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And Barry–as well as Anthony and Robert–did it without taking a fee. Instead, a donation was made for Parkinsons research. And because of their generosity and hard work, this audiobook is now a part of 1999 history and lore.
On behalf of everyone involved, we are glad you enjoyed it.
Happy Breakaway Day to everyone! As for “the Powysverse as a writer’s guide”, well, what can we do but say “THANK YOU for the compliment.”
I’ve been asked by a reader to thank alphan 4ever for the heads up about ‘whona’ carrying older Powys Media Space: 1999 novels. They were able to obtain a copy of Resurrection there. So, to alphan 4ever, a fellow fan says, THANKS!
I chose SOIL because I wanted something elemental, and I love everything about Vangelis’s “Soil Festivities”.
I wanted something to do with the sea for our art imprint. I had thought first of mining Delmer Powys Plebus Gwent again, using “Del Mer”–a sort of mix of Spanish and French (Del=from the, Mer=Sea). Then I thought, Nah, even I would just say FUDD. 🙂
So I thought ‘Seas’ on the Moon would be “maria”–but everyone would just say the name Maria. So then the word Marea came to mind. It means “tide”. And that seemed okay.
Tlatoa had always been my plan for a Chicano poetry imprint. I used it on our old site. Tlatoa is the Nahuatl word meaning “speak”.
The reason for different imprints is to give each type of book a sort of different look, independent of one another. Our Space: 1999 novels are modelled on the look of the 70s books–image on the bottom, Eagle/logo/title/author on the top. If you compare that to The House Between soundtrack, you can see the style of the release is very different.
And perhaps a different home too. The main Powys page currently has all our releases pictured. Once we build individual pages for each imprint, we’ll feature only those books published under that imprint.
Mateo
Thanks to Phil Merkel for putting the interview with Powys’s Cesar Gallegos and Mateo Latosa on Destinies: The Voice of Science Fiction up on the net. Anyone wishing to listen to it, can go to http://www.captphilonline.com — then click on Destinies on the left, scroll down past the spinning USS Enterprise until you see the covers of Spider’s Web and The House Between. Click on the date, August 6, 2010, above them.
As Phil said, you can listen to it on the site, or right click on the date to “Save As” and save it to you computer. Then click on the file once it is downloaded and your default music player should engage.
Updated status:
The audiobook was just approved TODAY! We just need to use add a new ITV logo to the artwork.
Just a few more details and we’ll soon be announcing a release date!
Mateo
Just to give Cesar his due:
He did the covers and other graphic design for:
Resurrection (novel)
Resurrection (audiobook) with Joe Tantillo
The Forsaken both covers (flower petal cover with Vicente Gallegos-Aguazul)
Survival
Eternity Unbound
Spider’s Web (audiobook)
Mary’s Monster (first edition)He also co-composed the score for John Kenneth Muir’s The House Between (available on this site).
Dear Zack,
There are Morse code converters online. You just copy in the code and it translates it to English, or you type in a sentence in English and it converts it to code.
Probably before you joined the forum, there was an entire lengthy thread/discussion carried on ENTIRELY in Morse code. My coded comment was a nod to that thread.
I thought that thread was hilarious. So I used a little in my last post.
Mateo
Anyone interested in picking up a copy of The Prisoner’s Dilemma–THE NOVEL (NOT the audiobook, which isn’t finished yet)–can find them on sale on eBay now for only $10 each (Buy-it-now only, no bidding)! The auction end Friday afternoon PST.
That was a very gratifying read. Thank you very much! We are glad you enjoyed it! Of course, more people came together to make the audiobook version of Resurrection happen than just William Latham and I.
Anthony Wynn and Robert Wood directed and produced the actual recording. Barry Morse, of course, graced us by starring in it! Colin Higna was our engineer, and Cesar Gallegos and Joe Tantillo were our graphic artists. Our friends at ITV, Bliss House and Silva Screen were also invaluable in making the Resurrection audiobook a reality.
And closer to home, Martin Willey, Space: 1999’s Official Historian (a title given to him by the late Johnny Byrne), for proofing the manuscript for continuity within the 1999 universe.
Finally, and always, Johnny Byrne, whose foreword to Resurrection we did NOT include in the audio version, was instrumental in helping us get the Powys Moon started on its journey into the unknown.
And thanks to our readers (and our listeners): .– .. – …. — ..- – / .– …. — — / -. — – …. .. -. –.
😛
I have just listened to the Spider’s Web audiobook! I received the file today! So what’s the status of the project?
Artwork–done
Recording–doneWe’re going to submit it for approvals tomorrow. Once that happens, we’ll try to make it available ASAP.
Hats off to William Latham and Rupert Booth for a exciting story and an exciting performance, respectively!
Our Prisoner books are more idiosyncratic than our 1999 novels. There is no real overarching continuity. In a sense, I’ve asked each author to give me THEIR interpretation of the Prisoner, in their own style, without having to pay a lot of attention to what the other authors have done. Andrew Cartmel is a fan of the 60s spy novel and wanted to tell a Prisoner story (in part) in that style. There are one or two Prisoner episodes that did the same (The Girl Who Was Death, for example). So his story within a story within reality serves to blur the line between dreams and fiction and reality, each affecting the others. A very different take from that of Jonathan Blum and Rupert Booth, but no less valid. In a real sense, it is a mirror of what the Prisoner felt upon waking up in his home in London, but looking out the window and seeing the Village–realizing that he is NOT home at all.
In Miss Freedom, the reader starts off in the Village, but it IS and it ISN’T the Village as depicted in any other Prisoner story, it’s a new “Cartmelian” nterpretation of the Village, of the series, of the Prisoner.
