sleepy Hollow, closely and enthusiastically. A few minutes later, I wrote back to see if he might be willing to visit my PhD seminar on fandom, participatory culture, and Web 2.0 the next time he was in Los Angeles, and within the course of 30 minutes, we had met, shared our mutual admiration, and he had agreed to do a guest lecture (already had his people working with me to pull this off). And of course, fans online were already speculating about whether there might be a Henry/Orlando ship forming (Horlando, perhaps?) and the answer is wouldn’t you like to know. His visit with my USC students was captured on video and today, I am finally able to share it with you also, so for my fellow Sleepy Hollow fans out there, this is a double dose of Orlando’s magic. And for everyone else, I hope you will agree with me that he is an extraordinary individual — deeply respectful of his fans, outrageously funny at the drop of a hat, and deeply thoughtful about his craft and about the changing media environment a second later. I’ve learned so much from my two conversations with him so far and am very happy to be sharing these exchanges with a broader public via this blog. Enjoy!
Here's the plan: every Friday, let's recommend some people and/or communities to follow on Dreamwidth. That's it. No complicated rules, no "pass this on to 7.328 friends or your cat will die". Just introduce us to some new things to read.
Have you watched Orphan Black?
Yes, and I’m all caught up
Yes, but I’ve fallen behind.
I tried watching it, but it wasn't my thing.
no, but it's one of those shows I want to check out someday.
no and I'm not really interested in it.
What is this Orphan Black you speak of?
Other… I’ll comment!
At 5:13 a.m., an earthquake estimated at close to 8.0 on the Richter scale strikes San Francisco, California, killing hundreds of people as it topples numerous buildings. The quake was caused by a slip of the San Andreas Fault over a segment about 275 miles long, and shock waves could be felt from southern Oregon down to Los Angeles.
San Francisco's brick buildings and wooden Victorian structures were especially devastated. Fires immediately broke out and--because broken water mains prevented firefighters from stopping them--firestorms soon developed citywide. At 7 a.m., U.S. Army troops from Fort Mason reported to the Hall of Justice, and San Francisco Mayor E.E. Schmitz called for the enforcement of a dusk-to-dawn curfew and authorized soldiers to shoot-to-kill anyone found looting. Meanwhile, in the face of significant aftershocks, firefighters and U.S. troops fought desperately to control the ongoing fire, often dynamiting whole city blocks to create firewalls. On April 20, 20,000 refugees trapped by the massive fire were evacuated from the foot of Van Ness Avenue onto the USS Chicago.
By April 23, most fires were extinguished, and authorities commenced the task of rebuilding the devastated metropolis. It was estimated that some 3,000 people died as a result of the Great San Francisco Earthquake and the devastating fires it inflicted upon the city. Almost 30,000 buildings were destroyed, including most of the city's homes and nearly all the central business district.
The WWJD? reference there is closer to the spirit of Charles M. Sheldon’s In His Steps than most of the contemporary allusions to his famous question. Sheldon was a Christian Socialist, after all.
Jesus chasing the predatory lenders out of the Temple is one of my favorite parts of Holy Week. In the Holy Week story, it’s the event that sets the whole grim treadmill in motion, but it’s also one of the few moments of clear triumph we can enjoy in this solemn week.
It’s also a final reminder of why the events that followed are so heartbreaking. Here’s someone standing up for the powerless against The Powers That Be who are preying on them, and for the rest of the week we watch this person methodically crushed for doing so.
That’s why the cleansing of the Temple is easier to look at than the rest of Holy Week, and why this second image is my favorite from the beautiful series that Kittredge Cherry posts every year at this time. This is from Douglas Blanchard’s moving series of paintings, “The Passion of Christ: A Gay Vision”:
Many Christians who revere Sallman’s “Head of Christ” would balk at Blanchard’s gay vision of the Passion. Contextual theology is fine for those folks as long as the context is white Anglo-Saxon Protestantism. But reimagining Jesus as a powerful, privileged white guy, the way Sallman’s beloved painting does, contradicts and distorts the story in the Gospels. Reimagining Jesus as a despised outcast, as Blanchard’s paintings do, helps us grasp the core of that story.