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Review of Stonefather by Orson Scott Card

SFFaudio Review

Stonefather
By Orson Scott Card; Read by Emily Janice Card
Audible Download – 3 hours – [UNABRIDGED]
Publisher: Blackstone Audio
Published: 2008
Themes: / Fantasy / Magic / Nature / Politics / Youth /

Runnel is nothing special. He was never good at anything nor exceptionally bad at anything, just plain ordinary. He is frequently beat by a just as frequently angry father. He lives in a house with more than a dozen children. “Runnel” is a water name, which he was given out of piety to the god Yegut. Even though he has a water name, the only thing that Runnel is better than the other children at is rock climbing. He can find footholds and crevices where other children can’t.

As Runnel approaches his “man height” the other kids begin playing mean jokes on him. During one of these jokes Runnel finds himself on the top of a mountain all alone looking at a road heading to Mitherhome, the city of water mages. He decides to leave and starts to walk towards Mitherhome which is an island surrounded by a deep gorge in the land. He walks to the town of Hetterfairy, the only way to get to Mitherhome. Here he meets a servant named Lark who becomes his first friend. Runnel persuades her to take him to her masters house where he gets a job and discovers something amazing about himself.

This book is written by Orson Scott Card and is read by his daughter Emily Janice Card. Orson Scott Card is the famous award-winning author of the Ender series, Bean Series, and the Earthfall Series. “Stonefather” is a story set in a series he is writing, an introduction you might say.

Emily Janice Card read this book amazingly. This is the first audio book that I have heard that she has read and I was pretty surprised. She is not the best reader in the world but she is very very good. I could see the same voice in all the characters but this did not distract me from the story.

Card’s clever use of words had me from the beginning as all of his books do. I could tell each character not only from their voice but from their style of words. Some had very similar styles but there was always a little tweak in it that I could see and it made it all the better. I dislike books in which I can not tell who is speaking.

Posted by DanielsonKid (Age 14)

Review of Shadow of the Hegemon by Orson Scott Card

Science Fiction Audiobook Review

Shadow of the Hegemon
By Orson Scott Card; Read by David Birney, Scott Brick, Gabrielle de Cuir, and Stefan Rudnicki
11 CDs – 13 hours – [UNABRIDGED]
Publisher: Audio Renaissance
Published: September 2006
ISBN: 1593974809
Themes: / Science Fiction / War / Politics / Youth / Strategy /

In Ender’s Game, Ender Wiggin and his jeesh won the war against the buggers. From there, the story of Ender and his sister Valentine continues in Speaker for the Dead, Xenocide, and Children of the Mind. But what of the people Ender left behind? What of Ender’s power hungry older brother Peter? What of Bean and the other Battle School kids? Orson Scott Card gives us that story beginning with Ender’s Shadow, then continuing with this novel, Shadow of the Hegemon, and on to Shadow Puppets and Shadow of the Giant. (NOTE: Shadow Puppets is the only novel mentioned here that has not yet been released in unabridged format on CD by Audio Renaissance, but it is in their schedule for January 2007.)

One of the things I admire about the Ender novels as a whole is that Orson Scott Card has not written the same novel twice. Speaker for the Dead is a different kind of novel than Ender’s Game, and Xenocide different again. Ender’s Shadow marked a return in tone to Ender’s Game, but this book was different again. Shadow of the Hegemon is boardgame of a novel, a sort of international chess match between nations battling for dominance after the outside threat of the Buggers has been eliminated.

The Battle School kids are 14 or so now, and have all returned to Earth. Achilles (a failed Battle School student from the previous novel) works for Russia and is given a LOT of power. He orchestrates an operation to kidnap all of Ender’s jeesh from wherever they are in the world, then proceeds to convince these kids that they need to help Russia or rot in a cell where no one else can use them. I had tough time believing that this young man would be given authority to do what he does – what kind of government would give such power to a young teen? Even though history is full of young men in positions of great power, it didn’t ring true for me. The actions of all the other characters in the book were not problematic for me, but I couldn’t help but feel that Achilles just had too much authority, and I just couldn’t see adults readily giving that authority to someone that young.

The main character in the book, and in all the Shadowbooks, is Bean, who is a fascinating and engaging character throughout the series. He manages to figure out what’s going on before getting kidnapped himself, and thus starts the story.

The book switches point of view frequently, moving from Bean to Petra to Peter Wiggin. Scott Brick read the Bean chapters, Gabrielle de Cuir read the Petra chapters, and David Birney the Peter Wiggin chapters. Card provided plenty of dramatic moments in the novel for these performers, most notably the first meeting between Bean and Ender Wiggin’s mother, powerfully read by Scott Brick.

Card kept the scale of the novel both personal and global, and mentions Tom Clancy in his afterword as an influence. The book is an enjoyable addition to the Ender universe, and I’m eager to hear the next book, Shadow Puppets, when it is released. In fact, when it is, I may treat myself to the entire Shadow series again. They are superb productions, every one.

Audio Renaissance’s website has a page dedicated to the entire audio Ender series – find it here.

Posted by Scott D. Danielson

Review of Eye For Eye by Orson Scott Card

SFFaudio Audiobook Review

Eye For Eye
By Orson Scott Card; Read by Stefan Rudnicki with Margy Stein
3 CDs – 147 Minutes [UNABRIDGED]
Publisher: ReQuest Audiobooks
Published: 2005
ISBN: 1933299517
Themes: / Science Fiction / Society / Morality / Youth / Power /

“If you’re a half way decent person you don’t go looking to kill people. Even if you can do it without touching them. Even if you can do it as nobody even guesses they were murdered you still got to try not to do it.”

Mick Winger is only seventeen – and already he’s killed over a dozen people. Not on purpose of course; he never meant to hurt anyone. But when Mick gets angry, people die, even the people he loves the most. Set in the contemporary world, Mick is a godfearing young man with a mysterious power – the ability to kill people just by getting mad at them. He doesn’t want to kill people, but sometimes he gets mad and then they die of hideous cancerous tumors – sometimes fast, sometimes slow – depending on how mad he gets. The phenomena is explained by some “bio electrical field” handwaving on Card’s part but that isn’t the heart of the story. Mick’s been an orphan since the day he was born – even as a baby his uncontrollable power killed his caregivers. When he grew old enough to realize the danger he posed to others, he left the orphanage to get a job doing manual labour for a decent father figure. One day Mick finds himself unconciously withdrawing his meager savings and travelling to his birthplace – like a salmon going to spawn – but on the way he meets an older woman who knows his terrible secret. She tells him he doesn’t have to go and tries to persuade him to come with her instead. But Mick has other plans. He’ll go work for the CIA, make some good of his ability to kill. Of course Mick has forgotten even he has to sleep sometime…

I plain loved this book. Not only is the story told crisply and cleanly, but it also gets one doing some deep thinking. Mick’s gift/curse is almost the perfect allegory for gun control. Not even the most rabid NRA members would suggest it’s a good idea to give pistols to toddlers, and that’s basically Mick’s situation. He’s been given a weapon that is so a part of him that he can no more stop it than he can stop breathing. His emotions are tied into a hair trigger of killing. Pity even the most loved friend who is standing near when his emotions run hot. Orson Scott Card has tied this all in with what looks like a cross between an Old Testament inbreeding program and a fundamentalist militia.

This whole situation reminded me of a phrase Robert A. Heinlein once coined: “An armed society is a polite society.”* This concept has been much trumpted by the firearms lobby and Eye For Eye shows just what it would mean if it were practiced. If everyone was like Mick Winger, a community of the armed would also be a community of fear, where even constructive criticism is to be avoided at all costs lest someone take offense. Love thy neighbor doesn’t extend very well when thy neighbor demands the freedom to own nuclear weapons.

In this age of seemingly endless series, thousand page fantasy epics, and general fiction sprawl, it is wonderfully refreshing to listen to a short novel or novella. Request Audiobooks, a brand new player in the audiobook market, has dipped into Science Fiction and Fantasy’s glorious past for some wonderous tales that don’t require a forklift to enjoy. Eye For Eye was first published in Isaac Asimov’s Science Fiction Magazine, Mar 1987 issue, and in 1988 it won the Hugo Award for best novella. Then in November 1990 it was paired as half of the Tor Double Novel #27 with another novella by Lloyd Biggle Jr. (The Tor Doubles are for my money the very best modern treeware series published). For more than ten years this terrific tale sat out of print. Then ReQuest Audiobooks stepped up. And boy did they ever! ReQuest presents the novella in all its glory, and then some. They tapped master narrator Stefan Rudnicki to read it. Rudnicki who’s sonorant basso has performed more Orson Scott Card audiobooks than any other voice on Earth is perfect for the job. Then, they went to Orson Scott Card himself and had him write an original afterword just for the audiobook. To finish it all off, they commisioned some truly eye-catching art. This is my very favorite kind of audiobook. A short novel with an intriguing premise, bristling with driven characters, read by a talented narrator, and sporting a bonus feature. With a USA price point of just $14.95 for three CDs this is like a slice of audio heaven.

*-The quotation comes from the novel Beyond This Horizon by Robert A. Heinlein

Posted by Jesse Willis

Review of Wild Magic (The Immortals, Book 1) by Tamora Pierce

Wild Magic (The Immortals, Book 1)
by Tamora Pierce, read by Full Cast Audio
8 CDs – 8 Hours [UNABRIDGED]
Publisher: Full Cast Audio
Published: 2005
ISBN: 1932076832
Themes: / Fantasy / Magic / Wizardry / Youth / Magical Creatures / Horses /

In Wild Magic’s Book One: The Immortals, Tamora Pierce has created a cast of strong women and made a world in which they fit naturally. The whole book takes place from the point of view of Diane (Carmen Viviano-Crafts), a young girl escaping from a dark secret in the highlands. Daine hires on with a horsetrader, Ouna (Raquel Starace) How delightful to meet a female horsetrader in a fantasy novel. Too often, such strong female characters overplay their roles but each of the characters in Wild Magic seems balanced and very real. So it troubles me that I felt like Ms. Pierce was playing games by withholding information that Daine surely knew, especially because she does such a delightful job at inviting me into Daine’s thoughts.

I do not mind the tension she tried to create by keeping Daine’s “dark secret” from me at the beginning, but after a time, it began to wear on me. I spent chapters hearing Daine’s thoughts about how she had to escape her past, without ever knowing what that past was. I finally discovered that she had gone mad and was afraid that it would happen again. Once I knew that, I was able to really worry with Daine. But poor Daine wouldn’t tell her friends what was bothering her. While I can understand her reluctance, as the book continued she was given no reason to continue hiding her secret and plenty of reasons to ask for help. When she finally does reveal her past in all its gory detail, Numair the Mage, basically says, “Oh, well I can fix that.” And does, in two sentences.

So, after all of that build up, Daine’s problem is solved with, almost literally, the wave of a magic wand.

In a similar vein, I listened to paragraphs of buildup as something was attacking the band of travellers over the water without having a clue about what it was. I knew everyone was preparing for an attack. I knew people were frightened, but I had no idea why. It turned out to be a gryphon that Daine was able to befriend.

With that said, the world of Wild Magic is fascinating. I am curious about which of the threads in this volume will carry over to the next books. Many of the scenes were resonant with emotion, I just wish I hadn’t had to guess what was happening in so many of the others.

Full Cast Audio does a fantastic job of bringing Ms. Pierce’s book to audio life. In particular, I need to note Daniel Bostick who played Numair the Mage. His voice built pictures in my head every time his character spoke.

Posted by Mary Robinette Kowal

Review of Harry Potter and the Half-Blood Prince by J.K. Rowling

Harry Potter and the Half-Blood Prince
By J.K. Rowling; Read by Jim Dale
17 CDs – 19 hours [UNABRIDGED]
Publisher: Listening Library
Published: 2005
ISBN: 0307283658
Themes: / Fantasy / Magic / Wizardry / Youth / Magical Creatures / School /

At this point, the Harry Potter universe has become so entrenched in our culture that it’s impossible to approach the newest installment of the series, Harry Potter and the Half-Blood Prince, with anything like objectivity. Most readers already care so much about Harry and his associates that the reading experience has become less like enjoying a good novel and more like continuing the biography of a good friend or beloved celebrity. Which isn’t to say that The Half-Blood Prince isn’t a good novel; on the contrary, it ranks right up there with The Prisoner and Azkaban and The Goblet of Fire, and is a damn sight better than 2003’s gloomy and ultimately disappointing The Order of the Phoenix. For those of us who feel better when things are given in Star Wars terms, The Half-Blood Prince is most similar to The Empire Strikes Back; it advances and complicates our views about the series and its characters, while apparently moving backward from the hero’s inevitable triumph over the villain.

In The Half-Blood Prince, author J.K. Rowling maintains her own tradition of opening the novel without the titular hero in sight. In this case, the muggle Prime Minister of England is anxiously awaiting a visit from the Minister of Magic and reminiscing about their previous, mostly unpleasant, meetings. When Cornelius Fudge arrives, he brings news that the wizarding world is in an uproar; Lord Voldemort is apparently growing more and more powerful, Voldemort’s followers, the Death-Eaters are becoming more brazen in their attacks, and wizards, witches, and muggles are all at increasing risk of severe harm or death.

While Rowling never mentions real-world events in the books, the tone and situations of the two novels published since 9-11 indicate that the world inside her head is not completely insulated from the world outside. It’s telling of Rowling’s own views that the Ministry of Magic is, at best, ineffectual in dealing with these threats, and is often outright dangerous; in The Half-Blood Prince, the Ministry of Magic detains individuals it knows to be innocent, in order to give the appearance of making some progress against the enemy.

The initial expository scene, combined with a tantalizingly ambiguous revelation about one of the Hogwart’s professors, makes for such a dark opening that it’s an almost tangible relief when Harry finally makes an appearance. The likeable young wizard is now 16 years old, and Rowling has again taken pains to ensure that the novel has matured along with Harry. Passages dealing with the magical comeuppance of the Dursleys, the pointless ins and outs of Quidditch matches (why bother with anything but the snitch?), and the minutiae of wizard candy are fleeting and widely spaced, while more chapters are devoted to fairly violent magical battles (a faithful movie adaptation could very well garner an “R” rating), career counseling, and “snogging,” (making out, for those of us on the Yankee side of the pond).

Once the novel starts in earnest, Rowling doesn’t stray from Harry’s point of view, but she cheats somewhat by using the “pensive,” a magical device that allows Harry to explore the memories of others. The pensive is put to good use in the book, as its main function is to investigate the background of “He-who-must-not-be-named.” Readers who are hoping for a complicated, even sympathetic, take on Lord Voldemort (ala Thomas Harris’s Red Dragon) will be disappointed. It turns out that Voldemort is just plain bad, always has been, and apparently, always will be. More psychopath than sadist, Voldemort never hurts or kills just for enjoyment, his villainies are always means to an end. Voldemort’s particular brand of evil means that the guilt that might be expected to accompany these activities just isn’t there.

Other magical items are used less effectively in the story. An episode involving a bottle of “liquid luck”, called “felix felicis,” (the letters of which do not rearrange to spell deus ex machina) feels so contrived, requires a such a lengthy and complicated set-up, and requires Harry, Ron, and Hermione to act so outside their characters, that it’s one of the few times the book feels like something that somebody made up, rather than a description of actual events.

All told, however, the sixth installment in the Harry Potter series is excellent, and the unabridged recording of the novel makes for a very enjoyable listen. The folks at Listening Library made an inspired choice when they chose Jim Dale to read The Sorcerer’s Stone, and, five books, two Audie Awards, five Headphone Awards, three Grammy nominations and one actual Grammy later, his performance of The Half-Blood Prince is, to borrow a word from Harry, brilliant. Even without sound effects, music, or multiple actors, The Half-Blood Prince plays like a good BBC radio drama. Dale lends nuance and individuality to each of the characters, while his “normal,” narration voice is dignified, yet accessible. Dale also has an uncanny knack for interpreting speech adverbs; where Rowling writes “reprovingly,” or “reminiscently”, Dale puts reproach or reminiscence into the dialogue, so much so that very often the listener will be able to predict Rowling’s choice of adverb before Dale reads it. Maybe the highest compliment that can be paid to the audio book is that at no point is the reader reminded of the sub-par (but increasingly better) film adaptations of the books. While listeners who desire an experience closer to reading, with more neutral performances that allow for more personal interpretation, might resent having Dale’s vigorous interpretation thrust upon them, most listeners, particularly younger ones, will enjoy all 19 hours of Harry Potter and the Half-Blood Prince.

posted by Cory

Review of Ender’s Game and Speaker for the Dead by Orson Scott Card

SFFaudio Review

Science Fiction Audiobooks - Enders Game by Orson Scott Card Ender’s Game
By Orson Scott Card; Read by Stefan Rudnicki, Gabrielle De Cuir, David Birney and others
10 Hours [UNABRIDGED]
Publisher: Fantastic Audio
Published: 2002
ISBN: 1574535145 (Cassette) – 1574535366 (Audio CD)
Themes: / Science Fiction / Military / Space / Youth / Politics / Aliens /

Science Fiction Audiobooks - Enders Game by Orson Scott Card Speaker for the Dead
By Orson Scott Card; Read by Stefan Rudnicki, Gabrielle De Cuir, David Birney, Scott Brick, and others
14 Hours [UNABRIDGED]
Publisher: Fantastic Audio
Published: 2002
ISBN: 1574535153 (Cassette) – 1574535609 (Audio CD)
Themes: / Science Fiction / Military / Space / Politics / Alien races / Religion /

Orson Scott Card wrote a pair of novels in the 1980’s that swept both the Hugo and Nebula Best Novel awards two years in a row (1986 and 1987 Hugo, 1985 and 1986 Nebula). These two novels are Ender’s Game and its sequel, Speaker for the Dead.

These books were released previously in abridged editions, which can still be found out there, but these Fantastic Audio unabridged editions completely eclipse those in both quality and content. They are multi-voice recordings, but not of the type where several actors take parts and speak for certain characters. Instead, the narrator changes with point-of-view changes in the novel, which occur chapter to chapter. I found this extremely effective with these novels. These unabridged editions also contain material read by Orson Scott Card, explaining the origins of the novels.

Ender’s Game takes place after a war between Earth and a race of aliens called “The Buggers” by most of humanity. Earth was saved during that war by the decisions of a brilliant military man named Mazer Rackham. The powers that be on Earth decide that the Buggers are definitely going to return, and immediately start searching for the next military genius. Ender Wiggin, 6 years old, is a boy they think might be the one.

Speaker for the Dead is a completely different kind of novel, both in subject matter and tone. Ender Wiggin is now a bit older, but still reeling from events in the previous novel. He visits a planet named Lusitania, where mysteries abound among the indigenous alien race on the planet and one particular family that studies them.

Both of these audiobooks are first-rate. The narrators do an excellent job telling the stories, which translate very well into unabridged audio. Though tastes certainly vary, Ender’s Game is consistently mentioned as one of the finest works of science fiction, and this audio version is an excellent way to experience it, or re-experience it.

Both of these audiobooks are available on audio cassette, audio CD, or for download at Audible.com.

Posted by Scott D. Danielson