If you want to sit outside and read a book when it is hot or in summer Plan ahead, buy ice pops, make sure you bring a water bottle. Put on sunscreen and bug spray. Find a nice cool spot in the shade or sit under an umbrella. Find something to sit on. Have a set time to go inside between chapters. Take a break to eat lunch or dinner depending on the time. Also use bug repellent products. If you have a pool use it, if you’re hot wet a towel it will help you cool off. If you don’t like the sound of bugs, listen to some music. Make sure you’re comfortable. If you want to finish the whole book, bring a few snacks.
For those lucky enough to be experiencing warmer weather…
every time i ask for poetry recs no one gives me any so i am BEGGING pls respond with poetry recs. nothing rupi kaur/insta poet-esque, but anything else i’m down for!!! classic poets, modern poets, short poems, long poems, prose, and any poetry sub-genre are welcome!! PLEASEEE!!!
Olivie Blake (@olivieblake) is the pseudonym of the writer Alexene Farol Follmuth, author of multiple novels, anthologies, graphic novels, and film scripts, many of which involve the fantastic, the paranormal, or the supernatural. Her works revolve around the collective experience, what it means to be human (or not), and the endlessly interesting complexities of life and love. Cult-favorite The Atlas Six was re-released in a revised hardcover edition last month with Tor Books. A sequel in October and a live-action series are forthcoming. Alexene lives and works in Los Angeles with her husband and new baby, where she is generally tolerated by her rescue pit bull.
Read on for Olivie’s favored medeian specialty, lessons learned from writing fanfic, her take on dark academia, and the process of self-publishing books people love.
Not to spoil anything for the three and a half people who maybe haven’t yet read The Atlas Six, but can you tell us a bit about the world of the series?
First of all, I appreciate the wording of this question. Thank you for that. Secondly, The Atlas Six is about the six uniquely talented magicians vying for initiation to the Alexandrian Society, a secret society of caretakers who protect and contribute to the archives of “lost” knowledge from the Library of Alexandria and throughout history. In the book’s contemporary setting, the question of how to combat climate change is answered politically and economically with magic, so the characters exist openly in a world where magicians, called medeians, are university-educated and contribute to a system of capitalism much like ours. These particular six candidates each have a rare magical specialty and a myriad of personal motivations for pursuing the Society’s promise of wealth, power, and knowledge—which drives their tendency to want to kiss or kill any of the others at any given moment. (Two of them already hate each other, and the rest are about to.) And there is obviously a catch to this extraordinary opportunity: only five of the six are guaranteed initiation.
What’s the journey been like writing, self-publishing, and re-releasing The Atlas Six?
This is absolutely the weirdest timeline. I don’t know of any better way to put it. I wrote this book when I was starting to think that publishing wasn’t going to happen for me. I’ve always split myself in two, writing manuscripts to cold query to agents while also self-publishing the stories I wanted to tell that I didn’t feel were a good fit for the market. Basically, I was self-publishing for the handful of beloved weirdos willing to follow me wherever I went. (Find your flock, they say. Good advice.)
I knew from my initial concept that this book wasn’t right for publishing en masse—it was too hard to explain in a quick pitch to an agent without sounding derivative. It was too character-driven for genre standards. It had a familiar setting and hook but with a very unconventional execution. There was no hero or villain. Every character was 100% sexually fluid. It was too quiet for spec fic. I was in a really think-y place, trying to figure out whether it was responsible to bring a baby into a world where it’s impossible to be ethical. In the end, I figured I could just write it for myself, exactly as I wanted to write it, while nobody cared enough about me to say no.
So I wrote it. Released it. People seemed to like it, but it wasn’t doing numbers. Within a few months, I had finished another manuscript and finally gotten an agent for a completely separate project—my young adult rom-com, My Mechanical Romance. I figured, okay, I guess I’m a YA author now, at least until those obligations are fulfilled, so Atlas will have to wait. But, I reasoned, thankfully, only a few people were waiting.
Then I got pregnant. I wrote another YA manuscript. Something weird happened on Twitter. (A very “somehow, Palpatine returned” situation.) People started talking about the book. I gave birth to my son. Something weirder happened on TikTok. A LOT of people started talking about the book. Suddenly my book that had absolutely no commercial appeal was…commercially appealing? I signed with Tor to finish out the trilogy (!). Then…producers wanted to meet with me? So I was like? Okay? In between my baby’s naps, I wrote the sequel and optioned the book for TV. I…got on the NYT bestseller list? I went on tour in two countries? At this point, it all dissolves into a fever dream. Is this real? I really don’t know. I haven’t slept more than two consecutive hours in almost a year.
On a serious note, revising The Atlas Six was such an incredible opportunity. I went from being a one-woman show (with the help of one or two friends and, of course, my beloved collaborator @littlechmura) to suddenly having the resources to actually make the book into what I wanted it to be. I got to stretch out a little, narratively speaking, and take up more space. New illustrations! New cover! New feedback! New ways to reach a new audience! Suddenly the book of my mind became the book of many minds and was all the better for it. It was then, and is now, a product of some kind of magic. For five years, I wrote ten to twelve hours a day, posting millions and millions of words for free, purely because I loved it—loved it to the point where it broke my heart to think of doing anything else. And now?
Well, now I have imposter syndrome, of course. But my god, what a beautiful con.
Do you have a favorite character among the six? Why? What does their Tumblr look like?
I don’t have a favorite character—I personally think it’s detrimental for the author to have a favorite when creating an ensemble cast that relies so heavily on changing POVs for the narration—BUT I do feel strongly that Libby and Nico would be the most active on Tumblr. Libby writes poems and carefully curates her aesthetic. I sense a little cottagecore in her. Probably a lot of melancholy art, too. Nico definitely runs an absolute chaosphere of a blog depending on whatever his fixation is at the time. He’s one of those mutuals where you followed him five years ago and can’t remember why because he’s changed fandoms several times, but at least the GIF sets he reblogs are entertaining.
This reissue includes illustrations from your longtime collaborator, illustrator Little Chmura (@littlechmura). What draws you to this kind of collaboration?
If you were fortunate enough to become friends with a brilliant artist, wouldn’t you try to lure them in, any chance you got? I love art. I love storytelling as an art and writing as an art. I love the adrenaline rush of creativity I get from working with other artists who are equally passionate about their craft. Sometimes, brainstorming an illustration with Little Chmura makes me feel inspiration in its purest form. The incendiary kind. All of my books contain art from her because it just contributes that much more to the story. Or, at the very least, it helps the story vibe properly.
You got your start writing Dramione fanfic. What did writing fanfic teach you about writing?
Okay, random start here, but go with me: I really loved this Mamma Mia! Here We Go Again oral history on Vulture where they said that the film was referred to as a crowd-pleaser in a way that was meant to be an insult. A crowd-pleaser, how meaningless. But the producers posed a critically important question: do you know how hard it is to please a crowd? Fanfic authors do. There is no other medium as dependent on audience enjoyment as fanfic. The entire medium is reliant on characterization and emotional beats. Imperfect plot or disrupted pacing can be forgiven if something sweet or hot happens along the way, but failing to be true to a character’s narrative arc or committing to a cheap bit like gratuitous character death is grounds for the proverbial guillotine.
The number one thing I learned as a fanfic author is always to keep one eye on the audience’s heart. Should it be racing? Fluttering? Aching? Should it, dare I say it, break? Pleasing (or devastating) a crowd is best learned via the fanfic structure: episodic and evolving with constant feedback. Learning how to make someone keysmash in your reviews is a carefully honed skill.
You’re very active online, with copious amounts of asks answered on your Tumblr and a video series on Youtube. Do you have a favorite fan interaction?
I have been more active in the past—this is a very busy year, what with the chaos goblin I birthed, a slightly unhinged production schedule, and three book releases! I’m feeling very guilty about my untended inbox, but I do love Tumblr. There, I said it! I love Tumblr! I love the multimedia curation! The possibility of long-form communication! The ads that do not, in any way, appear to be stealing my data! Anyway, no, I don’t think I could pick a favorite. There have been too many beautiful interactions, especially from people who’ve been reading my stuff for years.
Well, I guess one that stands out is a seemingly small series of events: I wrote a short friends-to-lovers fic about two engineers. It sparked a conversation on Tumblr between women who were pushed out of STEM at an early age and women in STEM fields who had never seen themselves in fiction before. It led to my YA book, My Mechanical Romance, especially after one user told me she wished she’d had my writing when she was younger. I thought, okay, well, good point, I should tell a story specifically for our younger selves. And now here we are.
What would your specialty be if you were a medeian, and why?
Telepathy. I’m incredibly nosy. I’d love to have a more nuanced reason, but that’s honestly it.
What’s the best writing advice you’ve received?
Potentially a bit overused, but the thing that has helped me most is the “you can edit a bad page, but you can’t edit a blank page” quote that Google is currently telling me comes from Jodi Picoult (I obviously first heard it on Tumblr). I have always been a pantser, meaning I fly by the seat of my pants when I write (fanfic is very conducive for such things), and I really had to learn to love revision. It doesn’t matter if you get the first draft right. The first draft is just the skeleton. To everyone who struggles with anxiety or creative blocks, I typically think it helps to tell yourself the first draft is allowed to suck. It’s kind of supposed to suck! Don’t romanticize this idea that writing is when the muse hands you the perfect words in perfect sequence. The craft of writing isn’t about the first draft. It’s about everything you do to bring the story to life.
What fuels your interest in dark academia? Do you have a favorite dark academia book/film/series/game?
To me, The Atlas Six is true academia—very The Secret History in terms of having long philosophical discussions about the meaning of art and beauty, except I did it with physics and psychology. It’s dark, of course, because of all the gray morality and institutional rot and inadvisable sexual tension. That’s a feature, not a bug, and I love when authors get a little weird with it. I love Catherine House by Elisabeth Thomas, Bunny by Mona Awad, Plain Bad Heroines by Emily Danforth. Academia is weird and messed up by most standards, so the outsiders (BIPOC and queer authors) really do some fascinating work handling its darkness.
The Atlas Paradox comes out in October. Is there anything you can tell us about it?
I personally think it is funnier in the way things are funny when the characters have all begun existentially melting. (I’m an empath, she says chaotically.) People who have read it tell me it’s better than the first book. My publishers tell me hearts will be broken. But I leave all that for others to determine, of course…
Thanks@olivieblake!The Atlas Six is now available everywhere you can get books!
An artist, an engineer, a psychologist, a lawyer and his wife, a veteran, a college kid, a programmer, and a scientist encounter a tree…
A friend recommended this book to me as “It’s a story about trees, but it’s also not about trees. It’s about people, but not just people.”
This book… I’m going to be thinking about it for a while. I think this goes on my list of “books you wish you could experience for the first time again.” It’s a very slow start, and then a rush of story growth and branching, and then it slows again - not wholly unlike the trees that make up such a huge part of the story.
My only complaint, and trying to avoid spoilers as much as possible, would be not dealing head on with Dr Westerford’s choice in her last speech. I feel it would have been a much more powerful end to her story for her end to be clearer, an unambiguous action, and without the weird Mimi’s Magic Eyes scene. A clearer decision would have helped strengthen one of the book’s themes that death sustains life (e.g. a rotting log becoming a seed bed), rather than the narrative looking away and giving you a choice as to what happened.
Overall, I loved this book so much. It made me think of The OA several times - and honestly if you loved that show, then you’ll probably love this book.
“Yes, of course we were pretentious – what else is youth for? We used terms like ‘Weltanschauung’ and ‘Sturm und Drang’, enjoyed saying ‘That’s philosophically self-evident’, and assured one another that the imagination’s first duty was to be transgressive.”
The stunning, standalone prequel to the New York Times bestsellingThe Priory of the Orange Tree.
Tunuva Melim is a sister of the Priory. For fifty years, she has trained to slay wyrms – but none have appeared since the Nameless One, and the younger generation is starting to question the Priory’s purpose.
To the north, in the Queendom of Inys, Sabran the Ambitious has married the new King of Hróth, narrowly saving both realms from ruin. Their daughter, Glorian, trails in their shadow – exactly where she wants to be.
The dragons of the East have slept for centuries. Dumai has spent her life in a Seiikinese mountain temple, trying to wake the gods from their long slumber. Now someone from her mother’s past is coming to upend her fate.
When the Dreadmount erupts, bringing with it an age of terror and violence, these women must find the strength to protect humankind from a devastating threat.
Bilbo was declared dead while he was away in the Hobbit (and had to do a bunch of paperwork to get declared alive again) but there’s no indication he was formally declared dead after leaving the Shire, even though most people assumed he had died.
Therefore I posit: having a missing person declared dead in the Shire requires the consent of their next of kin. Whoever Bilbo’s next of kin was at the time of the Hobbit (possibly Otho? I’m not sure) had him declared dead at the first opportunity but Frodo refused to ever do it.
Frodo had anxious hobbit bureaucrats knocking on his door every couple of years like ‘Mr Baggins… blease… it’s been 10 years… he was eleventy-one… can we fill out his death certificate yet’ and Frodo was like ‘absolutely not’.
Early on he genuinely couldn’t bring himself too but after a while it was more that he enjoyed irritating the local magistrate’s office than anything else.
I raise you: the hobbitish bureaucracy has no means to re-declare someone dead. They had no precedent to declare someone who was once-dead dead again. They would need the Thain, the Mayor, and the Master of Buckland to agree to changing the statute, and since the Thain and the Master are too amused by the whole henclucking that they haven’t gotten round to it just yet.
I’m upping the stakes with: last time Bilbo was declared dead when he was, in fact, not dead, they removed the law stating that you can have someone declared dead without a body, so when Bilbo left (happily aware of this legal loophole and snickering) he could never become legally dead again.
I am loving the implication here that Bilbo can literally never die in the eyes of the law. He’d love that.
a hobbit parent telling their kids the story of Mad Baggins and being like “thanks to a loophole in hobbit law he’s technically still alive today”
a hobbit child misinterprets this and lies awake at night worrying that Mad Baggins is still out there and will appear in their room without warning
Alternatively: the laws for declaring somebody dead if they’re missing for long enough are still in place, but the magistrates are just refusing to enforce them in this particular case.
After all, last time they declared Bilbo Baggins dead— which involved filling out all the paperwork necessary to declare somebody dead without a body— he had the rudeness to show up again, forcing them to do a lot more paperwork, and this time with an indignant Bilbo having a go at them while they did it.
As a result, the magistrates have decided that they’re not going to declare Bilbo Baggins dead a second time unless they have a body, a coroners reprt explaining the cause of death, and a three day wake to make sure that he doesn’t get up and walk away again.
Centuries later, hobbit parents tell their children that Mad Baggins is forever gone from the shire— at least until the day when somebody is stupid enough to declare him legally dead, at which point legend states that he will immediately come marching back, demanding an explanation.
i love the implication that its considered rude in hobbit society to show up alive after being declared dead
Two hundred years later the inheritance drama over Bag End is still going strong. The Sackville-Bagginses insist that even if Bilbo isn’t legally dead, he’s clearly abandoned the property; those responsible for overseeing the affair respond by pointing out that, as it’s well known that Bilbo Baggins could turn invisible, they can’t be sure he’s not still in the building.
Beginning in 2030, a grieving archeologist arrives in the Arctic Circle to continue the work of his recently deceased daughter at the Batagaika crater, where researchers are studying long-buried secrets now revealed in melting permafrost, including the perfectly preserved remains of a girl who appears to have died of an ancient virus.
Once unleashed, the Arctic Plague will reshape life on earth for generations to come, quickly traversing the globe, forcing humanity to devise a myriad of moving and inventive ways to embrace possibility in the face of tragedy. In a theme park designed for terminally ill children, a cynical employee falls in love with a mother desperate to hold on to her infected son. A heartbroken scientist searching for a cure finds a second chance at fatherhood when one of his test subjects—a pig—develops the capacity for human speech. A widowed painter and her teenaged granddaughter embark on a cosmic quest to locate a new home planet.
From funerary skyscrapers to hotels for the dead to interstellar starships, Sequoia Nagamatsu takes readers on a wildly original and compassionate journey, spanning continents, centuries, and even celestial bodies to tell a story about the resiliency of the human spirit, our infinite capacity to dream, and the connective threads that tie us all together in the universe.
The swimmers are unknown to each other except through their private routines (slow lane, fast lane), and the solace each takes in their morning or afternoon laps. But when a crack appears at the bottom of the pool, they are cast out into an unforgiving world without comfort or relief.
One of these swimmers is Alice, who is slowly losing her memory. For Alice, the pool was a final stand against the darkness of her encroaching dementia. Without the fellowship of other swimmers and the routine of her daily laps she is plunged into dislocation and chaos, swept into memories of her childhood and the Japanese internment camp in which she spent the war. Narrated by Alice’s daughter, who witnesses her stark and devastating decline, The Swimmers is a searing, intimate story of mothers and daughters, and the sorrows of implacable loss, written in spellbinding, incantatory prose.
The most commanding and unforgettable work yet from a modern master.
In the twelve unforgettable tales of Lesser Known Monsters of the 21st Century, the strange is made familiar and the familiar strange, such that a girl growing wings on her legs feels like an ordinary rite of passage, while a bug-infested house becomes an impossible, Kafkaesque nightmare. Each story builds a new world all its own: a group of children steal a haunted doll; a runaway bride encounters a sea monster; a vendor sells toy boxes that seemingly control the passage of time; an insomniac is seduced by the Sandman. These visions of modern life wrestle with themes of death and technological consequence, guilt and sexuality, and unmask the contradictions that exist within all of us.
Mesmerizing, electric, and wholly original, Kim Fu’s Lesser Known Monsters of the 21st Century blurs the boundaries of the real and fantastic, offering intricate and surprising insights into human nature.
Tasked with finding the reincarnation of a great lama somewhere in the vast Mongolian landscape, the young monk Chuluun seeks the help of his identical twin, Mun, who was recognized as a reincarnation himself as a child, but has since renounced their once shared monastic life. Harking back to her vivid and magical first novel set in Vietnam, Quan Barry carries us across a landscape as unforgiving as it is beautiful and culturally varied, from the stark Gobi Desert to the ancient capital of Chinggis Khan. As their country stretches before them, questions of the immortal soul, along with more earthly matters of love, sex, and brotherhood, haunt the twins, who can hear each other’s thoughts. Are our lives our own, or do we belong to something larger? When I’m Gone is a stunningly far-flung examination of our individual struggle to retain faith and discover meaning in a fast-changing world, and a paean to Buddhist acceptance of what simply is.
Book Blurb: Joseon (Korea), 1758. There are few options available to illegitimate daughters in the capital city, but through hard work and study, eighteen-year-old Hyeon has earned a position as a palace nurse. All she wants is to keep her head down, do a good job, and perhaps finally win her estranged father’s approval.
But Hyeon is suddenly thrust into the dark and dangerous world of court politics when someone murders four women in a single night, and the prime suspect is Hyeon’s closest friend and mentor. Determined to prove her beloved teacher’s innocence, Hyeon launches her own secret investigation.
In her hunt for the truth, she encounters Eojin, a young police inspector also searching for the killer. When evidence begins to point to the Crown Prince himself as the murderer, Hyeon and Eojin must work together to search the darkest corners of the palace to uncover the deadly secrets behind the bloodshed.
June Hur, critically acclaimed author of The Silence of BonesandThe Forest of Stolen Girls, returns with The Red Palace—a third evocative, atmospheric historical mystery perfect for fans of Courtney Summers and Kerri Maniscalco
Review:
A serial killer on the loose and a nurse and investigator must team up in order to catch them before more people die. Enter: Joseon (Korea), 1758, Hyeon is an 18 year old illegitimate daughter to a Lord. There are very few options for her but she has made a place for herself as a nurse for the palace, in hopes of gaining her estranged father’s approval. Yet when nurses, people she knows are murdered and her mentor is accused, she finds herself thrust into a dark and dangerous world of court politics as the main suspect is the Crown Prince. Then she bumps into Eojin, a young police investigator searching for the killer. Eojin is one of the youngest police investigators, a genius who also happens to be Hyeon’s friend’s cousin and has his own motives for capturing the killer. Hyeon is desperate to prove the innocence of her mentor and the only way to do so is joining Eojin in his investigation. Both of them will have to navigate court politics as well as the killer becoming more and more daring, it also doesn’t help that the more involved Hyeon becomes the more she finds herself in danger and will have decide if she is willing to sacrifice her career, her family, and even her life in order to solve these murders. Throw in some very light romance, a good mystery, and political intrigue, and this was a really fun read! Its the perfect blend of murder mystery with tension and budding romance with high stakes. Seriously go give it a read!
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