Review of Fangland by John Marks

SFFaudio Review

Science Fiction Audiobook - Fangland by John MarksFangland
By John Marks; Read by Ellen Archer and others
10 CDs – Approx. 12.5 Hours [UNABRIDGED]
Publisher: Tantor Audio
Published: 2007
ISBN: 1400103592
Themes: / Horror / Fantasy / Vampires / Romania / New York / Television /

In the annals of business trips gone horribly wrong, Evangeline Harker’s journey to Romania on behalf of her employer, the popular television newsmagazine The Hour, deserves pride of place. Sent to Transylvania to scout out a possible story on a notorious Eastern European crime boss named Ion Torgu, she has found the true nature of Torgu’s activities to be far more monstrous than anything her young journalist’s mind could have imagined. The fact that her employer clearly won’t get the segment it was hoping for is soon the very least of her concerns.

Authors are supposed to write what they know. If John Marks is writing what he knows there’s one hell of a story that 60 Minutes never aired. As a former producer for that show Marks brings what feels like a pure authenticity to all the scenes revolving around the New York office politics and what it takes to make a show like 60 Minutes. Those office characters really do feel like those craggy faced reporters we’ve seen on 60 Minutes all these decades. And if for nothing nothing else, this makes Fangland a unique experience.

The plot should be very familiar to most, it’s a fairly faithful retelling of Bram Stoker’s Dracula. Differences being that Fangland is set in the modern day, a post-9/11 New York and a post-Soviet Romania. Like the original novel Fangland is told in epistolary form. That is, its chapters are entire emails, letters or notes, written by witnesses recalling recent events. But, at the novels culmination Marks breaks out of letter writing. The transition isn’t too jarring. Making the Jonathan Harker character female adds a new flavor to the flow. I can’t say as how the paperbook was received, but with this audio version, we get four terrific readers. This is a well selected cast of familiar Tantor voices. Ellen Archer predominates, as she voices Evangeline. She’s sympathetic, a little naive, but a confident modern woman confronted by a terror from Transylvania’s ancient past. Todd McLaren, Michael Prichard, and Simon Vance then take turns playing her 60 Minutes The Hour producers, other on-air reporters, a concerned father, the fiance and more. The novel runs a little too long, mostly in the middle. In terms of pay-offs though, the only thing this novel didn’t deliver on was an Andy Rooney (or equivilent) column at the end. I kept expecting Andy to show up and start telling us what bugs him about ‘being undead’ or some such.

This is not a classic, but if you dig vampires, Stoker’s Dracula, or Horror fiction that doesn’t come out of a modern horror tradition, you’ll quite dig Fangland. I’d stake my reputation in it.

Posted by Jesse Willis

LibriVox Science Fiction: The Highest Treason by Randall Garrett

SFFaudio Online Audio

Here’s the cover story from the January 1961 issue of Analog Science Fact & Fiction magazine. The tagline for it is:

“The highest treason of all is not so easy to define—and be it noted carefully that the true traitor in this case was not singular, but very plural . . .”

LibriVox Science Fiction Audiobook - The Highest Treason by Randall GarrettThe Highest Treason
By Randall Garrett; Read by Lee Elliot
8 Zipped MP3s or podcast – 2.5 Hours [UNABRIDGED]
Publisher: LibriVox.org
Published: June 2008
Set in a future in which humanity’s dream of total equality is fully realized and poverty in terms of material wealth has been eliminated, humanity has straight-jacketed itself into the only social system which could make this possible. Class differentiation is entirely horizontal rather than vertical and no matter what one’s chosen field, all advancement is based solely on seniority rather than ability. What is an intelligent and ambitious man to do when enslaved by a culture that forbids him from utilizing his God-given talents? If he’s a military officer in time of war, he might just decide to switch sides. If said officer is a true believer in the principles that enslave him and every bit as loyal as he is ambitious, that’s tantamount to breaking a universal law of physics, but Colonel Sebastian MacMaine has what it takes to meet the challenge.

Subscribe to this yummy podcast audiobook via this feed:

http://librivox.org/bookfeeds/the-highest-treason-by-randall-garrett.xml

Posted by Jesse Willis

LibriVox: Herland by Charlotte Perkins Gilman

SFFaudio Online Audio

LibriVoxVirtually forgotten for 64 years since it was first serialized, Charlotte Perkins Gilman’s Herland is a utopian novel with a feminist bent. It’s extremely readable and plays out as a cross between Thomas More’s Utopia and The Man Who Would Be King. Three male chauvinists, adventurers all, but scientifically bent, hear rumor of a mysterious semi-tropical land composed entirely of women. And off they go. As they approach by airship, guns at the ready, they speculate as to what they’ll find and do when they get there. But, what they discover isn’t at all what they expected. Have a listen to just one chapter and you’ll stay for at least another two.

LibriVox Audiobook - Herland by Charlotte Perkins GilmanHerland
By Charlotte Perkins Gilman; Read by various readers
12 Zipped MP3s or podcast – Approx. 5.5 Hours [UNABRIDGED]
Publisher: LibriVox.org
Published: June 2008
Herland is a utopian novel from 1915, written by feminist Charlotte Perkins Gilman. The book describes an isolated society comprised entirely of Aryan women who reproduce via parthenogenesis (asexual reproduction). The result is an ideal social order, free of war, conflict and domination. It first appeared as a serial in Perkin’s monthly magazine Forerunner.

Subscribe to podcast via this feed:

http://librivox.org/bookfeeds/herland-by-charlotte-perkins-gilman.xml

Posted by Jesse Willis

The I, Libertine Hoax and how demand creates supply

SFFaudio Online Audio

“‘Gadzooks,’ quoth I, ‘but here’s a saucy post!'”

WFMU RadioToday BoingBoing points to a vintage 1968 WFMU radio interview |MP3| with Jean Shepherd who, in the 1950s, promulgated a seemingly unstoppable hoax designed to lampoon the spurious bestseller book lists and their adherents. Shepherd asked his late night audience to visit their local bookstore and ask for a copy of I, Libertine, a book that didn’t exist.

The I, Libertine hoax is like something out of Gravy Planet (AKA The Space Merchants)! Shepherd had equipped his listeners with a plan, a plot summary, and an author with a whole fake biography. The furor created by the phony demands for the seemingly very scarce book led to reviews (both positive and negative) by regular folks and the book critics who claimed to have read it, or to have even had lunch with the imaginary author.

Then, Ballantine Books, sensing a pre-sold market, commissioned none other than Theodore Sturgeon (!) to write the novel everyone was clamoring for. Sturgeon nearly banged it all out in one “marathon” typing session before collapsing onto Betty Ballantine’s couch. She responded by finishing the novel herself.

One thing not in the BoingBoing.net story, there’s a FREE AUDIOBOOK version of the book available! Seriously!

Check it out out here…

I, Libertine by Frederick EwingI, Libertine
By Frederick Ewing; Read by Jim Campanella
13 MP3 Files – [UNABRIDGED]
Podcaster: Uvula Audio
Podcast: 2006

Amd there’s podcast feed for it:

CLICK HERE

Posted by Jesse Willis

Review of Little Brother by Cory Doctorow

SFFaudio Review

Science Fiction Audiobook - Little Brother by Cory DoctorowLittle BrotherSFFaudio Essential
By Cory Doctorow; Read by Kirby Heyborne
MP3 Download – 11 Hours, 54 Minutes [UNABRIDGED]
Publisher: Random House Audio
Published: May 2008
Themes: / Science Fiction / Young Adult / Terrorism / Philosophy / The Internet /

Marcus, a.k.a “w1n5t0n,” is only seventeen years old, but he figures he already knows how the system works-and how to work the system. Smart, fast, and wise to the ways of the networked world, he has no trouble outwitting his high school’s intrusive but clumsy surveillance systems. But his whole world changes when he and his friends find themselves caught in the aftermath of a major terrorist attack on San Francisco. In the wrong place at the wrong time, Marcus and his crew are apprehended by the Department of Homeland Security and whisked away to a secret prison where they’re mercilessly interrogated for days. When the DHS finally releases them, Marcus discovers that his city has become a police state where every citizen is treated like a potential terrorist. He knows that no one will believe his story, which leaves him only one option: to take down the DHS himself.

I rarely feel uncomfortable when reading a book. Cory Doctorow made me feel uncomfortable. I had a deep and growing unease as I listened to Little Brother. Talking about it with a friend, in between early chapters, I at first had a hard time pinning down exactly what was bothering me so much. But, after explaining what the book was about I suddenly realized what the one nagging issue was that was causing this growing unease: It was the villains. They were “all straw men” I told my friend, “not three-dimensional, or believable.” Their villainy “wasn’t realistic,” said I. But soon after that, in cataloging their various villainies, I realized that everything that was happening in the near future USA where Little Brother is set, was already actually happening in the United States (or its offshore territories). It was at that point when I realized that what I had at first been seeing as a poor choice on Doctorow’s part (making the villains one dimensional, completely unsympathetic, and therefore unrealistic) – was not valid. Doctorow is talking about the United States in the very same way George Orwell was talking about the Soviet Union in 1984, or Margaret Atwood, the world, in The Handmaid’s Tale. I can’t effectively argue that real world villainy is unrealistic. The villains of 1984 and The Handmaid’s Tale are not unrealistic and neither are those of Little Brother. After I realized that, my attitude of dissatisfaction changed to one of alliance with the book. And the longer I’ve thought about it, the more I am convinced. This is a book that people, especially young people, should be reading. This is an important book. It addresses in a very accessible way, some of the very pressing issues confronting our new age.

Doctorow is both revolutionary and conservative. He wants to overthrow those who would shackle us to an old business model and preserve the long and honourable tradition of revolution. In the book, Marcus, the main character, has a couple of internet handles. The first, “w1n5t0n,” is a tip of the hat to the oppressed victim-protagonist of 1984, and the second is “Mikey.” That one’s a nod towards the proactive leader of the Luna revolution in The Moon Is A Harsh Mistress. I think Little Brother takes equal inspiration from both these masterworks of Science Fiction. That’s a strong recommendation in itself. Whether this will turn out to be a tenth as influential as either of those classics will turn on how much it resonates with you. This is a book I want people to read.

Another friend, who stopped listening to the book, said Little Brother was full of “infodumps”, and he has a point. It is full of infodumps. But, I think that term gets a bad rap. Science Fiction, as Cory Doctorow himself points out, has a long tradition of the infodump, and, since this is more than just a novel, it has to have a good share of technological and mathematical explanations. In my opinion, the way the novel is written, it doesn’t at all come off as particularly hard to take. Cory Doctorow, in fiction and in real life, is a clear and concise explicator of technologies. He comes up with terrific analogies that illustrate his points, and I therefore think the charge of excessive infodumping is like saying “her hair is too red,” it says more about your predilection for blondes or brunettes than about any particular red-head’s hair colour. Check out one of the infodumps from the book:

If you ever decide to do something as stupid as build an automatic terrorism detector, here’s a math lesson you need to learn first. It’s called “the paradox of the false positive,” and it’s a doozy.

Say you have a new disease, called Super-AIDS. Only one in a million people gets Super-AIDS. You develop a test for Super-AIDS that’s 99 percent accurate. I mean, 99 percent of the time, it gives the correct result — true if the subject is infected, and false if the subject is healthy. You give the test to a million people.

One in a million people have Super-AIDS. One in a hundred people that you test will generate a “false positive” — the test will say he has Super-AIDS even though he doesn’t. That’s what “99 percent accurate” means: one percent wrong.

What’s one percent of one million? 1,000,000/100 = 10,000

One in a million people has Super-AIDS. If you test a million random people, you’ll probably only find one case of real Super-AIDS. But your test won’t identify one person as having Super-AIDS. It will identify 10,000 people as having it. Your 99 percent accurate test will perform with 99.99 percent inaccuracy.

That’s the paradox of the false positive. When you try to find something really rare, your test’s accuracy has to match the rarity of the thing you’re looking for. If you’re trying to point at a single pixel on your screen, a sharp pencil is a good pointer: the pencil-tip is a lot smaller (more accurate) than the pixels. But a pencil-tip is no good at pointing at a single atom in your screen. For that, you need a pointer — a test — that’s one atom wide or less at the tip. This is the paradox of the false positive, and here’s how it applies to terrorism:

Terrorists are really rare. In a city of twenty million like New York, there might be one or two terrorists. Maybe ten of them at the outside. 10/20,000,000 = 0.00005 percent. One twenty-thousandth of a percent. That’s pretty rare all right. Now, say you’ve got some software that can sift through all the bank-records, or toll-pass records, or public transit records, or phone-call records in the city and catch terrorists 99 percent of the time. In a pool of twenty million people, a 99 percent accurate test will identify two hundred thousand people as being terrorists. But only ten of them are terrorists. To catch ten bad guys, you have to haul in and investigate two hundred thousand innocent people.

Guess what? Terrorism tests aren’t anywhere close to 99 percent accurate. More like 60 percent accurate. Even 40 percent accurate, sometimes. What this all meant was that the Department of Homeland Security had set itself up to fail badly. They were trying to spot incredibly rare events — a person is a terrorist — with inaccurate systems.

That all struck a chord with me. I don’t live in The States, yet I know that at least some people down there are blindly accepting these “safety measures” as not only a necessary evil, but as at least somewhat effective. The last time I took an airplane in The States I overheard a conversation in which a woman was telling her family that the Transportation Security Administration’s confiscation of her own lip gloss was for her protection. And she wasn’t being ironic!

Narrator Kirby Heyborne comes from a theater, movie, and music background. His youthful voice captures Marcus and his friends in an effective straight reading. This is audiobook narration as it should be. Two interesting afterwords by people mentioned in the book and a detailed bibliography cap the novel. There is no hardcopy edition of this audiobook available, but a DRM-free MP3 download is. GET THAT HERE.

Posted by Jesse Willis

Review of Into That Darkness Peering: Nightmarish Tales Of The Macabre Vol. 1 by Edgar Allan Poe

SFFaudio Review

Into That Darkness Peering: Nightmarish Tales Of The Macabre Vol. 1Into That Darkness Peering: Nightmarish Tales Of The Macabre – Vol. 1SFFaudio Essential
By Edgar Allan Poe; Read by Wayne June
1 CD – [UNABRIDGED]
Publisher: AudioBookCase.com
Published: March 2008
ISBN: 0977845303
Themes: / Horror / Revenge / Cats / Noir / Wine /

Three tales from the original master of horror fiction, Edgar Allan Poe! Included in this collection are “The Raven”, “The Black Cat” and “The Cask Of Amontillado.”

Three classic tales. These stories are so familiar as to be almost genetic. They are the foundation for whole modern genres. Noir, Crime and Horror fiction were sired by Poe. Hear three of his finest in this, their finest form.

“The Raven” follows the curious events in one evening of unnamed brooding narrator. Whilst reading a tome of “forgotten lore” he hears a knocking on his door. What follows is a rhymed narrative rumination on the portentous meaning of the feathered visitor’s single utterance. Nevermore will you need to wait for another version. This one’s definitive.

“The Black Cat” is a first person account of the alcoholic events leading an animal lover to the depths of depravity and beyond into horror. This tale seems to encapsulate the entire fevered imaginings of the American temperance movement. Its supernatural elements are minor compared to its un-romantic view of an unrestricted humanity stripped of the superego. In other words, it’s a killer story.

“The Cask Of Amontillado” is a strong tale of cold, cavernous revenge served with a very dry sherry, one brick at a time. This is one of Poe’s most enigmatic works. What precisely the revenge is for, or if there indeed was any real vengence required (despite the narrator’s claim) has haunted scholars. However you interpret it, it does push all the “great horror story” buttons in you.

Narrator Wayne June assures us that he’s done his research on this new series of definitive Edgar Allan Poe readings, and in listening you’ll absolutely have to agree. Place names and pronunciations are perfect – accents and action are exact. You can often tell when a narrator is bluffing it, surfing through the sentences blindly. That absolutely doesn’t happen here. In Poe’s most famous narrative poem The Raven, for instance, there’s nary a line that doesn’t contain an archaic word that’d flummox. June never falters. He’s got them all sussed. The Black Cat too, has never sounded better. June captures the sympathetic first person narrative and then drives home the barbarity flawlessly. Light accents make “The Cask Of Amontillado”, the most difficult of the three tales here, flow like an old vintage newly discovered. There are already many versions of these three classics available on audio, but I’d venture not a single one could come even close to match any of these three. Wayne June’s voice is perfectly matched to the melancholic material. As was the case with his superlative Lovecraft recordings, nobody else’s voice is more more morbidly macabre than is Wayne June’s. This is essential listening.

Posted by Jesse Willis