Tag Archives: Darkover

Pixel Scroll 12/13/24 Friday The Thirteenth Part 770

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(1) SUNSET ON DARKOVER. Deborah J. Ross told Facebook readers yesterday her novel Arilinn, released in November, concludes the Darkover series.

Farewell and Adelandeyo, Darkover

I fell in love with the Darkover series, created by the late Marion Zimmer Bradley, when becoming a professional author was still my dream. I loved the world, the characters, and the insightful and compassionate treatment of themes. Many of my early short fiction sales were to the Darkover anthology series, which I eventually had the honor of continuing as editor, beginning with Stars of Darkover. Around 1999, Mrs. Bradley asked if I would consider collaborating with her on one or more Darkover novels. She passed away just as we began work on The Fall of Neskaya (DAW, 2000), which I completed. Since then, I have written eight more Darkover novels under the supervision of her Literary Works Trust. The final volume, Arilinn, was released in hardcover and ebook formats on November 12, 2024.

Darkover is one of the longest-running and best-loved series, straddling the border between science fiction, romance, and fantasy. For decades, it has touched the hearts and fired the imaginations of generations of fans. The earliest published stories date back over half a century to the publication of The Planet Savers in Amazing magazine, then the first version of The Sword of Aldones in 1962 and The Bloody Sun in 1964. You can find the list, both in order of publication and Darkover chronology, here.

For the last quarter-century, I have striven to tell the best stories I could, always staying true to the spirit of Darkover and its amazing people. Now the Marion Zimmer Bradley Literary Works Trust and I have agreed to bring the saga to a close with Arilinn, a heartfelt love letter and farewell to the series and its fans. I hope that if you have enjoyed my Darkover stories, you will check out my original work.

(2) MORE KUDOS. The Wild Robot won Best Animated Feature and Best Original Score: “African American Film Critics Association 2024 Winners List” at Deadline. The winner for Best Picture, while not sff, is based on a book by a writer well-known to fans:

The African American Film Critics Association on Friday said that it has selected Orion Pictures and Amazon MGM Studios’ Nickel Boys as its Best Picture of 2024 to lead the 16th annual AAFCA Awards. Its writer-director RaMell Ross also won Best Director for his work adapting Colson Whitehead’s novel….

(3) COSTUME DESIGNERS GUILD NOMINATIONS. The 2025 Costume Designers Guild Awards include two categories devoted to sff, below. (However, there are also works of genre interest in some of the other categories.)

Excellence in Sci-Fi/Fantasy Film

  • Beetlejuice, Beetlejuice; Colleen Atwood, CDG
  • Borderlands; Daniel Orlandi, CDG
  • Dune: Part Two; Jacqueline West, CDG
  • Furiosa: A Mad Max Saga; Jenny Beavan, CDG
  • Wicked; Paul Tazewell, CDG

Excellence in Sci-Fi/Fantasy Television

  • Agatha All Along; “If I Can’t Reach You/Let My Song Teach You”; Daniel Selon, CDG
  • Dune: Prophecy; “The Hidden Hand”; Bojana Nikitovic
  • Fallout; “The Target”; Amy Westcott, CDG
  • House of the Dragon; “The Red Dragon and the Gold”; Caroline McCall
  • The Lord of the Rings: The Rings of Power; “Doomed to Die”; Luca Mosca, CDG & Katherine Burchill & Libby Dempster

(4) SALUTE TO FAMOUS AUSTRALIAN COMPOSER. “Doctor Who theme added to national sound archive” – The Register explains why.

The theme music to iconic British sci-fi TV show Doctor Who has been immortalized by Australia’s National Film and Sound Archive.

Wait? What? Why is music from the UK’s most substantial contribution to broadcast sci-fi worthy of inclusion in an Australian archive?

Because, as explained by the Archive (NFSA), it was written by an Aussie.

“While the theme for the long-running BBC series, with its otherworldly pulsing bassline, was recorded by English musician Delia Derbyshire, it was written by Australian composer Ron Grainer,” the NFSA explained, before going on to remind us all that the theme is thought to have been the first piece of electronic music used as a TV theme – and remains in use to this day, albeit modernized….

(5) JEOPARDY! ON FRIDAY THE 13TH. [Item by David Goldfarb.] Final Jeopardy in today’s episode had the category “Authors”. Here was the clue:

Following his unexpected death in 2001, he was referred to as the “Monty Python of science fiction”.

Challenger Carla Winston responded “Who is Terry Pratchett?” — but she crossed that out and scribbled in “Adams” underneath. A good choice! 

Challenger Ram Murali tried ‘Who is Isaac Asimov?” which, of course, was not correct.

Returning champion Ashley Chan said “Who is Frank Herbert?” which feels like a desperation move; Herbert certainly wasn’t known for comedy. But she made only a small wager, and since Carla had not doubled up, she kept the lead she had had going into the final.

(6) LOST TO WAR. Publishers Weekly assesses the damage in “War Leaves Scars on Lebanese Publishing”.

On November 27, 2024, a fragile ceasefire took effect in Lebanon following two months of intense Israeli bombardment mostly in southern Lebanon and Dahiyeh, Beirut’s southern suburb. Dahiyeh, where Hezbollah’s party headquarters is located, is composed of multiple neighborhoods with varied social, economic, and urban histories, and is also home to numerous warehouses, printers, and bookbinders on which the Lebanese book industry relies.

On the evening of October 20, Mohamed Hadi, of Dar al Rafidain publishing house, saw one of his five branches destroyed. The second floor of the building in Dahiyeh housed his bookstore and publishing house offices where management, editing, layout, accounting, and marketing were centralized. “We must rebuild all our work and archives, and our employees are scattered throughout Lebanon without homes,” Mohamed Hadi said.

A few weeks earlier, on September 28, Jihad Baydoun of Dar al Kotob al Ilmiyah, saw his 7,500-square-meter (80,729.3 sq-ft.) warehouse spanning two underground floors destroyed by an airstrike. The warehouse lies buried under four collapsed buildings. Of his 7,500 titles, Jihad Baydoun lost stock of 1,500 titles in all — or an estimated 2,520,000 bound books….

(7) MEMORY LANE.

[Written by Cat Eldridge.]

December 13, 1985 — Clue

On this date thirty-nine years ago, Clue premiered. It was directed by Jonathan Lynn from his screenplay. The story was based off the Clue game created in 1943 by British board game designer Anthony E. Pratt, which is called Cluedo or Murder at Tudor Close in Britain.

It was produced by Debra Hill, best known for producing various works of John Carpenter.  

It had a stellar cast of Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull. Lesley Ann Warren, Colleen Camp and Eileen Brennan.  

Tim Curry played The Butler. And what a role what was for him. Possibly his best role.  Though his Cardinal Richelieu in The Four Musketeers is magnificent as well. 

Speaking of endings, if for no other reason to watch it, a fourth ending of it was filmed but exists only in the vaults of Paramount.  So, it says the documentary recreates the fourth ending through animation and narration from the Clue storybook. I’ve not seen it yet but definitely want to see how they did this. I can say this much without giving anything away — let me quote director Lynn in a Dark Horizons interview: “It wasn’t funny enough, it wasn’t surprising enough. It ended the film on an anti-climax. So I just took it out. Three was enough.”

The mansion which was supposed to in Connecticut never existed. It, like so many such places, exists only in the imagination. It was stitched together out of exterior shots and film stages as it is documented lovingly here. 

Critics did not like it, with both Siskel and Ebert harshly dissing it. They particularly hated the three alternative endings. No idea why, I myself am fond of them. 

It didn’t break even at the Box Office despite costing only fifteen million to make, losing a half million dollars. 

It was novelized as Clue The Novel, written by Michael McDowell who would write the Beettlejuice screenplay which was nominated for a Hugo at Noreascon 3. And yes it has all four endings. I’d love to heard a full cast audiobook version! 

It however has a stellar rating among audience reviewers at Rotten Tomatoes of eighty-six percent. Clue is currently airing on Paramount+. You can purchase it at Amazon and iTunes for six dollars right now. 

I think an excellent film to watch any time of year. 

We will not speak of the rumors that a new version is the works. No we won’t. Even The Butler won’t. 

(8) COMICS SECTION.

(9) A PLAY STATION AT THE AIRPORT. “Gaming meets travel: JFK Terminal 8 debuts Gameway lounge in time for holiday travelers” – QNS spotlights the opening.

Holiday travel just leveled up at JFK Airport.

Travelers passing through John F. Kennedy International Airport’s Terminal 8 can now enjoy a cutting-edge gaming experience starting on Monday, Dec. 16, as Gameway opens its first New York location.

The Gameway Ultra lounge, part of a $125 million investment in Terminal 8 by Unibail-Rodamco-Westfield, the Port Authority of New York and New Jersey, and American Airlines, is designed to elevate the airport experience.

The new modern space will feature luxury console and PC gaming stations alongside the RetroZone® bar, where travelers can relax with craft beers and classic video games….

… The Gameway Ultra lounge will offer nine individual gaming stations, each equipped with a PlayStation or Xbox console, a 43″ 4K TV, premium gaming headphones, charging ports, and luggage space. The lounge also includes eight high-performance gaming PCs paired with Corbeau gaming chairs and high-speed internet.

Open daily from 5 a.m. to 11 p.m., 365 days a year, the lounge ensures travelers can enjoy its amenities regardless of their schedules. Operating hours may adjust slightly during seasonal holidays or based on flight times. Pricing starts at $17.99 for up to 30 minutes of play, $27.99 for up to an hour, and $45.99 for unlimited sessions. A 10% military discount is also available….

(10) THE WRITER’S OBJECTIVE. To me this sounded spot on.

Seems there are a bunch of writers who think differently.

(11) REVERSE THE CHARGES. “Fortnite Players Get Millions in Refunds for Unwanted Purchases” – the New York Times has the story. (Behind a paywall.)

Fortnite players who were charged for unwanted purchases in the game where cartoony characters battle on a virtual island are starting to receive what could be $245 million in refunds from Epic Games for what the federal government called manipulative online practices.

Denver Wills, a 20-year-old college student near Anniston, Ala., who has been playing Fortnite since middle school, said that a friend had received $350 and that he hoped to get a similar amount. It would help him cover the costs of building a new computer.

“Any money’s good money at this point,” said Wills, who is waiting for his check in the mail.

Fortnite’s in-game currency, V-Bucks, can be spent on cosmetics, weapons and outfits — known as skins — that enable players to make their avatars look like celebrities and fictional characters. To appear as John Wick, a player must spend about $19; the rapper Juice WRLD, who died in 2019, is about $14. When it is not on sale, a bundle of Spider-Man outfits and paraphernalia costs almost $50….

Epic agreed in December 2022 to a $520 million settlement with the Federal Trade Commission that sent a strong signal that federal officials were taking a more assertive stance toward regulating the tech industry. Customers could ultimately receive $245 million for what the agency called Epic’s use of “dark patterns” to trick millions of players into unwanted purchases. Another $275 million will settle accusations that the studio violated the Children’s Online Privacy Protection Act.

… Wills said that his claims form, which he filed in September 2023, asked him how many V-Bucks he had mistakenly spent in the game. “I went through my Fortnite locker and picked out the stuff I had bought on accident,” he said.

Wills said that he continued to play Fortnite after the accusations against Epic emerged, but that he was pleased it was compensating players.

“It’s pretty obvious,” he said, “that there were probably children spending their parents’ debit cards and credit cards on skins in the game because it was so easy to do that.”…

(12) DRY VENUS. [Item by SF Concatenation’s Jonathan Cowie.] Venus has probably been dry, both inside and on its surface, for all of its history according to a new research paper…

The planet has no water now, making it inhospitable to life, but is at a distance from the Sun that might allow liquid water to exist on its surface. One theory holds that Venus once had watery oceans, but that these desiccated early in the planet’s history, leaving a dry, uninhabitable world.

To investigate this scenario, Tereza Constantinou at the University of Cambridge, UK, and colleagues used the amounts and proportions of gases such as water and carbon dioxide in Venus’s atmosphere to model the composition of gases that trickle out of the planet’s interior during volcanic eruptions, ultimately replenishing the atmosphere. The results suggest that Venus’s interior contains relatively little hydrogen and therefore little water. The authors also found that the molten rock that erupts from Venus is much drier than the lava from similar eruptions on Earth.

If early Venus had water, it was probably in the form of steam floating above a fiery surface — not life-friendly oceans, the scientists conclude.

Primary research paper: “A dry Venusian interior constrained by atmospheric chemistry” in Nature.

And the astronomers have a half hour discussion about the work here: “Was Ancient Venus Wet or Dry?”

[Thanks to SF Concatenation’s Jonathan Cowie, Steven French, Kathy Sullivan, Jim Janney, David Goldfarb, Teddy Harvia, Mike Kennedy, Andrew Porter, John King Tarpinian, Chris Barkley, and Cat Eldridge for some of these stories. Title credit belongs to File 770 contributing editor of the day OGH.]

Author and Editor Deborah Ross Interviewed by Carl Slaughter

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By Carl Slaughter: Deborah Ross traces her career from her first encounter with Marion Zimmer Bradley to becoming an editor herself.

CARL SLAUGHTER: You’re best known for continuing Marion Zimmer Bradley’s Darkover series, but you had already established a writing career before then. Tell us about your earlier work.

DEBORAH ROSS: I’ve been part of the sf/f community and SFWA for 35 years now. My first professional sale (under my previous name, Deborah Wheeler) was to Marion for the very first Sword and Sorceress anthology in 1982. Other sales of short fiction followed to F & SF, Asimov’s, Realms of Fantasy, and a slew other anthologies including Star Wars: Tales from Jabba’s Palace, Sisters of the Night, DAW 30th Anniversary Fantasy, and Bruce Coville’s Alien Visitors.

The real break came in 1991, when I lived in Lyons, France. A couple of months after I returned to the States, I sold my first novel, Jaydium, to DAW. The novel I’d written in France, Northlight, came out two years after that. And the novel inspired by living in the center of the French Resistance to the Nazi Occupation, Collaborators, was a Finalist for the Lambda Literary Award.

Since I’ve taken over the Darkover series, I’ve continued my original work with an epic fantasy trilogy, The Seven-Petaled Shield, which had its origins in the “Azkhantian Tales” short fiction in various issues of Sword and Sorceress.

CS: How did you meet Marion Zimmer Bradley?

DR: Somewhere around 1980, I wrote Marion a fan letter. To my surprise and delight, she wrote back with three pages of single-spaced typewriting. At the time, she was on the Grievance Committee of SFWA and used the official stationery. I now appreciate the prudence of that step, knowing the volume of fan mail she received over the years and her experiences of theft and exploitation by people she’d reached out to. I’d been training in Chinese martial arts (t’ai chi chu’an and kung fu san soo) at that time, and we began a conversation about empowerment, women, and writing.

CS: What type of relationship did you have with her?

DR: Over the years, we became friends as well as colleagues. Toward the end of her life, hampered by a series of strokes, Marion worked with in collaboration several other writers. I was one of the writers she considered because she had watched me develop from a novice to an established professional. When she asked if I would like to work with her, I was just emerging from a particularly difficult time of my life and found myself a single working mom with a troubled adolescent still at home. Marion’s offer helped get me back on my feet again in terms of writing. She and I discussed the basic concept of our project by mail and then I drove up to see her. She’d been resting and was on oxygen, but she insisted on sitting up when I came in, and soon we were deep in discussion of plot ideas. I knew she had been very ill, but seeing her made her condition so much more vivid for me. One of my best memories of her was watching her “come alive” as we developed the characters and hatched plot points. Her eyes “glowed as if lit from within,” to use one of her favorite descriptions, and energy suffused her whole being. I asked question after question and then sat back as she spun out answers. It was as if she had opened a window into her imagination and invited me to peek inside. Her secretary told me that she talked for days afterwards about the visit and how excited she was about the project. We never got a second visit. She died a month later.

CS: How are you carrying on her work?

MR: Writing Darkover novels is very like writing historical fiction. I do research, using not only Marion’s published work, but her letters to me, The Darkover Concordance, and her articles in the old Darkover newsletters. Her Literary Trust and the folks at DAW have been invaluable as nit-pickers and sources of arcane details. I’d already written a number of stories for the Darkover anthologies, so I was familiar with the world not only as a reader but as a writer.

I try to create story lines that are true to Marion’s vision of Darkover and the themes that were meaningful to her. Fortunately, my natural literary voice is very close to Marion’s. Because I’m not trying to distort my own voice, I can then write from my heart. I trust that the footwork will lead me in the right direction and that I can flow with what comes to me.

CS: What was Bradley’s connection with Sword and Sorceress? What’s your connection?

DR: About the time I met Marion, the Friends of Darkover held periodic writing contests and published its own fanzine. I sent her a couple of stories and received encouraging comments (and, as I remember, an award for one of the stories and eventual fanzine publication of the other). When Marion began editing the first Sword and Sorceress for Don Wollheim at DAW, she suggested I submit a story for her. I was as elated by the invitation as if it had been a sale, and threw myself into writing the best story I could. It was a modest little story, but more than that, Marion showed me that I could take my writing professionally.

When I submitted a story for the second volume, Marion telephoned me. “Now Deborah,” she said (her typical way of opening an editorial conversation), “I’m going to take your story, but I’m sending it back to you for revision.” With that, I made the leap from all-or-nothing sale-or-rejection to working with an editor. My manuscript came back drenched in red ink, with comments like, “All thuds are dull!” and “Overwritten.” Don’t just fall in love with your words, she was saying, make them serve the story.

CS: How did you yourself become an editor?

DR: Like many other writers, I wondered what it was like “on the other side of the desk,” both in terms of the choice of stories and their evolution into final form. I have had the honor to work with some extraordinary editors; I knew just how helpful a sympathetic and insightful editor can be in bringing out the best in a story. In other words, an editor is — or can be, if allowed to edit and not simply push numbers around for a multinational conglomerate — a story midwife. I also have strong ideas of what works for me in a story, what touches my heart and stirs my spirit.

Around 2007, Vera Nazarian of Norilana Books approached me with the idea of editing an anthology. “Lace and Blade” is a term she coined for elegant, witty romantic fantasy that doesn’t sacrifice intelligence for swashbuckling action. This also gave me a chance to work with some of my favorite authors, including Tanith Lee, Mary Rosenblum, and Chaz Brenchley. (Editor’s joy: Mary’s story was a Nebula Finalist, and Chaz’s was reprinted in a “year’s best” anthology.) Since then, I’ve worked on subsequent volumes, as well as anthologies published by Book View Café (Beyond Grimm, with Phyllis Irene Radford; Mad Science Café, and Across the Spectrum, with Pati Nagle).

A few years ago, the Marion Zimmer Literary Trust decided to resume publication of the Darkover anthology series, and I edited Stars of Darkover (2014) with Elisabeth Waters, and subsequent volumes as solo editor. Since then, the Trust has put out annual volumes of both the Darkover series and Lace and Blade.

CS: Tell us a bit about your editorial approach to dealing with writers.

DR: Writing can be heart-wrenchingly lonely. It’s you and your doubts and the words that simply will not do what you want them to. When, finally, you have something that flows from your heart and you’re at the stage of submission, I think that calls for a special form of love. By this I mean respect for what both writer and editor are struggling to bring forth. We are partners and allies, not adversaries.

I’m very much a hands-on editor. I almost always ask for changes, but I’m quite open to hearing contrary opinions from my writers. (Thank you, Tanith, for drumming that principle into me!) Often that discussion clarifies where what’s on the page fails to fully evoke the author’s vision. Although I may make suggestions, I try not to tell the writer how to “fix” the problem. For one thing, I hate it when that happens to me. For another, the writer must be the final authority. I’m the second pair of educated eyes. If we come to an impasse, I have to decide if I can live with what the writer insists upon. Sometimes, then, it’s better to let the story go to another home, rather than carve the heart out of it.

CS: How does editing differ from writing fiction?

DR: Oh my goodness, everything is different — except perhaps the shared goal of the best possible creative work! As an themed-anthology editor, it’s my job to communicate my vision of the project to the writers, then cheer and encourage and appreciate. And ask for changes aimed at bringing the story more into itself, making it more effective at what the writer — not me — is trying to do. So it’s important for me to keep my ego out of the editing process. I must constantly keep in mind that these are not my stories.

CS: What’s in the future for you as an editor and a writer?

DR: As an editor, I’ll be working on annual volumes of the Darkover anthologies and Lace and Blade. And maybe more for Book View Cafe if inspiration strikes. As a writer, I have two major projects on my plate, plus a handful of shorter pieces. I’m now working on the next Darkover novel, The Laran Gambit, for DAW, and an on-spec YA astronomy-geek urban fantasy. I’d like to write more Darkover novels, including a series about the founding of each Tower. One of the joys of working with Book View Café is that I’m free to bring out my own work under my own control. So I expect I’ll continue to divide my time between the Darkover series, editing, and original fantasy and science fiction.

CS: What do you do when you’re not writing?

DR: Over the decades, I’ve also worked as a medical assistant to a cardiologist, resuscitated an elementary school library, studied Chinese martial arts, French, Hebrew, and yoga, lived in France, attended Launch Pad Astronomy Workshop, advocated as the family member of a murder victim for the abolition of the death penalty, knit for charity, and have been active in the women’s martial arts network and local Quaker community. I’ve also gotten interested in canine body language and dog training, with my most recent project the social rehabilitation of a traumatized retired seeing eye dog.

DEBORAH ROSS BIO

My work has earned Honorable Mention in Year’s Best SF, Kirkus notable new release, the Locus Recommended Reading List, and James Tiptree, Jr. Award recommended list, Finalist for the Lambda Literary Award, and nominations for the National Fantasy Federation Speculative Fiction Award for Best Author, and the Gaylactic Spectrum Award.

I served as Secretary of SFWA in 2004-05, and have taught writing and led writer’s workshops in various places. I’m a member and on the Board or Directors of the online writers’ collective, Book View Café, and on the current Philip K. Dick Award jury.

Adrienne Martine-Barnes (1942-2015)

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Popular Darkover author Adrienne Martine-Barnes died July 20 in Portland, OR.

Born in Los Angeles, she joined LASFS in 1961 at the age of 19. She attended the University of Redlands for a year and UCLA for another. She married Ronald Hicks in 1964 and they had a son before divorcing in 1968.

Larry Niven wrote in “Adrienne and Irish Coffee” (Playgrounds of the Mind) that in the mid 1960s –

I developed a strong preference for Irish coffee. Somewhere in there, I started taking Adrienne Martine to Bergin’s. She too was a novice writer. She says that Bergin’s should have put our names on the wall, for all the Irish coffee we consumed. We may have overdone it. Adrienne developed an allergy to caffeine.

We’d spin stories at each other, then poke holes in the plot lines. Hers were generally fantasy: a heroine in her late teens finds a portal out of an intolerable situation into a world where magic is more powerful…

Soon afterwards she moved to New York and became an agent.

The first King and Queen of the SCA's East Kingdom, from the Bomticc Tapestry.

The first King and Queen of the SCA’s East Kingdom, from the Bomticc Tapestry.

On the East Coast she participated in the recently-formed Society for Creative Anachronism under the name Adrienne of Toledo. In the summer of 1968 she served as first Queen of the East Kingdom – a reign that lasted less than two months:

The seneschal/autocrat appointed Maragorn and Adrienne to be King and Queen so they could preside over the first tourney and first crown lists. However, the tourney was rained out and postponed.

Her special expertise was the life and times of Eleanor of Aquitaine. She was well-known for her knowledge of medieval cooking and costume.

She married Larry Barnes in 1972.

She was a very active costumer. A gallery of her masquerade entries is here.

Adrienne Martine-Barnes at Costume Con 3 in 1985 wearing "Tea Party Gown from Planet Glitzy"

Adrienne Martine-Barnes at Costume Con 3 in 1985 wearing “Tea Party Gown from Planet Glitzy”

In contrast to most fans referenced in the book, Martine-Barnes’ character in the Niven/Pournelle/Flynn novel Fallen Angels used her real name.

Although Niven says in their brainstorming days in the Sixties she never seemed to finish a story in spite of her friends’ encouragement, by the 1980s she had clearly learned the knack. She published five fantasy novels during the decade. The Fire Sword, The Crystal Sword, The Rainbow Sword, and The Sea Sword were notable for “her somewhat off-the-wall interpretations of Celtic and Mediterranean gods” commented the Science Fiction Encyclopedia. She also wrote a stand-alone fantasy The Dragon Rises.

Then in the 1990s she wrote a trilogy of Exile’s Song, The Shadow Matrix, and Traitor’s Sun, set on Marion Zimmer Bradley’s fictional planet of Darkover, which Naomi Fisher says are, “the finest written about that world in decades, and brought new life and fully-realized, sympathetic characters into the series.”

She also co-authored three novels with Diana L. Paxson in the 1990s, a series called the Chronicles of Fionn Mac Cumhal — Master of Earth and Water, The Shield Between the Worlds, and Sword of Fire and Shadow.

In accordance with her request to be near family, she will be buried in Kingman, Indiana.