One of the few downsides to reading Game of Thrones for the first time on a 2nd generation Kindle was that it was inconvenient to flip to the map every now and then to reorient myself when the action moved to a new city or battlefield. Like books with lots of footnotes, I think I’ll do most of my map-heavy fantasy book reading on dead trees.
My father experienced the same thing reading A Dance with Dragons on the Kindle. The insight here may not be particularly profound, but it is useful: fantasy maps may be largely illustrative, but they’re also referred to when reading the text. They may be an intrinsic part of the reading process—at least as far as “fat fantasy books with maps” are concerned. (Will electronic versions of said books need to have their text georeferenced, so that you can push a “map” button at any point and be placed at the proper position on the map? I have to admit that that would be kind of cool.)
What do you think? How do you use maps when reading fantasy fiction?
Over on The Awl, Victoria Johnson has an essay about maps of fictional places, which of course is relevant to my interests. Johnson has chosen some very unique and distinctive maps to discuss—Winnie-the-Pooh, The Phantom Toolbooth and The Princess Bride among them—rather than the sort of standard fantasy maps you get in standard fantasy (which, I suppose, aren’t worth discussing unless you like the fantasy world being mapped; certainly not as maps). Via Boing Boing (which sends a link in this direction).
I have not forgotten my Maps in Science Fiction and Fantasy project, though it’s lain fallow for a bit while I juggled other things. Here are a few short stories about maps that I’ve encountered over the past few months.
This animated map from NASA (Flash-only, sorry) illustrates global temperatures since 1880: “reds indicate temperatures higher than the average during a baseline period of 1951-1980, while blues indicate lower temperatures than the baseline average.” News flash: the planet’s getting warmer. More information here.
If you’re interested in maps as art, you probably already have copies of books like You Are Here and The Map as Art, excellent collections of map art curated by Katharine Harmon (if you don’t have these books and you’re interested, now you know; off you go). If, on the other hand, you’re a crafty sort and are interested in making art with maps—whether as raw material or as theme—then a new book by Jill K. Berry, Personal Geographies: Explorations in Mixed-Media Mapmaking, may be worth your attention.
Personal Geographies is a short guide to making maps about personal subjects using the techniques of mixed-media artwork. Let me unpack that a bit. Mixed media involves combining several different art forms: paint, pen and ink, photography, collage; different materials and textures. Berry, lists as supplies a number of different kinds of paper and cardstock; pencils, crayons and paints; adhesives; tools; and embellishments like ribbons.
These are the raw materials. Berry chooses as her theme so-called personal geographies, broken up into three chapters: maps of the self, in which the personal is mapped to pictures of the head, the hand, the heart or the body; maps of personal experiences, such as trips; and art pieces made from real and fictional maps. Each lavishly illustrated chapter gives sample projects with step-by-step instructions; each chapter also collects map projects from a number of different artists to show you what else might be possible.
I received an electronic review copy of this book.
Last week I received in the mail a review copy of Derek Hayes’s latest book, the Historical Atlas of Washington and Oregon. Now, except for a day trip to Mount Baker in 1993, I haven’t so much as visited either state, so my review is not as informed as a local’s could be. What I can say is that this is the latest in a series of historical atlases by Hayes, whose previous works include historical atlases of North American railroads, California and the U.S. in general, among others. It’s an attractive and reasonably priced hardcover, densely packed with contemporary maps.
On that point: Hayes uses actual, contemporary maps to describe the period. This differs from what I usually expect from historical atlases, which use modern cartography to display historical information. I’m not entirely convinced of Hayes’s method: contemporary maps may not necessarily be accurate; and they’re frequently reproduced at a scale too small to be of any informative use; and the map needed to tell a story may not always be available. But when considered as a thematically and chronologically organized collection of antique maps, it works very well indeed, though I think several subjects, such as the period before European (or as Hayes puts it, “EuroAmerican”) contact, get short shrift.
Still, I cannot emphasize enough the wealth of cartography on display here (Seattle, Tacoma, Portland and the Pacific Northwest rail lines get particularly lavish treatment); this is the sort of thing that would do well as an iPad app or enhanced ebook, where you could zoom in to a full-scale reproduction of all these maps.
Maphead isn’t really (or just) a book about maps; rather, it’s a book about the people who obsess about matters geographical, including maps. The subject is pretty broadly defined. He begins straightforwardly enough. After a chapter on spatial awareness, Jennings looks at the scandal that erupted when a University of Miami professor discovered his students couldn’t locate anything on a map, and at map literacy in general. There’s a chapter on borders and placenames. But things really get cooking when Jennings turns to things people do. A chapter on map collecting. On maps of imaginary places. The National Geographic Bee. Roadgeeking. Geocaching. Even the Degree Confluence Project.
In its cheerful enthusiasm for all things map, Maphead reads a lot like Mike Parker’s Map Addict (which I reviewed in 2009). This is a good thing. Like Map Addict, Maphead covers a lot of what for me is very familiar ground: I sometimes felt like I was reading my own blog archives, which is something I felt while reading Map Addict. But then Jennings goes and finds something I didn’t know, like the fact that Borges’s “On Exactitude in Science” was not the only work to play with the idea of a 1:1 scale map: Lewis Carroll and Umberto Eco did it too. Ken Jennings has managed to pull off a minor miracle: a profoundly erudite, well-researched book, written in a breezy, accessible and downright witty manner that is invariably entertaining. A pleasant book that you should look at, if you have any interest in maps.
An explanation lies partly in Collins Geo’s apparent decision to produce the map in house. If that was the case, the firm might have avoided its embarrassment with the obvious quality-assurance step of sending page proofs to carefully chosen experts. Appropriate scientists seldom decline invitations to serve as reviewers. […]
It seems likely there was a belief that external review was unnecessary. Moreover, it seems that none of the publisher’s marketing mavens compared their provocative God’s-eye view with competing treatments on readily accessible scientific websites or Google Earth.
Hubris is not too strong a word to explain HarperCollins’s predicament. A press release promising “concrete evidence of how climate change is altering the face of the planet forever” invites critical scrutiny by mainstream climate scientists as well as the self-proclaimed sceptics who are ever eager to pounce on overreaching pronouncements by the former. In Atlasgate, the pro-warming community, which outnumbers naysayers by perhaps 50 to 1, wasted no time in trashing the HarperCollins map.
Here are a few map-related books coming out this fall. They include books by a game show legend and a highly regarded artist, and an atlas that has already encountered more than its share of controversy.
The Farthing Party map panel (see previous entry) came off surprisingly well. I was actually shocked to discover that what I thought were my controversial thoughts about maps were actually not that controversial: I knew it was going to be a good panel when both Lila and Emmet said in their opening remarks that they were opposed in principle to fantasy maps.
On a related note, I’ll be on a panel about maps at Farthing Party tomorrow (“Maps and territories: What’s good and bad about the maps in our fiction, and why are they there in the first place?”) which I’m hoping will generate all sorts of ideas and things to check out. I’ll probably talk too much, of course, but I want to take lots of notes, too.
Jerry Gretzinger’s map began as a little doodle. Then it began to take on a life of its own. Jerry uses a deck of cards to determine how the map is revised, with near-mystical results. “Yes, it’s alive. It changes. My hand puts the paint on the paper and then I step back and say, ‘Wow, look at that,’ as though I was not the perpetrator. I’m just the observer.” I could see myself having this much fun. Via MetaFilter.
I nearly forgot to mention that last Sunday I gave a presentation on the state of OpenStreetMap in Ottawa to the SummerCamp 2011 Mapping Party. It was a small group — five of us, the majority of whom knew more about the subject than I did — and, due to technical snafus with the meeting location, was held in a Bridgehead coffee shop on Bank Street. All the same, my spiel was well received. I made three points in the presentation: that OpenStreetMap was a lot less complete than some make it out to be; that the OSM map of Ottawa needs a lot of work; and here’s what to do about it.
I suppose that I could make the slideshow available if you’re really interested, but my presentations tend to be talks illustrated by slides, rather than read-the-slides, so without me talking it through it’d be kind of confusing. But here’s the penultimate slide, which shows a screencap of OSM’s map of downtown Ottawa, with things that need fixing helpfully labelled.
You’ll be happy to know that many of these things have since been fixed.
The role of maps in fantasy is an ongoing interest of mine, one I’ve begun researching in earnest. (Watch this space: I’m up to something.) So I was naturally interested when SF Signal asked a number of authors, illustrators, other publishing professionals and readers, as part of their Mind Meld series of interviews, the following question: “What is the role and place of maps in Fantasy novels? Which are your favorites? Why?”
Lots of answers ensued — here, for example, is an excerpt from Saladin Ahmed’s response:
Coming before the text of the novel as they often do, fantasy maps help to set a reader’s expectations. Prefacing a novel with a map is saying “An immersive made world is among my highest priorities here.” The map gives readers a panoramic view of the novel’s world — often a wider view than what is available to the characters – before zooming in on the local and personal details that are the building blocks of early chapters.
From Philip Athans:
I just hope that in the new era of austerity that’s descended upon the publishing business that the fantasy novel map will survive. Having a really good one drawn up by an artist who actually knows how to draw maps is not cheap.
From Mathew Cheney:
Maps in books are often more fascinating to me than the books themselves, because maps suggest possibilities. When I first learned to read, I tried hard to get through Treasure Island, but it defeated my skills and bored me. I didn’t care, though, because there was that gloriously undetailed map. That’s all I’d really wanted from the book, because with the map, I could make up whatever stories or characters I wanted.