Friday News: Violence against women in GoT, digitizing backlists, 19th C literary reviews, and book trailers
“The books reflect a patriarchal society based on the Middle Ages. The Middle Ages were not a time of sexual egalitarianism. It was very classist, dividing people into three classes. And they had strong ideas about the roles of women. One of the charges against Joan of Arc that got her burned at the stake was that she wore men’s clothing—that was not a small thing. There were, of course, some strong and competent women. It still doesn’t change the nature of the society. And if you look at the books, my heroes and viewpoint characters are all misfits. They’re outliers. They don’t fit the roles society has for them. They’re ‘cripples, bastards, and broken things‘—a dwarf, a fat guy who can’t fight, a bastard, and women who don’t fit comfortably into the roles society has for them (though there are also those who do—like Sansa and Catelyn). –Entertainment Weekly
The new deal won’t be going into effect until the fall, which should give the two parties time to work out details including exactly how ORM is going to handle creating the audiobooks mentioned above; that is not an option mentioned on the ORM website.
The website does make it clear, however, that ORM can help authors get their works back on the market. This startup can generate an ebook from a PDF or other source document, or even scan a print book and OCR the text.
They’ll create an ebook and POD source file, distribute both to the usual channels, and pay the author 80% of net proceeds (according to the website). –Ink, Bits & Pixels (aka The Digital Reader)
The magazines competed for the cruellest contributors but, as everyone knew, the most fearless wrote for Blackwood’s, which was known as Maga (from the editor William Blackwood’s way of calling it, in his Scottish accent, the mahgazine). Maga, said Mary Russell Mitford, was ‘a very libelous, naughty, wicked, scandalous, story-telling, entertaining work’. The scandalous assessment in Blackwood’s of Keats’s ‘Endymion’, for example, was that the life of ‘a starved apothecary’ was preferable to that of ‘a starved poet; so back to the shop Mr John, back to “plasters, pills, and ointment boxes”‘. The reviewer was John Gibson Lockhart, whose proud father-in-law, Sir Walter Scott, described Maga as the ‘mother of mischief’. More recently, the late, great Karl Miller, one of the founders of the London Review of Books and himself a product of the Scottish school of rough house, described Blackwood’s as a journal of ‘squabash, bam and balaam’. ‘”Squabash”‘, Miller explained, ‘meant putting people down or cutting them up. A “bam” was a trick or a leg-pull. And “balaam” meant rejected or unsolicited material (“slush” in the modern parlance).’ –Literary Review
“It’s better than 99.9 percent of the trailers being made today,” said Dennis Johnson, the co-founder and co-publisher of Melville House Publishing. “It’s two minutes of good comedy.” If they seem pointless, that’s because they largely are, Johnson said. What exactly, is the point of them? It’s a passive medium that’s hoping to hook someone and convince them to buy something that requires active engagement and imagination. The ones that make it onto television, like the trailers for James Patterson’s books, are laughably over-the-top.–Washington Post