In The Geology of Game of Thrones, a group of geologists has created a geologic map of Westeros and Essos, as well as an invented geologic history of the planet on which George R. R. Martin’s epic takes place. Via io9.
This isn’t the first time a fantasy world has been looked at through a geologic lens. Karen Wynn Fonstad’s Atlas of Middle-earth took a reasonably rigorous look at the landforms of Middle-earth. And Antony Swithin—a geologist in real life under his real name, William Sarjeant—created a geologic map of his invented island of Rockall (see previous entry).
The table of contents for the Journal of Unlikely Cartography, Unlikely Story‘s single-issue special featuring science fiction and fantasy stories about maps (see previous entry), has been announced; the issue will be out in June.
A trap street is a fictitious street inserted by a mapmaker to catch plagiarists. Trap Street is also the title of a movie making the rounds of the festival circuit. Directed by Vivian Qu, Trap Street (Shuiyin jie) tells the story of a mapmaker who encounters a mysterious woman on an unmappable street. Based on the IMDB listing, it seems to be headed for a June release. (Does anyone have more information on this film?)
Sylvia Sumira’s forthcoming book on globes—titled Globes: 400 Years of Exploration, Navigation and Power in its U.S. edition and The Art and History of Globes in its British edition—is a history of globemaking during its peak: “Showcasing the impressive collection of globes held by the British Library, Sumira traces the inception and progression of globes during the period in which they were most widely used—from the late fifteenth century to the late nineteenth century—shedding light on their purpose, function, influence, and manufacture, as well as the cartographers, printers, and instrument makers who created them.” Out next month from University of Chicago Press (for North America) and in April from the British Library (Commonwealth markets): Amazon. [Boing Boing]
Go read Casey N. Cep’s essay, “The Allure of the Map,” on the New Yorker‘s website: she explores the relationship between maps and literature on several fronts, including the role of maps in the creative process and the relationship between mapmaking and reality. Also quite a bit on the recurrent meme of the 1:1 map—the map as large as the thing being mapped—from Carroll to Borges to (I did not know) Gaiman (Swanwick and Eco too, if I’m not mistaken: more could indeed be said). Anyway: relevant to our interests. Go read.
Maps of Paradise by Alessandro Scafi (University of Chicago Press, 11/13). Explores “the diverse ways in which scholars and mapmakers from the eighth to the twenty-first century rose to the challenge of identifying the location of paradise on a map, despite the certain knowledge that it was beyond human reach.” (Amazon)
Earth Wind Map is a transfixing animated visualization of global wind forecasts, updated every three hours. It would be fine enough to enjoy passively, but you can play with it: click and drag to change the view, select from a variety of map projections and pressure levels. Via io9 and GIS Lounge, among many others.
From pirate maps leading to buried treasure to painstakingly-drawn maps of continents that never were, there are endless unlikely possibilities in the world of cartography. Send us your story of a rogue GPS taking a driver down non-existent roads, show us what lies in those unexplored territories labeled “here there be monsters,” give us haunted globes, star charts written in disappearing ink, and spiraling lines on crumbling parchment leading to the center of the labyrinth. As always, we want gorgeously-told tales, gripping characters, and unique worlds to explore. Genre doesn’t matter to us, along as your tale involves maps or cartography in some integral way.
Pays 5¢/word on publication, deadline February 1. I have had considerable difficulty in submitting to anthologies in the past (I write fiction very slowly; the story never quite gels in time for the deadline), but I really, really, really need to submit something to this.
Unfathomable City: A New Orleans Atlas, by Rebecca Solnit and Rebecca Snedeker, came out last month from University of California Press. At first glance it looks like it does for New Orleans what Solnit’s previous work, Infinite City, did for San Francisco: it’s a collection of essays and maps that, as before, displays two complementary or contrasting things on the same city map. In my review of Infinite City I suggested that not every city could sustain a project like this, though San Francisco obviously could; it seems to me that New Orleans is a natural followup.
This is utterly fascinating for me, because a significant gap in my research into fantasy maps has been the process of creating them. It’s sort of left me feeling like a wine taster that has no idea how wine is made. Stewart (who has also done work for Brandon Sanderson’s novels: his maps for The Alloy of Law have already caught my attention) takes us through every step, from inspiration through Photoshop.
Earlier this year I published an article pointing out that the main difference between historical and fantasy maps was information density: a real medieval map is full of detail, because cartographers don’t dare waste vellum; fantasy maps are relatively sparse—largely, I suspected, because only so much detail can legibly fit on a map printed for a mass-market paperback. That was an educated guess on my part; it’s interesting to see it confirmed:
A map meant to fit in a hardcover book (and subsequently a paperback) can’t be as detailed as a real-world map and still be legible. Even though I treat the map as a product of its fantasy world, it has to be understandable to modern audiences. Usually this means I can’t copy the exact style of my reference, but I can use it for inspiration.
I’ll be referring to Stewart’s post often, I think.