fantasy – Page 101

Review of The Dark Worlds Of H.P. Lovecraft, Volume 4 by H.P. Lovecraft

The Dark Worlds Of H.P. Lovecraft Volume 4: The Rats In The Walls, The Shunned House, The Music Of Eric Zann
By H.P. Lovecraft; Read by Wayne June
3 CDs – 2 Hours 41 Minutes [UNABRIDGED]
Publisher: Audio Realms
Published: 2006
ISBN: 1897304242
Themes: / Fantasy / Horror / Music / Atavistic Guilt / Cannibalism / Mushrooms /

Curse you, Thornton, I’ll teach you to faint at what my family do! … ‘Sblood, thou stinkard, I’ll learn ye how to gust … wolde ye swynke me thilke wys?… Magna Mater! Magna Mater!… Atys… Dia ad aghaidh’s ad aodaun… agus bas dunarch ort! Dhonas ‘s dholas ort, agus leat-sa!… Ungl unl… rrlh … chchch…

This collection from Audio Realms is the fourth in a series, and the second to be reviewed. There are three CDs and three complete and unabridged stories here, first published between 1922 and 1937. The tales are archaically constructed. If you sat down and try to read one of the paragraph-long sentences that Lovecraft wrote you’d probably begin to wonder why it actually works. Then if you considered that this is the guy who makes curious genealogists or amateur historians the center of his horror stories it becomes almost baffling how he manages to keep our attention at all. There is no doubt though: Lovecraft has our attention. I think I am on safe ground in calling him, at the very least, one of the true giants of Horror fiction. Here are three stories that will prove it…

The Rats In The Walls
The Delapore family, late of Massachusetts, has returned to its ancestral family estate in rural England. Their genealogical and historical research reveals that their ancestors have maintained a strange atavistic responsibility to the land and the ruin upon which their keep was built. Woe be to the friendly neighbors of the long-away Delapores, for the Delapore blood runs thick in their veins and loudly thrums with ancestral duty, as loudly perhaps as the “venimous slithering of ravenous rats in the walls.”

The Shunned House
The house of this story is reported to have been based on a couple of real houses that Lovecraft actually visited. One in particular in Providence, RI at #135 Benefit Street, as in the story, is supposed to be the main inspiration. This story also uses local Providence folklore and history for added depth, but I suspect that if even one fifth of the rest of this story were true we’d have to nuke Rhode Island from orbit, just to be sure. I think some people consider this to be one of Lovecraft’s lesser tales but this one really got me. I am probably a bit more mycophobic than your average person, though. If you don’t like mushrooms, or if you’re even a little afraid of them, listen to this one with the lights on.

The Music Of Eric Zann
One of the most frequently adapted of Lovecraftian tales. The narrator, a near-vagrant, recalls a fellow lodger of a mouldering lodging house in a mysterious French city. Erich Zann is being stalked by a nameless horror that comes to him at night. Only the eerie music he produced was not nearly as haunting as horror that chased him. First published in 1922, still powerful.

SFFaudio Essential narrator Wayne June is back! His grave rumbling voice and his letter perfect pacing makes each of these three tales a shuddersome experience. But I do have a one problem with this entry in the terrific Dark Worlds Of H.P. Lovecraft series. It isn’t the production; these CDs sound awesome. Wayne June’s reading of these three stories is absolutely definitive. His unaccompanied performance is utterly chilling – this series truly must be heard. It isn’t the packaging that is the problem, with original art by Allen K. The images on this series are reminiscent of the art found within the pages of the pulps in which these stories were first published. No, my problem isn’t with any of these things. My problem is with choice to censor a couple of lines of the text in The Rats In The Walls. It makes me want to cry. Maybe Lovecraft was indeed being a racist when he wrote the offending words (in naming Delacore’s cat “Nigger-man”), but I’m a purist. Instead of calling Delacore’s cat “Nigger-man” Audio Realms has changed it to “Blackman.” If the text is good enough to be republished year after year ought we not preserve it as it stands, racism and all? True horror is by its very nature transgressive, but I want all the horror in my life to be in fiction. A cannibalistic incestuous serial murderer of homeless children is scary in fiction but as long as its fiction I’m up for it. Keep all the racist crazy-talk in the fiction, I say, because that is where it all belongs.

Posted by Jesse Willis

Review of Magic Street by Orson Scott Card

SFFaudio Review

Magic Street
By Orson Scott Card; read by Mirron E. Willis
11 CDs – 13.5 Hours [UNABRIDGED]
Publisher: Blackstone Audio
Published: 2005
ISBN: 0786178264
Themes: / Urban Fantasy / Fantasy / Shakespeare / A Midsummer Night’s Dream / Dreams /

Orson Scott Card’s Magic Street is an urban fantasy that links Shakespearean characters from A Midsummer Night’s Dream with a middle-class black neighborhood in Los Angeles. Already not sounding like your cup of tea? Don’t scratch it off your list just yet. If Orson Scott Card wrote a book about a snail moving under a plant in a garden we would probably all marvel at the character development, be enraptured by the pacing of the story and how the plot develops and empathize with the moral dilemmas the snail must face! This excursion into urban fantasy, while not what we’re used to from Mr. Card, still gives us what we value in his writing.

Under inexplicable circumstances a boy named Mack Street is born into the world not yet alive and is immediately abandoned. Later found, he is raised by a couple of unlikely yet caring individuals. As he gets older Mack begins dreaming the deepest wishes of the people in his community. However, each time he experiences a “cold dream” the wishes invariably come true in a tragic way. Unable to understand the magic or speak to others about it, Mack keeps it a secret.

Then one day Mack discovers an entrance to fairyland. As he begins to interact with the magic of that world, his origin and purpose come into view. Mack and his community must act fast to guide events away from a tragic end.

The magic in the world is not explained until late in the story. The reader learns about it as Mack Street himself discovers the explanations. For me it was a bit taxing to go through so much of the story without being able to understand the meaning of the magical events, but the unfolding of the magic world is central to the story and, in a way, really facilitates identifying with the characters.

One of my favorite things about the book is the end. While the story intertwines itself with some of Shakespeare’s more light-hearted work, Magic Street is no comedy of errors. As the story reaches its climax it looks to be a tragedy of Shakespearean ilk. Disciples of the Bard can argue whether the ending is truly “Shakespearean” or not, but it concludes in a wonderfully complex way that leaves you feeling mournful of what was lost, but also that all is right and balanced.

It seems people either love or hate the story. Among the detractors are those disappointed to find the story departing from the genres they typically associate with Mr. Card. It certainly isn’t the fantasy of the Alvin Maker stories, but it isn’t trying to be. It’s an urban fantasy, and if you loathe urban fantasy you’ll dislike this book.

More critics, though, seem to focus on the racial issues. Mr. Card is not black and has written a story about black characters in a black community and does not shy away from discussing racial issues as he imagines them discussed among the characters. I don’t really know how to evaluate the validity of criticisms of how he approaches race, but I wonder what someone might think reading the same dialogue if they thought the author was black himself (I suspect they would be less critical). In any case the story is about people who are black and middle-class, and not about black, middle-class people. The characters are compelling because of what the reader shares with them as human beings, not because they are a case study of some part of Black America.

Mirron Willis was the reader for the story and did an excellent job. Among other projects he made a few appearances on ER as Detective Watkins, and on Star Trek: Voyager he appeared a couple of times as Rettik. Willis has won two Audiofile Earphone Awards and, coincidentally, he performs in the Oregon Shakespeare Festival.

The synopsis on the back of the disc case dramatically reveals that Mack pursues “a forbidden relationship”. I think there must be a list of pre-approved comments to put on CD cases to entice people to buy it. I’ll wager that, as we speak, said list is attached to a dart board in someone’s office with a small hole in the words “forbidden relationship”, because it didn’t come from the story.

Magic Street is another story from Orson Scott Card that has been beautifully translated into audiobook format that is well worth your time.

Click here for an audio sample.

Posted by Mike

Review of The Goose Girl by Shannon Hale

SFFaudio Review

The Goose Girl
By Shannon Hale; Performed by a Full Cast
10 CDs – 10 hours [UNABRIDGED]
Publisher: Full Cast Audio
Published: 2005
ISBN: 1932076727
Themes : / Fantasy / Magic / Horses / Animals /

When I finished listening to Shannon Hale’s The Goose Girl, I wanted to start the story again. I had read the fantasy novel in print form about two years before hearing it and Full Cast Audio brings the characters to life in spot-on performances which won’t disappoint fans of the novel.

The story of Ani, the Princess Anidora Kiladra, (Erica Lustig) is as intimate as if you were hearing the troubles of your best friend, while at the same time covering a sweeping political plot. Princess Ani is sent to a neighboring kingdom to marry a prince she has never met. On the way there, her handmaid conspires to have her killed and take over her identity as Princess. Ani narrowly escapes with her life and must struggle to regain her identity.

What makes this book really wonderful is that during this political struggle, Ani goes through a great deal of very real personal growth. You can see the insecure girl become a confidant young woman through the combined performance of Grace Gates (young Ani), Erica Lustig (Ani) and the compelling narrative. Even if you have already read The Goose Girl, pick up a copy of the audio; it is well-worth the listen.

Posted by Mary Robinette Kowal

Review of The Voice from the Edge: Midnight at the Sunken Cathedral by Harlan Ellison

SFFaudio Author of the Month

The Voice from the Edge: Midnight in the Sunken Cathedral
By Harlan Ellison; Read by Harlan Ellison
5 CDs – 5 Hours [UNABRIDGED]
Publisher: Fantastic Audio
Published: 2001
ISBN: 1574534157
Themes: / Science Fiction / Fantasy / Horror / The Mob / Dreams /

Harlan Ellison will talk your ear off. After listening to the man perform 11 of his stories over the better part of five hours, I’ve come to the conclusion that he is not the type of guy that you’re going to be able to get away from easily; not once he’s started talking. But would you want to? Ellison is like the guy you sit down next in a bar only because it’s the only seat open, praying that he’ll leave you alone, but, sure enough, he turns to you and immediately begins to regale you with that “Car Talk” voice of his about his latest exploit. “Terminator? My idea. That sumbitch James Cameron tried to pass it off as his own, but I wasn’t having it.” Or, “I tell you I never met anybody more uptight than those guys over at Disney. I make one little joke… it was stupid, yeah, but just a joke! Of course nobody would really ever draw Tinkerbell doing that, but try telling those guys that you were only joking. Nope; there’s ol’ Harlan, out on his ass the same day he was hired.” Ellison seems to be one of those guys that are vastly entertaining to listen to, and to watch in action, but only as long as his perpetual low-level rage is never directed at you.

Which is what makes this collection perfect. You get to sit in your car, office, wherever, and hear Ellison tell you some of his best stories without ever worrying that you’re going to get more involved than you want to be. But, maybe you should be worried, just a little. While there are a few stories in this collection that are pretty light-hearted from beginning to end, most of them begin innocently enough, but then slowly become more and more disturbing until it’s almost impossible not to feel some sense of unease and trepidation, and then, when they end, almost palpable relief. “S.R.O.,” for example; what starts out as a cheery little tale of off-center entrepreneurship, read in Ellison’s best 1920’s gangster voice, begins to drift into a much more solemn treatment of beauty and the lengths to which people will go to experience it.

Then there are the stories which begin creepy and stay that way. “The Function of Dream Sleep” begins with the image a mouth opening in a man’s side, which is disturbing enough, but Ellison keeps on turning the “dread” knob up until even driving along an interstate in broad daylight seems somehow sinister and unreal. I’d be interested in reading these stories in text form to see how much of this sensation comes from the actual writing and how much comes from the sheer desperation Ellison puts into his performances. I wasn’t surprised to see that Ellison has a few acting credits to his name, (most awesomely, “man at orgy” in Godson); the range of character and emotion that are present in these readings rivals that of any “professional” reader. At times it’s apparent that Ellison’s familiarity with the stories allows him to enhance his performances by adding laughter, stutters, and other little bits of paralanguage that only he would be able to get away with. The postscript to “The Function of Dream Sleep,” in which Ellison explains some of the elements of his most autobiographical story, is also told in this extemporaneous manner. It’s like the old guy at the bar has finally started to wind down and is going casually toss off one last bit of terror that will keep you up for weeks before he empties his drink, slaps you too hard on the back, and starts shuffling for home.

posted by Cory

Review of The Answer by Philip Wylie

SFFaudio Audiobook Review

The Answer
By Philip Wylie; Read by Joel Grey
1 Cassette – Approx. 90 Minutes [UNABRIDGED]
Publisher: Dove Audio
Published: 1996
ISBN: 0787105139
Themes: / Science Fiction / Fantasy / Angels / Science / Politics / Nuclear Weapons /

“What egotism, what stupid vanity, to suppose that a thing could not happen because you could not conceive it!”
– Philip Wylie & Edwin Balmer from When Worlds Collide

This audiobook of The Answer (subtitled A Parable For Our Times), was produced by Stefan Rudnicki. You should care because whenever Rudnicki gets involved with a project you’re pretty much guaranteed of two things: 1. A quality story. 2. A quality production. Rudnicki is himself a talented narrator, he’s been involved with some of the best short story collections on audio, won two big fistfuls of Audie awards and even a Grammy. Most impresive of all he was the mastermind behind the SFFaudio essential audiobook edition of Ender’s Game by Orson Scott Card! I was only vaguely familiar with Philip Wylie’s work prior to this novellette, I’d heard his dystopian novel The End Of The Dream and known that he had co-written the novel that became the feature film When Worlds Collide. So I did some research, The Answer was originally published in “The Saturday Evening Post” in 1955, adapted to television the same year and then republished several times in paper-book form since. The story was written in the shadow of the cold war the context for which the unstated question is asked – with that shadow faded the story still has power, but I suspect that it has been somewhat diminished.

Aboard a United States aircraft carrier in the South Pacific a distinguished team of nuclear scientists, politicians, naval and air-force officers await the impending test of an atomic bomb. The test, code named Operation Bugaboo, makes one officer question the very fabric of his belief, or rather his lack thereof. Major General Marcus Scott is an agnostic and skeptic, a veteran of WWII with a long and distinguished career behind him. But after the test is conducted and a single unforseen casualty is reported Scott’s entire worldview is shaken to its foundations. Discovered, as an apparent casualty of the tremendous hydrogen bomb blast is a winged figure, one even his ubelieving eyes can only describe as an angel.

While at first very satisfing on a level of sheer storytelling I noticed upon repeated listening Wylie’s writing scaffolding, the somehat forced structure upon which the story relies for power. For believability’s sake there are really too many coincidences. The scientifically testable circumstances, which are what you are buying when you listening to science fiction – are flushed away into circumstances no easier to swallow than ‘historical’ reports of angels, as the subtitle suggests “a parable for our times?”. Is it really meant to be a parrallel with historical reports of angels? Or is the structure simply in place to give narrative meaning to the story? I don’t know. But no matter how it was made, the story is only going to be offering comforting evidence to a believer, and however well meaning the point of the story, “the answer” of the title is at very best, in my opinion, only a wishful maxim. Flavour me unconvinced while still having been emotionaly involved by the tale.

An added music consists of a pipe organ, woodwind and stringed instruments. These are used to subtly underscore the emotions of the two viewpoints shown. Varied music gives ethereal holiness, timelessness or thoughtful reflection to specific scenes and to underscore others with their absence. Though generally I prefer unaccompanied readings it isn’t overwhelming here. Reader Joel Grey shines, by packing an emotional wallop witout doing much in the way of characterization. He’s able to confer the general mood of frustrated sadness that the story requires given the limited role the characters have. This audiobook is now out of print but you can still get it through Audible.com.

Posted by Jesse Willis

Review of A Wizard of Earthsea by Ursula K. Le Guin

SFFaudio Author of the Month

ed. – Here’s another audiobook narrated by, but not written by, Harlan Ellison

Fantasy Audiobooks - A Wizard of Earthsea by Ursula K. Le Guin A Wizard of Earthsea
By Ursula K. Le Guin; Read by Harlan Ellison and Ursula K. Le Guin
Audio Download – 6 hours [UNABRIDGED]
Publisher: Fantastic Audio (downloaded from Audible.com)
Published: 2003
ISBN: 1574535587 (Audio CD version)
Themes: / Fantasy / Series / Magic / Dragons / Wizards /

Just minutes into this audio book, the Kargs are attacking the village of Ten Alders, confused by a fog a young wizard has woven into an impenetrable shield, harried by invisible weapons and diaphanous shapes in the mist, and headed for certain destruction. You realize, as Harlan Ellison’s already non-standard voice rises in pitch and his words pile up against one another as he charges faster and faster through the narrative, pausing only to slurp back the fevered spittle he has worked up, that this is not your average narrator. His voice doesn’t resound with the Stradivarius polish of most professional performers, and his characterizations are neither entirely distinct nor consistent, but you can’t help yourself. He has you spellbound. And why? Because his is the authentic voice of a reader, one so caught up in the story that you can’t resist being pulled along with him on his journey.

And what a journey it is! A Wizard of Earthsea is brilliant, a notable gem even among the manifold wonders of such an accomplished author as LeGuin. It is the origin story of Ged, one of the most famous sorcerers in the world of Earthsea and a lesson in both the imprisoning power of our own dark deeds and the redemption that comes through facing them. It follows Ged from his home village of Ten Alders to the City of Gont, from there on to the great school for wizards on the central island of Roke, and then on a fearful, bold chase across the whole of Earthsea. Most island settings fairly drip with the damp richness of the Pacific Northwest, and the characters span a veritable rainbow of colors and cultures. This is epic fantasy in the European tradition, but with a distinctively American flavor.

As in so many of LeGuin’s works, truth is of paramount importance on Earthsea. The old language of Earthsea, like the psychic language that unites the planets in her science fictional Hainish universe, is a language in which men cannot lie. It is also the language in which the true names of all things are recorded, which makes it the basis of all magic on Earthsea. But this latter property also gives the old language of Earthsea Platonic overtones of ideal forms lurking behind every imperfect manifestation in nature, and lends A Wizard of Earthsea a palpable sense of great truth buried just below the surface of what we see. Thus, LeGuin subtly exhorts us to explore beyond the level of the richly imagined fantasy action. And what she has placed there is well worth spending the time to think about.

There are only two off-key notes in this work and its production. The first is that, though LeGuin is given co-narration credits, she only reads a very brief poetic prologue and an only slightly less brief prose epilogue. If you’re looking to experience the author interpreting a major work with her own voice, you’re not going to find that here. The second is that, though LeGuin is noted for her progressive, feminist opinions, some of what we see in this story seems almost misogynistic. There is only one female character who seems not to harbor outright selfishness, evil, or temptation; and female magic is given an unrepentant indictment in several places. I’m new to the series, so maybe these issues are redeemed in the later books. I certainly hope so.

In any case, this production of Ursula K. LeGuin’s A Wizard of Earthsea offers a dark, compelling glimpse at the forces behind the turning of the world as told in the raw, earnest voice of Harlan Ellison. My recommendation: Skip the TV miniseries—which LeGuin apparently hated—and spend your time marveling at the wonders of this quirky, enthralling audio book.

Posted by Kurt Dietz