This is a book that has been sitting in my TBR pile for quite a while now and truthfully I am not done reading it, but the naming conventions interested me so much I decided to look into them a bit and write this post.
The book follows the new ambassador from Lsel Station, Mahit Dzmire, as she arrives at the imperial court of the Teixcalaanli Empire. Her first priority? Finding out what happened to her deceased predecessor. That’s enough context for now.
What I really want to talk about are the names of the characters from the Teixcalaanli Empire. The first one we meet is named Three Seagrass and we are soon introduced to many others like Nine Maize, Ninteen Adze, Six Direction, Fifteen Engine, Thirty Larkspur, and so many others. Luckily, we see all this through the eyes of a character who is new to the culture and her assigned cultural liaison is able to provide some context. In short, all names consist of a number and a noun. Parents then use certain customs such as a belief that low single digits are good luck to decide on the name of their child. It’s further implied that the noun used in their name may sometimes reflect what is important to daily life in their place of birth.
So far that’s all that’s been explained so far, it’s possible that more will come later in the book but I am impatient so I decided to do some digging. To begin, I started out looking for the historical inspiration that Arkady Martine most likely drew from in crafting the Teixcalaanli Empire. If your instinct was to think “mesoamerican” then congratulations, you and I think a lot alike.
I began in the place where all research begins, Wikipedia. There I found an account of the Mixtec king Eight Deer Jaguar Claw, or 8 Deer for short, who was the only Mixtex king to ever unit them all under one banner. The Mixtecs were later conquered in the 16th century by the Spanish and there are about 800,000 Mixtec still living in Mexico today.
So that was a good start and it gave me what I needed to look a little further. As it turns out, the basis for Mixtec names came from the calendar that they used, with individuals being named after the day they were born. So Eight Deer would have been named after the day on which he was born. There are thirteen days and twenty symbols on this calendar. Eventually, I found this site which offers much more context on Mixtec names and mesoamerican culture in general.
Basically, the day a person was born would be their name as we already established, and the individual may then add to their name or change it later in life. The day a person was born was believed to reflect their future including their profession, personality, and even spouse.
So that’s the basis of names used in Arkadi Martine’sA Memory Called Empire. It’s a great bit of worldbuilding on Martine’s part. It makes complete sense that after several millennia parents would stop using the literal date to name their children and instead name them based on their hopes for their child’s future. Depending on how involved Martine chooses to get with the names later in the book, a character’s name could say a lot about what their family expects of them.
I’m not finished reading this book, but my initial impressions are nothing but positive. I really like the worldbuilding based in mesoamerican culture and can’t wait to see other ways in which that history and culture is incorporated.
Have you read A Memory Called Empire? What did you think? Did you find any good resources to learn about the historical inspirations for Arkady’s worldbuilding? Let me know in the comments!
When a research project reaches completion, the investigators often write up their results in a peer-reviewed journal. Once the investigators decide what journal is most appropriate for their research, they submit their paper, if the editor of the journal decides that the research has merit and is a good fit for the journal, they begin the peer review process.
For many scientists, the peer review process can be stressful and drawn out, sometimes for all parties involved. But the peer review process, despite its faults, is vital to ensuring that honest, quality research gets published.
It’s also likely to be a major source of stress for the scientists in your novel.
Each publisher and journal will have its own formatting guidelines. These are the essential bits. Sometimes results and discussion will be a single section and not separate.
Abstract – in science we pack the conclusions into the headline. Abstracts vary in length but are normally about a paragraph. An abstract’s job is to convince someone to read the entire article and to help put what follows into context. Writing an abstract is hard, in just a few sentences you need to explain why the research matters, how it was done, and what conclusions were made.
Introduction – this is (for me) the most fun part of the article to write. The introduction explains the basic principles of an article. An introduction should explain the motivations behind the research and what gap the research aims to fill.
Experimental/Materials and Methods – every journal puts this section in a different place within the article. For someone interested in learning the impact of the research this section is fairly boring, for someone who wants to judge how reliable the data is or replicate certain techniques, this section is essential. Experimental contains a list of what tools and materials were used, who manufactured them, and how they were prepared.
Results- this section explains the collected data in excruciating detail. The data is often supplemented by a variety of graphs and other diagrams.
Discussion – here is where the authors get to explain what the data means. This section is filled with explanation and interpretation.
Conclusion – these are short. Almost as short as the abstract. A conclusion should be short and sweet.
References – any claim that is not common knowledge for the audience or data gained from the research needs to be cited. This might include established experimental techniques, general background information, mathematical formulas, computer code, and so on.
How To Read An Article
How you read an article will depend on what you are trying to get from it. If you are trying to discern the salient points you will probably read the abstract to decide if you care about it. Then maybe the introduction, then the discussion and conclusion.
If you want to explain how the authors reached those conclusions you will spend a lot of time reading the experimental and results sections. You will want to know what they did, understand why, and try and see where the project’s weak points are. This can take a good deal of time and may require multiple readings of a single article.
If you want to know the current state of the field, then a single research article just won’t do. You might find many other sources from the reference list at the end of the article, but you’ll quickly find yourself falling down a rabbit hole. If you are new to a field, you will want to find a review article. A review article is meant to summarize the current state of a given field or subfield and will highlight that field’s important developments. These articles may have hundreds of references.
The Review Process
Once the authors submit a paper, the first thing the editor does is decide whether the article is suitable for their publication. Basically, does it fit the focus of the publication and does it have a large enough impact? Some journals are “high-impact” and some are not. But that is a discussion for another day.
If the paper makes it past this stage the article is sent to a set of reviewers. These reviewers are chosen because they are experts in the field. They are the authors’ “peers” and are likely to have the knowledge needed to evaluate the quality of the research.
These experts comment on the experiments, the data, and may suggest changes that need to be made before the paper is ready for publication. This is where many of the Reviewer 2 memes originate. Authors may often feel that a reviewer’s comments are unreasonable, or that they are trying to manipulate the authors for their own benefit. The good news here is that authors can respond to reviewer comments, and if they can convince the editor that the comments have been addressed then the article can be published.
The key thing to remember is that just because an article has gone through peer review does not mean that it is free of mistakes. A research article is the result of the best possible measurements and analyses that were possible at the time. Peer review means that a small group of experts has decided that the research has merit and that it is free of major flaws.
This doesn’t mean that there are no mistakes, that there is not a larger picture, or that better analysis or measurements won’t be done in the future. A single research paper tells just one small part of a larger journey of discovery.
The impact of one single paper is likely to be minuscule, but to the authors, it might well be everything. PI’s (principal investigators) are often established, professors. The other authors, however, are likely students. These students spend years working on a project that might result in just a handful of papers. For these students, the process can be very draining. No matter how “small” the project may be in the grand scheme of things, it has, by the time of publication, been a major part of their life.
For many in academia, publishing is everything. Publishing is how graduate students build a resume. And it’s how many professors achieve tenure. Research activity is frequently measured in publications and grants.
There are a lot of ways to write a scientist’s motivations. But based on what we have just talked about above I will provide a few examples. The examples in this list are for creative purposes only. These are WRITING PROMPTS, not recommendations or endorsements.
After years of “publish or perish” the character sees their self-worth only in terms of publications. They frequently overwork themselves and lose sleep in order to make progress.
Eager to increase their number of publications, the character divides their research into smaller and smaller chunks to get more papers out. This practice is sometimes called “salami slicing.” It’s frowned upon, but they hope that most observers will only see the publication count and not look much deeper.
Desperate to publish in a high-profile journal, the character begins to falsify or omit data. After getting away with it multiple times they think they are safe. Then, several years later, they are found out and their career crumbles around them.
The rat race of academia is too much. Fed up with the constant publish or perish mentality, the character decides to take a post at a teaching-focused institution. They publish a paper every few years, but what they really care about are the lives of the students they help shape.
I don’t have any book recomendations about the peer review process. However, peer review and publishing play big roles in the lives of scientists. So here are a couple books where you can learn about the history of science and the people who do it.
I began watching (several years late) knowing that fans have a love/hate relationship with the show. Nevertheless, I tried to keep an open mind and managed to make it through to the end. And I have a lot of thoughts. I struggled writing this post, I tried to write a coherent essay about the Legend of Korra. Instead have this listicle.
If I had to sum up my thoughts about what was wrong with the series it would be this. It had a lot of potential, multiple good moments, and a lot of missed chances.
If you’ve read any of my other posts you’ll know by now that I love magic systems and bending is no exception. The world of Avatar is one of the few examples of a fantasy world where elemental magic doesn’t feel like the cliche. It feels real and it’s an integral part of the setting and culture. Getting to see subsets of bending reach maturity, especially metal bending, is just great.
It was also great to see an airbending master let loose. Don’t get me wrong, Aang is great, but he never really put his airbending on full display like Tenzin does in this series.
Finally, I was glad to see the creators stick with giving each style of bending a distinctive visual. Pro Benders, the professional athletes of the Avatar world. have a very distinctive style regardless of element that shows a focus on quick attacks and agile dodges. That this style of bending rarely holds up outside of the confines of the arena is a nice touch.
The main issue with the bending in this series is Korra’s weakness. Already at the beginning of season one it’s implied that she has already mastered three of the four elements. Yet throughout the series she repeatedly get’s brushed aside by her opponents. This is especially apparant in season one when she starts Pro Bending and apparently forgets everything she knows about bending in the process. Her fights with the Equalists are filled with quick jabs like those used in the arena when she could have just brought the building down. By the end of his first season Aang was sinking entire fleets on his own. With the exception of an incredibly cartoonish fight in season 2 we never get that from Korra.
None of the villains were bad exactly, at least the ideas for them weren’t. It makes sense that non-benders would begin demanding equal treatment or that established forms of government would be overthrown or forced to change. Or that people would forget to honor the spirits and cause backlash by doing so.
The problem with these villains is that we never really get to explore their motives. In her role as avatar Korra takes for granted that the world is already the way it should be. In season 4 it’s finally said that Korra helped get better treatment for non-benders but that’s not something we ever see her caring about in the first season while she is fighting Amon.
In Avatar the Last Airbender the protagonists dealt with concepts like imperialism, war , refugees, gender roles, and disabilities to name just a few. Legend of Korra introduces its own ideas, but never really deals with them in the same way. Time and time again Korra sees the problems that gave rise to the villains she has to face and each time she turns the other way.
Not Doing the Thing
So conflicts could have been resolved if the characters had done the sensible thing. I realize that if characters never made mistakes we’d never have story, but LoK has some really spectacular mistakes.
Why for example did Suyin Beifong refuse to restore order in Ba Sing Sei after the Earth Queen’s death? Morals aside, she at the time ruled one of the most advanced cities in the world with dedicated cadre of trained fighters. She had at this point already took her forces out of the city to help the avatar and the fledgling air nomads. Her refusal to help led directly to Kuvira’s rise to power.
While we’re on the topic of inaction. Why in season four was the Fire Lady so unwilling to take action against Kuvira? Given all the work Zuko put into rehabilitating the nation’s image after the war this attitude makes sense to a point. Did she really forget that her son is a part of the army that would very likely have to fight Kuvira on its own if the Fire Nation refused to help?
And why didn’t General Iroh just order his troops to fight Kuvira? I understand that the president had ordered him to surrender but it’s not like he wouldn’t have been able to see what a terrible idea surrender was. Plus as a member of the Fire Nation’s royal family he isn’t lacking in career options. After the role he played in season one, his part in season four was just disappointing.
I actually enjoyed Avatar Wan’s story. I know a lot of people did not. But it didn’t actually contradict any of the existing lore, if anything it gave it greater context, and the different art style made it clear that the story was being told with some embellishments.
The problem I have is with how the spirits were portrayed in the rest of the series. in the Last Airbender the spirits had gravitas. They were forces of nature or strange creatures bordering on being eldrich horrors. LoK’s spirits are essentially neopets that get angry sometimes. It’s no wonder the people of the Avatar World stopped listening to them.
I do however like that Iroh was able to live on in the spirit world. It made sense for his character and as a big fan of Iroh I was glad to see him come back.
At first the huge jump in technological progress that happened between ATLA and LoK was jarring, but it grew on me. The series has a wonderful steampunk/magitech aesthetic and the ways that we see bending and technology intermingle is just great.
With all the advances in technology I don’t quite understand why we don’t see as many non-benders taking part in conflicts as we did the ATLA.
The Legend of Korra had some good moments and a lot of bad moments, but it’s still a fun watch. If you want to see powerful benders driving around in shiny cars then this is the show for you. Like most things, it helps if you watch it for fun and don’t question it too much.
If you liked the first series then you should definitely watch this one, as long as you don’t raise your expectations too high you should still be able to enjoy it. I still don’t think it at all measured up to the first series, but at least I had fun watching it.
If you liked this post and want me to stay up writing more like it consider buying me a coffee.
Whether an attempt at revolution succeeds depends very much on who is fighting it and what their goals are. Can they convince others to follow them? Do they have the skills to lead or are they a good enough judge of character that they can choose others to lead for them? What is motivating them? Is there a limit to how far they are willing to achieve their goals? All of these are important things to think about when plotting your world’s next great uprising.
Not every revolutionary needs to be charismatic, but it certainly helps. So many uprisings come down to a single moment, a spark that sets off the rest of the powder keg. Your character either needs to be someone who can capture and channel that energy or have someone willing to take the stage on their behalf. Lot’s of people look back at George Washington as a great general but he actually didn’t win that many battles. Rather he excelled in picking good generals to advise him, getting people to work together, and keeping their moral up. The revolutionaries you design should have their own failings just like he did.
Whatever their brand of leadership may be, make your to leave room for them to make their share of mistakes. Make your character an brilliant planner, or a charismatic speaker, or maybe just someone who is too stubborn to give up. But also give them failings, bonus points if these failures are very public. Put your characters through the wringer and make them prove to the people that they deserve to lead the revolution.
Revolutions are often preceded by decades of debate, philosophizing, unrest, broken promises, and even failed revolts. Competing ideologies are bound to spring up amidst all of this disagreement. Your characters may find themselves forced to work together with opposing factions in order to bring down the current regime, leaving pesking details like who will be in charge for later.
There may also be a fair number of martyrs in your setting’s revolutionary history. To your characters these martyrs might be serve as memories to rally around of a painful part of history that people are afraid of seeing repeated. These memories of failed revolutions can range from lost battles in the field and dissolution due to infighting to overzealous investigators guillotining everyone. A lot of this may not make it into the final story, but it makes for good worldbuilding and can be useful for figuring out how your characters will interact with their world and with each other.
You’ll need to decide very early on what your character’s background is and make sure that it is consistent with the cause they are fighting for. Their past should contribute to their motivations and why they want to see the current regime brought down but that does not mean their goals at all need to be noble. Some might become revolutionaries because they want glory or riches for themselves. Your revolutionary could just as easily be an army officer who was passed over for promotion or a foreign merchant who would rather see those annoying tariffs go away.
And what about revolutions that come from the top down? Say an altruistic monarch in your setting decides its time to implement a constitution. Will the country’s elite go along with these changes or will they fight to keep business as usual? Will the populace rejoice or will they suspect ulterior motives? Most people just want to keep food on the table and their families safe. They might well distrust someone who rocks the boat to much, even if they have good intentions.
If you are writing a story about revolutionaries then it’s probably safe to assume that you have them fighting for good cause, but how far are they willing to go for this cause? Is no price too high for the sake of the revolution, or are there some lines they simply will not cross? Better yet, is there a difference between where they say the line is and what they actually do?
You may want their adherence or lack thereof to influence their success. Making a choice that goes against their normal values may alienate supporters. Otherwise, your character refusing to do something that goes ‘too far’ might cost them an important victory. Values that limit their actions may drive a wedge between them and their allies who may come to see their morals as an obstacle in the way of their goals.
Vision vs Outcome
You should keep in mind what your revolutionary thinks is their end goal. Say they succeed in toppling the old regime. What will they do then? Do they want to lead the new government and build their ideal world or would they rather retire and let others carry the torch.
A revolution’s reality often does not live up to its promise. How will your character react when other revolutionaries have other ideas, or when they find themselves contradicting their beliefs for the sake of victory. Conflict requires hard choices and those choices might not always be the most appealing to your character’s moral compass.
Finally, if the revolution prevails will your character have the skills needed to build their envisioned future?