Over the past few months, there have been a number of reviews of this anthology. Here are a few that refer to A Bridge of Words:
Fantastica-Ficcion: “el relato que más sobresale”!
Adventures of a Bookonaut: “hidden histories”
Sami and Nemanja go to the movies: “aspects of it interesting, amusing and annoying all at once”
A Dribble of Ink: “of language and history and aliens”
Also, the story was nominated for the BSFA awards!
During my two years in Israel, I heard a lot of local music and found a few favourites. Not artists as such, but rather albums. Two in particular stayed with me for a long time, and to this day I react with pleasure when some quirk of the shuffle system plays songs from these albums unexpectedly. The first was Muscat by Shalom Hanoch and Arik Einstein, and the second was Ze hakol o klum by David Broza. I particularly liked this latter album so much, that I even went to a David Broza concert in the middle of the desert once. OF course all the songs were in Hebrew, so though I could pick out odd words here and there, the lyrics made no difference to me, and I treated the voice as just another instrument. I listened to Broza’s album incessantly, till even now my brain anticipates the song, and I can instantly recognize the song from a few seconds.
Today I was reading an article on Tablet magazine and an ad popped up for David Broza’s new album. So finally after more than a decade, I decided to see what his new music sounded like. And then I saw that he’d released a version of Ze Hakol o Klum in spanish (now called Todo o nada). Spotify is now in Mexico, and so I gave it a whirl, with no small amount of trepidation. How would the knowledge of what the song is about affect my feel for the music? If the lyrics were terrible, would I cease to listen to the hebrew music in the same way? Would the new knowledge add or subtract?
I heard my favourite songs again and with great relief, as I understood them for the first time, that no, it wasn’t as I feared. While it’s true that a lot of the mystery of the song’s contents vanished, I didn’t mind it at all. I quite enjoyed the spanish versions. It was like seeing a familiar face with a beard, or identical twins wearing different clothes. The funny thing was that my brain kept trying to autocomplete the songs in my head, and failing. Flailing. So now I have both versions and it’ll be interesting to see which I prefer in the days to come.
Here’s a performance on Youtube (Hebrew version):
And here’s the same song, in Spanish
D. Raoa1 c1, S. Aguilar-Argüelloa1, P. Montoyaa2 and F. Díaz-Fleischera1
a1 Inbioteca, Universidad Veracruzana, Av. de las Culturas Veracruzanas, No.101, Col. E. Zapata, C.P. 91090, Xalapa, Veracruz, México
a2 Programa Moscafrut SAGARPA-IICA, Camino a los Cacahotales S/N, C. P. 30860 Metapa de Domínguez, Chiapas, México
Fruit flies (Diptera: Tephritidae) are major pests worldwide. The sterile insect technique, where millions of flies are reared, sterilized by irradiation and then released, is one of the most successful and ecologically friendly methods of controlling populations of these pests. The mating behaviour of irradiated and non-irradiated flies has been compared in earlier studies, but there has been little attention paid to the anti-predator behaviour of mass-reared flies, especially with respect to wild flies. Tephritid flies perform a supination display to their jumping spider predators in order to deter attacks. In this study, we evaluated the possibility of using this display to determine the anti-predator capabilities of mass-reared irradiated, non-irradiated flies, and wild flies. We used an arena setup and observed bouts between jumping spiders (Phidippus audax Hentz) and male Mexican fruit flies (Anastrepha ludens Loew). We show that although all flies performed a supination display to their predator, wild flies were more likely to perform a display and were significantly more successful in avoiding attack than mass-reared flies. We suggest that this interaction can be used to develop a rapid realistic method of quality control in evaluating anti-predator abilities of mass-reared fruit flies.
So it is here. Medieval and Renaissance map scholar, Chet Van Duzer, backed by The British Library as publisher, have teamed up to produce a spectacular new book, ‘Sea Monsters on Medieval and Renaissance Maps’, a topic, oddly enough, for which there is little by way of real precedent. This book will become the sea monster authority by default. Although this beautiful book is a product of academic quality, it is very readable and accessible and requires no prior knowledge.
via BibliOdyssey: Map Monsters.
I am very excited to announce that the postcolonial SF anthology, We See a Different Frontier is now available for purchase. I have a story in this anthology, my first sale!
The kindle version
Locus reviews (has a brief overview of my story)
“A story of discovering one’s own roots. It seems that under Krashigari domination, some of the repressed ThuLa sects hid their secret language in a system of coded tattoos, of which they no longer remember the exact significance.”
Aliette de Bodard’s mini review