This 4,712 word story may not be among Philip K. Dick’s best, but it is certainly worth looking at, and hearing!
Tony And The Beetles is a bit unusual too, having an almost juvenile or YA feel to it. Maybe that’s because it’s not nearly as horrific as many of Dick’s fantasy tales – there are some frightening elements, but the general tone is that of an ungroundedness. I see Tony And The Beetles as a kind of historical allegory and I’m not the only one. Phil Chevernet, the narrator who recorded it for LibriVox, wrote “I think [Dick] was commenting on imperialism in the 40s and 50s.” I think he’s right, but I think the comment is somewhat ambiguous, rather depressing, and almost wholly unhopeful. Dick grew up during World War II and little PKD was a very sensitive fellow, kind of like Tony.
Here’s the setup:
Young Tony Rossi has grown up on an alien world. As a child he’s known little else than bubble helmets, pressure suits, and robot pets. His playmates and schoolmates have all been the non-human children of the planet, but around him swirl the forces of history and when news of the ongoing war breaks Tony’s parents don’t seem to hold the same opinions of what it all means.
Tony And The Beetles
By Philip K. Dick; Read by Phil Chevernet
1 |MP3| – Approx. 34 Minutes [UNABRIDGED]
Publisher: LibriVox.org
Published: October 16, 2012 A ten-year-old boy grows up fast when history catches up with the human race. First published in Orbit, volume 1 number 2, 1953.
And here’s a |PDF| made from it’s original publication in Orbit.
“the curse of want gives way to the curse of plenty” -Frederik Pohl, in the anthology Nightmare Age
Broadcast on BBC Radio 4, as a part of “The Shape of Things to Come” season in 1991 (a series of plays looking at the future) The Midas Plague was adapted from the acclaimed novella by Frederik Pohl.
Now, thanks to the terrific service RadioArchive.cc you can experience this positively smirk inducing satire of a consumer society flipped on it’s head.
Here’s my description of the premise:
Morey Fry lives in a post-scarcity world where cheap production has made commodities, consumer goods, and food ubiquitous. The “poor” are forced to spend their lives in a constant state of frantic consumption, continually upgrading their devices, clothes, jewelry, and appliances. But “poor” Morey can only wear-out his shirts so fast, and taking double cream in his coffee is giving a sick feeling. Meanwhile a black market in counterfeit ration book stamps flourishes, yet Morey is an honest man. When poverty stricken Morey marries a “rich” girl from the right side of the tracks they move into his well appointed mansion. There, the efficient household staff of robot butlers, valets, maids, cooks, and footmen foist endless consumer goods upon them both at a furious rate, something that upsets Morey’s new “wealthy” spouse – after all she’s is accustomed to a certain luxurious lifestyle.
The Midas Plague
Adapted by Mark Power from the story by Frederik Pohl; Performed by a full cast
1 MP3 (via TORRENT) – Approx. 44 Minutes [RADIO DRAMA]
Broadcaster: BBC Radio 4
Broadcast: September 4, 1991
Directed by Alec Reid
Cast:
Morrey Fry – Michael Drew
Cheri Fry – Diane White
Howland – Alan Covenay
Judge Elon – Eric Allen
Grace Elon – Caroline Hunt
Semmelweiss – Nick Chivers
Newman – Nick Chivers
Fairless – Clarence Smith
Sam – Clarence Smith
Wally – Richard Pearce
Blaine – Richard Pearce
Tanaquil – Catherine Neal
Wainwright – Fraser Kerr
Henry, the Robot – Geoffrey Collins
Profirio – Geoffrey Collins
More illustrations from the publication in Galaxy, April 1954:
Steel And Other Stories – Steel
By Richard Matheson; Read by Scott Brick
Approx. 59 Minutes [UNABRIDGED]
Publisher: Blackstone Audio
Published: 2011
ISBN: 1455112127
Themes: / Science Fiction / Boxing / Robots /
Steel, a novelette, was first published in the May 1956 issue of The Magazine of Fantasy & Science Fiction.
The editorial introduction preceding it described Steel as a “tale of strength and endurance” and as “a science fiction sports story so realistic, simple and powerful that it should prove moving even to sports-loathing readers who have never let a boxing bout darken their television screens.” The story would just a few years later, in a 1963 adaptation as an episode of the Twilight Zone brighten the living rooms of many. And, in 2011 it would inspire the big budget movie Real Steel. So, how does the original novellete, stand up to repeated blows of history?
Pretty well. If you like Matheson’s writing Steel is definitely worth hearing. This story captures in a relatively short space the oddity, the kind of quirk that Matheson seems forever working on. It’s something I’ve noticed in practically every story by Matheson that I’ve read. His main characters always seem to want to make a human connection with strangers, and in their efforts to do so always fail – and always for the same reason. In their desire to be heard, and be understood, they always disregard the needs and desires of those strangers. I’ve never seen a writer tackle anthing like this, over and over, like Matheson always seems to. Let’s tale Steel as our example. One of the two main characters, Paul, goes to great lengths to get engage an uninterested stranger in a conversation about the exploits of his dilapidated robot boxer. That the stranger, who doesn’t know anything about boxing, doesn’t care about boxing, and has never even heard of Paul’s robot, is obviously completely uninterested in what Paul is saying. This doesn’t seem to occur to Paul. It’s as if Paul’s own need to reach out and be heard – to be something – is greater than the interests of the stranger – whatevber those interests might be. It’s not so much a Science Fiction issue as it is an existential one. It’s almost as if Matheson is using his fiction to try to find a way to navigate around a massive blind spot in human relations. Like in his novel The Incredible Shrinking Man Matheson has the plot of Steel be a manifestation of a character’s internal difficulties.
Scott Brick narrates this bare bones dialogue driven story. I’m often ambivalent about Brick’s narrations. Sometimes he works for me, sometimes he doesn’t – and I think I’ve finally realized why. Brick is excellent at delivering emotion. But if the emotion is from a third person perspective it comes across as too operatic. But, if the story is told in first person perspective then it work well. In Steel there are basically only two voices – Paul’s and Kelly’s. And when Brick voices either one I can’t readily enough distinguish difference between them. Yet when a story is told in first person Brick’s narration really works. Take this sample |MP3| from Nelson DeMille’s The Lion’s Game (which is first person perspective). And now compare it with this |MP3| from Steel.
I came away feeling somewhat unsatisfied with Steel. It’s not that the story is uninteresting, or unoriginal, Steel is both original and interesting. Kelly and Paul are a pair of boxing enthusiasts – and I’m more of an enthusiast of ideas. There’s just not enough intellectual heft to their journey. I think The Twilight Zone adaptation, penned by Matheson himself and starring Lee Marvin, does the story better mostly because it’s a lot quicker too it. The movie version is hardly an adaptation, being much more of a family father and son traditional conservative values tale than an existential exploration. None of versions of the story did what I wanted them to do, namely get into the robot’s POV. The fact that none of the adaptations treat the robot as anything other than an external manifestation of their root interests is kind of depressing. But then again, I don’t go to Matheson for uplifting, I like his depressing ideas.
I’m not a very good chess player, but I love playing. There’s a an elegance and a simplicity to the basics of it. And from those basic rules an incalculable complexity emerges – one that makes every game different. But I don’t much like playing against a computer. There’s little sense of victory if I win and if I lose I tend to question the point in playing at all. There’s something about pitting a mind against a mind – and most chess programs I’ve played against don’t seem to have one.
Moxon’s Master, by Ambrose Bierce, is about chess. It uses some basic analogies and metaphors – in just the way H.G. Wells does so well to make the implausible sound plausible. Bierce wields facts about plant tropism and Herbert Spencer’s definition of life in a skillful argument for machine intelligence. It’s rather masterful actually!
Moxon’s Master
By Ambrose Bierce; Read by Roger Melin
1 |MP3| – Approx. 28 Minutes [UNABRIDGED]
Publisher: LibriVox.org
Published: May 2, 2012
First published in the San Francisco Examiner, April 16, 1899.
Robert Sheckley was a joker, a satirist, a poker of fun at all of the silliness in life. But there’s something more going on in this short short story from 1953. Sure there’s the existentialist angle, and of course there’s the requisite Sheckley humor, but it’s the other quality in Beside Still Waters that makes this Sheckley story a bit different. You can see it right there in the title (taken from Psalm 23 of the Hebrew Bible), and you can see it in the Virgil Finlay’s illustration for the story too:
Beside Still Waters is an elegiac tale, offering only a cup of sadness to the reader, it’s the sort of story that Clifford D. Simak might have written. And that should be recommendation enough.
Beside Still Waters
By Robert Sheckley; Read by Frank Malanga
1 |MP3| – Approx. 10 Minutes [UNABRIDGED]
Publisher: LibriVox.org
Published: November 28, 2010 When people talk about getting away from it all, they are usually thinking about our great open spaces out west. But to science fiction writers, that would be practically in the heart of Times Square. When a man of the future wants solitude he picks a slab of rock floating in space four light years east of Andromeda. Here is a gentle little story about a man who sought the solitude of such a location. And who did he take along for company? None other than Charles the Robot. First published in Amazing Stories Oct.-Nov. 1953.
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And here’s the |PDF| I made from the original magazine publication.
Sci-Fi Radio Theater is “the brain child of international internet man Charles Davis and opera singer Josie Corichi.” Here’s their mission statement:
To produce high quality original fiction radio play podcasts that fall within the science fiction, fantasy and horror genres.
Why Sci-Fi? Because it’s what we like and it’s what we know. At SFRT we are huge personal fans of this genre of story telling and we feel that we have more to offer to the science fiction community than being observers. Our drive is to be active participants in the creation of original Science Fiction stories.
Why a Radio Play Podcast? Because the greatest imagery that exists is within your own mind. We believe that by delivering these stories in an audio format we allow the listener to be taken to a far deeper and more complex world than we would be able to offer through video.
Another reason is the freedom of length. One of the joys of a science fiction story is the depth and detail you are able to get into. By presenting these radio plays as a podcast we are able to tell a story as long as it naturally takes to tell.
The only question I have is whether the narrator is intentionally doing a Bill Hollweg impersonation.
Tony And The Beetles
Moxon’s Master
