Michael Moorcock – Page 6

The Dimension X and X-Minus One of William Tenn

SFFaudio Online Audio

Here is a complete listing of all the William Tenn stories from both Dimension X and X-Minus One. Child’s Play doesn’t have any actual children in it, instead it is much more like a Philip K. Dick plot played for humor. Venus Is A Man’s World, on the other hand, features children protagonists. It’s a curious remnant of its era, a satire on gender equality. It also has a fun bit about naming your kids after Canadian provinces. The Discovery Of Mornial Matheway is a humorous time travel story with a clever wrinkle, mining the same material as Michael Moorcock’s Behold The Man and Robert A. Heinlein’s By His Bootstraps.

Dimension X was an NBC radio program broadcast from 1950 to 1951 in the USA. One episode was based on a story by William Tenn. The same script would be re-recorded four years later for X-Minus One.

Dimension X – Child’s Play
Based on the story by William Tenn; Adapted by George Lefferts; Performed by a full cast
1 |MP3| – Approx. 24 Minutes [RADIO DRAMA]
Broadcaster: NBC Radio
Broadcast: June 21, 1951
Provider: Archive.org
Sam Weber used to be a meek little man. But then one day he received a “Build-A-Man” kit from 100 years in the future – that changed a whole lot. First published in Astounding Science Fiction, March 1947.

X-Minus One was a half-hour science fiction radio series broadcast from 1955 to 1958 on NBC Radio stations in the USA. William Tenn had three of his stories picked out and turned into radio dramatizations.

X-Minus One – Child’s Play
Based on the story by William Tenn; Adapted by George Lefferts; Performed by a full cast
1 |MP3| – Approx. 23 Minutes [RADIO DRAMA]
Broadcaster: NBC Radio
Broadcast: October 20, 1955
Provider: Archive.org
Sam Weber used to be a meek little man. But then one day he received a “Build-A-Man” kit from 100 years in the future – that changed a whole lot. First published in Astounding Science Fiction, March 1947.

X-Minus One – Venus Is A Man’s World
Based on the story by William Tenn; Adapted by Arthur Small; Performed by a full cast
1 |MP3| – Approx. 22 Minutes [RADIO DRAMA]
Broadcaster: NBC Radio
Broadcast: February 6, 1957
Provider: Archive.org
War has severely decimated the Earth’s male population. Females now make all the rules men are subservient to women. First published in Galaxy Science Fiction, July 1951.

X-Minus One – The Discovery Of Mornial Matheway
Based on the story by William Tenn; Adapted by Ernest Kinoy; Performed by a full cast
1 |MP3| – Approx. [RADIO DRAMA]
Broadcaster: NBC Radio
Broadcast: April 17, 1957
Provider: Archive.org
A time traveler from the future returns to the era of Morniel Mathaway, the greatest artist in history only to discovere that Mathaway is completely talentless. First published in Galaxy Science Fiction, October 1955.

Posted by Jesse Willis

Review of The Steel Remains by Richard K. Morgan

SFFaudio Review

The Steel Remains
By Richard K. Morgan; Read by Simon Vance
[UNABRIDGED]
Publisher: Tantor Media
Published: 2009
ISBN: 9781400139637
Themes: / Fantasy / Noir / Hard Boiled / Magic / War / Homosexuality /

“Men were like blades, they would all break sooner or later, you included. But you looked around at the men you led, and in their eyes you saw what kind of steel you had to hand, how it had been forged and tempered, what blows, if any, it would take.”

—Richard Morgan, The Steel Remains

With his new book The Steel Remains, Richard Morgan sets out to (as main character Ringil Eskiath might say) “prick the bloated arse” of J.R.R. Tolkien and post-Tolkien fantasy. Elsewhere on the web Morgan has expressed his deep dissatisfaction with traditional high fantasy, which often pits stainless forces of good against hordes of irredeemable evil in bloodless, antiseptic sword play. He’s accused Tolkien of the same shortcomings (a flawed analysis with which I vehemently disagree). Against this backdrop, Morgan set out to write The Steel Remains as a deliberately gray, grimy, alternative viewpoint. His book succeeds in sliding cold steel into the lie of childlike fantasy, with which my favorite genre of fiction is admittedly littered.

But when the screaming of gutted men and the skirling of steel dies down, and the full extent of the destruction is laid bare for us to see, The Steel Remains does not have much to offer. The old cliché that it’s easier to tear down and destroy than to build anew applies here. In its falling over itself desire to slice and dice fantasy’s traditional conservatism, The Steel Remains indulges in plenty of its own predictable clichés: Every priest is a religious fanatic and a sex fiend, every leader a morally and ethically corrupt, egotistic blowhard, for example. The book lacks a moral compass; Morgan the author’s world view must be a bleak one, indeed.

The action of The Steel Remains focuses on the converging storylines of three uneven characters—one very well done (Ringil, a sarcastic, war-weary, homosexual master swordsman), one middling (Egar, a brawling, boisterous, randy barbarian from the steppes), and one rather forgettable (Archeth, a black, female half-breed of human and Kiriath, deadly with throwing knives and hooked on drugs). All three are veterans of a recent war against an invading race of “scaly folk,” in which humanity staved off utter destruction at a very high price. Ringil, a war hero but now combat- and world-weary, has retreated from his mercenary lifestyle and is living a slothful, under-the-radar existence, until he’s summoned by an urgent message from his mother: Ringil’s cousin, Sherin, has been sold into slavery to repay a debt, and Ringil’s mother wants her back. Ringil reluctantly agrees.

Soon Ringil finds out that the slavery web in which Sherin has been caught is very dark, wide, and sinister. At its centre are a race of alien beings called the dwenda—tall, attractive, human-like, magic-using creatures that are a combination of Michael Moorcock’s Melniboneans with their cruel and alien immorality, and Poul Anderson’s Nordic-inspired, haughty, and warlike elves (Morgan lists Anderson and Moorcock as two of his sources of inspiration; the third is, unsurprisingly, Karl Edward Wagner). The dwenda are planning to incite a second war on earth and then destroy the victor, taking back their ancestral lands (the dwenda dwelled on earth many years ago). The dwenda require the sacrifice of barren human females to fuel the dark powers that are the source of their sorcery.

There’s much to like in The Steel Remains. Morgan’s prose is sharp and highly readable, and he shows a fine eye for detail and realism in his culture and city-building. Trelayne—a nasty, sprawling, brawling city in which whoring, slavery, and public executions are practiced openly—feels real. Egar’s Majak culture is based on pre-colonized North American Indians, and is well-done with its shamans and superstitions, trade in vast herds of buffalo, and armor and weapons suited to a nomadic lifestyle on the plains.

In addition, if you like your battles bloody and realistic, Morgan is your man. His fight scenes are well-done and you get a great sense of Ringil’s skill with his deadly broadsword of Kiriath steel, and Egar’s brutal butcher’s work with his two-bladed Majak lance. Disembowelings, beheadings, and other ghastly wounds are rife.

Much of the book passed under my eyes as well-oiled but heartless machinery producing graphic combat carnage and highly explicit sex (I’ll pause here to state that the blood and semen-soaked pages of The Steel Remains would make George R.R. Martin blanch, and Eric Van Lustbader—author of The Ninja—green with envy). I found the characters rather unlikeable and unengaging, and the plot fair at best. Very little actually clicked with me until the concluding act, in which Ringil, Egar, and Archeth reunite to fight a desperate last stand against the duenda. This was one of the few moving scenes in the book in which I actually felt some measure of concern and identification with our heroes. Ringil’s rousing speech is of the stuff with which great heroic fantasy is made. I wish there was more like this.

In summary, we know that life is can be dirty and horrible. War is hell, yes, and men are weak and piggish. But Morgan drives the same points home, again and again, over 400 dark, cynical, iconoclastic pages of The Steel Remains, which by the end is too one-note and sacrifices story at the expense of the author’s agenda.

Narrator Simon Vance does a terrific job as narrator, changing his voice to suit the temperaments and personalities of the various characters in Morgan’s novel. Clarity and precision are among Vance’s strengths as a reader and he does not disappoint here. When I began listening to The Steel Remains, and before I had seen the narration credits, I recognized Vance’s distinctive voice from his wonderful depiction of Count Dracula and the rest of the characters from Bram Stoker’s Dracula (Blackstone Audiobooks). For unknown reasons Vance performed Dracula under the pseudonym, Robert Whitfield.

[For more of Brian’s thoughts on The Steel Remains check out The SFFaudio Podcast #034]

Posted by Brian Murphy

BBC R2 / RA.cc: The Hunt For Sexton Blake

Aural Noir: Online Audio

Here’s a reminder that tonight sees the beginning of The Adventures Of Sexton Blake in a six week run on BBC Radio 2. But if you’re still not sure who this Blake bloke is, I’ve got the solution. Using my amazing skills of research (RadioArchive.cc) I’ve uncovered a July 28th, 2009 documentary about this Sexton Blake character. It’s called The Hunt For Sexton Blake and runs a full hour. Interested parties can find the well seeded torrent for it through RadioArchive.cc. It’s filed in the “factual” section there. Here’s the description:

Who exactly is Sexton Blake? People under the age of 45 might ask that question, but anyone older is likely to have read one of the 4000 stories by over 200 authors, or seen the films, the stage adaptations, the many TV shows, or listened to his adventures on radio.

Sexton Blake is one of the most famous and long-lived fictional detectives and adventurers of all time, who battled opium smugglers, bandit chiefs and the Kaiser. In his heyday he was more widely read than Sherlock Holmes – enjoyed by working people all over the British Empire – and whilst Holmes features in very few stories, Blake appeared in thousands.

In this hour long profile and exploration of Blake’s impact, David Quantick talks to author Michael Moorcock, who used to edit the Sexton Blake Library; Jack Adrian a former writer; and comic book illustrator Kevin O’Neil, who co-created The League Of Extraordinary Gentlemen and other heroes.

That Blake didn’t have the same critical recognition, could be attributed to the fact the stories were published in cheap magazines, rather than in proper books. Or because the writers themselves didn’t move in the right circles, to make friends and influence people. While Ian Fleming had been to Eton and Sandhurst, the Blake authors were a rag tag bunch of eccentrics, whose own lives were worked into the tales. Michael Moorcock tells David that the Blake writers were puzzled at how James Bond was liked by critics, when the early novels were badly plotted and featured cartoon-like villains hiding in volcanoes.

David also hears about the Blake author who vanished under mysterious circumstances. The writer’s wife sent in his remaining Blake manuscripts without saying he’d disappeared, and then passed off her new partner’s work as that of her dead husband. It wouldn’t take Sexton Blake to tell you there was something fishy going on there!

Posted by Jesse Willis

Review of Elric of Menibone by Michael Moorcock

SFFaudio Review

Elric of Melniboné
By Michael Moorcock, Read By Jeffrey West and Michael Moorcock
5 CD’s – 5.5 Hour [UNABRIDGED]
Publisher: Audio Realms
Published: 2003
ISBN: 097315960X
Themes: / Fantasy / Epic Fantasy / Magic / War / Gods /

It’s a testament to the imaginative might of author Michael Moorcock that his most famous creation, Elric of Melnibone, has become a permanent and prominent thread in the fabric of fantasy. Though he may not be quite the same household name as Conan, what fantasy fan hasn’t heard of the albino warrior/sorcerer, he of the tortured soul and wielder of the black demon sword Stormbringer.

The character of Elric first appeared in print in 1961 in a short story entitled “The Dreaming City.” Author Michael Moorcock later expanded the work into a short novel, Elric of Melnibone (1973). Though not perfect, I consider this latter a must-read for fans of fantasy fiction. It’s a marvelous work of imagination whose beautiful trappings include Imrryr, a city of alien architecture and strange, often abhorrent customs; demon-summoning sorcerers; and appearances by elementals and the gods of chaos. It combines the fast-pace and adventurous swagger of pulp fiction with a main character prone to brooding meditation and
self-doubt.

The Elric stories are deliberately iconoclastic, taking an ironic stance in opposition to traditional/Tolkienian high fantasy and their often conservative worldviews. Elric is the reluctant emperor of Melnibone, a decadent, fading, yet still powerful kingdom that has dominated the Young Kingdoms of the earth for 10,000 years (think of Rome had it never lost its military might, ruled by emperors like Caligula for millennia). Drunk on the blood of conquest, immoral to the core, and frequently under the influence of dream-inducing drugs, the Melniboneans live by the philosophy, “seek pleasure, however you would.” Slaves perform all the menial work, and some have been surgically altered/bred to perform single functions like singing a single, perfect note, or rowing a war-galley.

The army is unwaveringly loyal to the lineage of the Ruby Throne, as are its emperors—until Elric inherits the throne. He begins to question the old traditions, including the Melnibonean’s right to rule the Young Kingdoms with an iron fist. At heart Elric wants to abdicate the throne and run away with his love, Cymoril. But he’s afraid that the next in line to the throne—his cousin, the wicked Yrkoon, a throwback to the cruelest lords of Melnibone—will institute a reign of terror in his stead.

Yrkoon and his followers despise Elric, whom they perceive as weak and a threat to Melnibone’s place of power. They devise a plot to kill him during a barbarian invasion from the sea. Elric leads a successful attack that routs the barbarians, but at his lowest ebb (Elric’s weak constitution requires him to take a potent concoction of daily drugs to maintain his energy), Yrkoon shoves him into the sea. Weak and weighed down by his armor he begins to drown.

Thinking Elric slain, Yrkoon sails home and assumes the throne. Elric, however, is saved by a whispered spell to an elemental god of the sea and returns to Melnibone to punish and exile his cousin. Aided by a handful of followers, Yrkoon takes Cymoril hostage and escapes the Dragon Isle to start an uprising in one of the barbarian kingdoms. The remainder of the book includes Elric’s quest to get Cymoril back, which culminates with Elric’s recovery of the powerful but cursed Stormbringer.

Elric of Menibone starts off exceedingly strong with some memorable description and characters. Moorcock succeeds in making Melnibone feel like an alien place, as torture, incest, and dining on human flesh are routine occurrences (a scene with the sinister court torturer/chief interrogator Dr. Jest—a thin, sinuous man wielding a merciless, razor-thin scalpel—is forever seared into my memory). Moorcock’s portrayal of magic is exactly the way I like it—powerful and capricious, accessed through great grimoires capable of summoning great powers of darkness, but also prone to turn on the caster in unpredictable ways.

For all its strengths, however, Elric of Melnibone—and in particular its sequels—are not perfect. Moorcock is blessed with a tremendous imagination, but at times I find that he fails to deliver on his promise. For example, we’re told that the Melnibonean sorcerer-kings engage in drugged dream-sleep that allows them to wander other worlds and universes, “consort with angels, demons, and violent, desperate men,” and learn the accumulated lore and magic of the Melnibonean race, all from their dream couches. As a result of these dream-quests, their minds are millennia old. It’s a great concept. And yet how does this activity result in a character like the impetuous Yrkoon, who acts like a spoiled 25-year-old prince instead of a thoughtful sage suffused with the wisdom of ages? I also found the Elric series slips into repetition in later books as Elric battles one demon after another. His world-weary attitude in itself grows tiring after several books as well.

Finally, I must state that I found this Audio Realms AudioBooksPlus presentation a mixed bag. The reader, Jeffery West, was talented and altered his voice enough to create recognizable characters. This version also featured a brief overview/introduction read by Moorcock himself, a very nice, unexpected bonus. But the production was marred by the head-scratching decision to play music in the background throughout the entire reading. This included a loud heartbeat sound played during dramatic scenes. After a while I ceased hearing the music, but at times it was jarring and took me out of the flow of the story.

Note to Audio Realms and other audio book producers: The thought is appreciated, but please drop the soundtracks and stick to the text.

Posted by Brian Murphy

The SFFaudio Podcast #025

Podcast

The SFFaudio Podcast #025 – Jesse and Scott are joined by Brian Murphy of The Silver Key and The Cimmerian blogs. We mostly talk about Fantasy, with a little war talk to make things manlier.

Talked about on today’s show:
Recent Arrivals, Penguin Audio, re-release of Stephen King audiobooks, Desperation, The Regulators, Thinner, Rose Madder, Joe Mantegna, Blair Brown, Kathy Bates, Kate Nelligan, the origins of the “Richard Bachman” pseudonym, Donald E. Westlake, Chapterhouse Dune, Frank Herbert, full cast narration, Macmillan Audio, Starship series, Mike Resnick, Jonathan Davis, Book Of The Road, dual narration, Elric Of Melbinone, Michael Moorcock, Audio Realms, The Graveyard Book, Neil Gaiman, the Canadian publishing industry, Raincoast Books, Od Magic, Patricia A. McKillip, Dreams Underfoot, Charles de Lint, cover art matters, Black Gate blog, Confessions Of A Speed Reading Instructor, “how long is a book ?”, Top 10 Fantasy Battles Of All Time, The Iliad, Homer, Recorded Books, George Guidall, the Robert Fitzgerald translation, reciting Homeric length epics (the documentary In Search Of The Trojan War), Bernard Cornwell, The Winter King, King Arthur (2004), Clive Owen, Excalibur (1981), Audio Renaissance (Macmillan Audio), Chivers Audio (BBC Audiobooks America), ISIS Audio, the Sharpe television series, George R.R. Martin, A Song Of Ice And Fire series.

King Arthur,

Posted by Jesse Willis

AUDIO REALMS: Dagon by H.P. Lovecraft

SFFaudio Online Audio

By all the demons of the sea, I have stupendously wondrous news!

Audio Realms has begun its long awaited podcast!

I don’t think there has ever been a podcast I’ve been more excited about. Each week the AR podcast will present tales from their truly awesome audiobook catalogue. Future releases, all in unabridged form, will also include “interviews, related news and preview clips of upcoming productions.” Expect to hear short stories and “full length productions in serialized segments.” Authors in the Audio Realms catalog include: H.P. Lovecraft, Robert E. Howard, Michael Moorcock, Edgar Rice Burroughs, Andre Norton and Lin Carter! Check out the first podcast, taken from The Dark Worlds Of H. P. Lovecraft, Volume 2. I’m of the opinion that it will forever be the DEFINITIVE reading of…

Dagon
By H.P. Lovecraft; Read by Wayne June
1 |MP3| – Approx. 16 Minutes [UNABRIDGED]
Podcaster: Audio Realms Podcast
Podcast: August 12th 2008
The testament of a tortured, morphine-addicted man who plans to commit suicide over an incident that occurred early on in World War I when he was a merchant marine officer.

Subscribe to the podcast feed:

http://www.audiorealms.com/audiorealmspodcast.rss

Posted by Jesse Willis