Yoon Ha Lee, whose The Raven Stratagem comes out in June, chose space opera because "I wanted to blow up spaceships." Lee's inventive books feature a super-science dominated by complex mathematical formulas, something inspired by "Marcia Ascher's work on ethnomathematics," he says, and the idea that "the laws of reality could be mutable from point to point, like a sort of modifiable vector field. (Full disclosure: Scalzi and I share the same editor at Tor Books, Patrick Nielsen Hayden.) With a book set 1,500 years from now, Scalzi says, "I can make up anything I want." And for writers like Scalzi, the form provides entire star systems to play with, plus the ability to create whole new cultures totally unconnected to today's Earth. Many, like Chambers, grew up on Star Trek, Carl Sagan, and Ursula Le Guin. THE LOST DESTROYER is the third book in the LOST STARSHIP. (It rhymes with schmook schmales.) It's not so obvious why so many authors find themselves drawn to writing them. Space Opera The Chaos Shift Cycle 5, but stop taking place in harmful downloads. Publishers love space operas for an obvious reason.
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