Talked about on today’s show:
Jesse is not a series guy, excellent book, great book, Paul enjoyed it a lot, why haven’t I read this sooner?, The Mourner, cassette change over points, very nostalgic, the narrator Michael Kramer, a one trick pony, fewer adjectives and adverbs, The Hunter, the back story (before the bandages came off), the wife, The Ringworld Engineers, crime habits, he needs some money, a lot of humor, dry humour, all the characters, I’ll get your face back, Handy McKay, when he buys cigarettes from a vending machine, did he light a match on his tooth?, half-lit, when Westlake makes a character, there are no wallpaper characters, are you Sarah Connor?, Charles Wells, very Westlake, so clean and well defined, they know and do what they want, the book’s structure, easier to read on the page than to hear, what about the philosophy?, more of the same, not wanting more of the same, going for ideas, reading westerns, romance, wish fulfillment, Mike Resnick, digestible dialogue driven storytelling, we like Parker, of course he’s a murderer and a thief, a liar, his real name, his Florida hotel name, utterly transformative plastic surgery, it’s science fictional!, the symmetry, you’re still you, taking on the mob, a kind of growth, how Parker talks about Handy McKay, The Steel Hit, he doesn’t know himself, Alma the waitress (aka the Finger), Skim, funny names, he doesn’t know what he’s done, reflection, I’m going to be a better person everyday, we need to admire, different values, willing to kill for goals, an internal set of rules that he respects, the bowling theory of book writing, Stubbs was heroic in his folly, when his thoughts ran through his mind like they were on wheels, a deep philosophy, The Philosophy Of Parker, epicureanism, pleasure as the greatest good, a hooker, men by paperbacks and women by hardcovers, Marcus Aurelius’ Meditations, living through the pain that is reality, stoicism, get used to it, deal with it, get past it, increasing the pleasure of the little things, an interlibrary loan from the Yukon, appreciating the local detail, New York, New Jersey, Staten Island, scrubby sandy, set in an area Paul recognized, going with the getaway face, Westlake would winter, a tour of the whole east coast, North Carolina, “hey budd-eh”, a great no-shit guy, he’s not a superhero, he’s canny, how did he finance the job?, he’s lying to everybody all the time, a professional problem, some range for motion, some sort of efficiency, fingerprints, bad hombres, the cop never shows up again, crime seems easy, what’s up with the coins?, Payback is an adaption of the The Hunter, you can’t trust the police, you can’t trust the government and you can’t trust your family, “Trust no one!” Cobra Commander, a mirror face, the podcast went in a weird direction, caring about laws, all about efficiency, why does he keep robbing, owning a bunch of businesses around the country, Parker parked the car, how many reasons for the title?, getting away with the head, The Outfit, the syndicate, Robert Duvall, 13 Dresses, The Mourner, The Score, an Alan Arkin movie, The Jugger, The Seventh, changing policies, he trusted the doctor, I get so few patience, everybody in the world is broken, refining an outlook, Westlake is mad at Stark, trusting Alma, Parker doesn’t need the money, you have to do what you’re good at, The Handle, working in big groups, The Rare Coin Score, numismatists, The Green Eagle Score, The Black Ice Score, The Sour Lemon Score, Deadly Edge, Slayground, Butcher’s Moon, Comeback, Backflash, Flashfire, Firebreak, Breakout, Nobody Runs Forever, Ask The Parrot, Parker has no sense of humour, the Dortmunder series, the Grofield series, Jimmy The Kid by Donald Westlake, excerpts from a fake Richard Stark Parker novel called Child Heist, Gary Coleman, Nine Princes In Amber by Roger Zelazny, an homage to Donald Westlake, clippy dialogue, Lawrence Block, when Westlake quit Science Fiction, the Hard Case Crime website, how I found Westlake and Stark, the one thing we know about readers…, one heist per TV season, Leverage, the Gravedigger webcomic, everybody wants to get in on the action, Fifty Years of Parker, Parker’s rules, any rule can be broken, a guy named Mal turned out bad, “When a fresh-faced guy in a Chevy offered him a lift, Parker told him to go to hell.”, “When the bandages came off, Parker looked in the mirror at a stranger.”, Spearhead From Space, “when” puts you right into the middle of the action, right back to The Odyssey, Parker on a boat, a Casino off the coast of Cuba, high concept, two-fisted action, he’s come back from the dead, winking at you in every scene, driving, compartmentalizing her life, the best opening line of a book ever: “When the phone rang, Parker was in the garage, killing a man.”, and then the murders began, forest fire, a snitch in the game, they need socialization, very modern, in the army during WWII, how old is Parker?, like Archie Andrews, he’s always in his prime, Prince Corwin, like Batman, he’s always with us, his superpower is he’s all about efficiency, seeking out crime, I appreciate you appreciating it, Aural Noir, running two websites that were virtually identical, Block inhabits a world I don’t inhabit, a lucid world, there are always the same people in every job, completely universal, The Breakfast Club, seedy and exciting, Protector, the books were thin and the ideas were long, Stephen King and his success, 175 pages, Leon Uris, 35¢, double features, what does Parker think about when watching these movies, there’s something wrong with him, he lies to everybody except for himself, “self-contained”, unconscious, kind of like an actor, playing a role, Skim, falling apart, the clinic, fear of losing your stuff, so much is falling apart, is it the world, the swampland in Flordia, cellies, trying to have a conversation, there’s no point in telling this guy, a brutal horrible world, a horror not usually expressed in novels, what’s going to happen next action, doing whatever he wanted, it really isn’t about the money, it’s like he’s trying to get rid of it, what he tells himself, the point of existence, what are you gonna do?, Skim is a pathetic version of Parker, it hardened him, a shark constantly moving and feeding, a death wish?, sloppiness, without a purpose, his elevens were up, Charles Wells’ retirement, Lawrence Block is always retiring like Handy McKay, unfinished Westlake or Stark?, writing like role playing, such a high output, Philip K. Dick, Robert Silverberg, Sir Arthur Conan Doyle, three months for The Sign Of The Four, a great book.
Posted by Jesse Willis
Frank Semyon, the criminal businessman from season 2 of True Detective, has a fantastic character arc.
And, like season 1 of True Detective, season 2 is also connected to a weird fiction story by Ambrose Bierce.
For season 1 it was An Inhabitant Of Carcosa (read my post on it HERE).
In season 2 it was An Occurrence At Owl Creek Bridge (we’ve done a podcast about this one).
So, do you remember the story that Frank (played by Vince Vaughn) tells his wife, Jordan, at the beginning of season 2’s second episode?
Here’s the scene:
Frank and Jordan are lying next to each other in bed.
FRANK: How’d a water stain get there?
Camera cuts up to two brown stains on the ceiling above Frank.
FRANK: It rained maybe twice this last year. It’s like everything’s papier-mache.
JORDAN: Stop thinking.
FRANK: I don’t like being on a ledge.
FRANK: My old man back in Chicago, when I was a kid… (laughs) he used to lock me in the basement when he’d go on a bender. Usually last the night. Let me out the next day. Thought he was keeping me safe, I guess. This one time, I was six – he puts me down there. I wake up and it’s locked. It had happened before. Anyways, so I guess he ended up arrested, I guess.
JORDAN: God, baby.
FRANK: Well, by the second morning I was out of food. The third day the light bulb burnt out. Pitch black in there. That’s when the rats started coming out. I dozed off and I felt a thing nibbling my finger. I woke up, it was, you know, chewing my finger.
JORDAN: What did you do?
FRANK: I grabbed it in the dark with my hands, I started smashing. And I just kept smashing it until it was nothing but goo in my hands. Two more days I was in there. In the dark. ‘Til my dad comes home.
JORDAN: Sometimes I wonder how many things you have like that. That I don’t know about.
FRANK: Ever since, I wondered: what if he never comes home? What if I’m still in that basement in the dark? What if I died there? That’s what that reminds me of.
FRANK: The water stain. Something’s trying to tell me that it’s all papier-mache. Something’s telling me to wake up, like… like I’m not real. Like I’m only dreaming.
Then in the final episode of season 2, episode 8, in his last scene, Frank hears Jordan’s voice, then sees her standing there, in that white dress – the one he had her promise she would wear – and him, standing before her, wearing a white shirt soaked in blood (like the “red rose” he had promised her that he would wear).
And the lines:
[FRANK IS BLEEDING, LIMPING THROUGH THE DESERT]
JORDAN: Hey there handsome.
FRANK: You made it! You okay?
JORDAN: Did. Fine. I’m safe.
FRANK: I’m coming, hold up.
JORDAN: Whats a guy like you doing in a place like this?
FRANK: [WALKING EASIER NOW] Just making my way baby. I told ya, Id make it.
FRANK: You did. You made it. You can rest now.
FRANK: No rest. Never stop moving.
JORDAN: Babe, oh babe – you stopped moving way back there.
Earlier in episode eight, do you remember where Frank said he’d meet Jordan?
Yeah. And though we never see them meet there Frank was very specific, saying they’d meet in a park called “Obelisco” in “Barquisimeto” (Venezuela).
Here’s what “Obelisco” in Barquisimeto looks like:
Frank’s story is the story of An Occurrence At Owl Creek Bridge!
Posted by Jesse Willis
The Magician’s Lie
By Greer Macallister; Performed by Nick Podehl and Julia Whelan
Publisher: Brilliance Audio
Publication date: 13 January 2015
[UNABRIDGED] – 11 hours
Themes: / magician / illusion / crime / unreliable narrator /
Water for Elephants meets The Night Circus in The Magician’s Lie, a debut novel in which the country’s most notorious female illusionist stands accused of her husband’s murder—and she has only one night to convince a small-town policeman of her innocence. The Amazing Arden is the most famous female illusionist of her day, renowned for her notorious trick of sawing a man in half on stage. One night in Waterloo, Iowa, with young policeman Virgil Holt watching from the audience, she swaps her trademark saw for a fire ax. Is it a new version of the illusion, or an all-too-real murder? When Arden’s husband is found lifeless beneath the stage later that night, the answer seems clear. But when Virgil happens upon the fleeing magician and takes her into custody, she has a very different story to tell. Even handcuffed and alone, Arden is far from powerless—and what she reveals is as unbelievable as it is spellbinding. Over the course of one eerie night, Virgil must decide whether to turn Arden in or set her free…and it will take all he has to see through the smoke and mirrors.
The description for this book says it’s a blending of Water for Elephants and The Night Circus but I really get much Night Circus from this. It really was more The Prestige (movie version) in a Water For Elephants setting because it’s all about a traveling illusionist. The description had me expecting more in the realm of fantasy but I still enjoyed it over all. While not a big part of the book, this isn’t for the squeamish as there were a few moments that I almost turned it off because of some sadistic/masochistic moments and female assault in the book.
Why is this book more like The Prestige than The Night Circus? The Night Circus had fantastical, unexplained magic happening while The Prestige is all about illusionists who are competing for audiences. There are several illusions described in this book that got me thinking about The Prestige. Another big element in here was the unreliable narrator. Much of the book is a frame story told from the perspective of the main character in the first person so you are often wondering if what they’re telling is true…just like in the movie version of The Prestige (the book was a bit different).
As for the audio side of things, the narrator performance was passable but nothing fancy. Julia Whelan has a neutral, flat tone that I didn’t like so much at first but I acclimated to as the book went on. Nick Podehl did a good job but wasn’t what I hoped for from him compared to others I’ve heard him narrate. I could go either way on recommending this for audio or paper, but the usage of two narrators for a frame story is pretty nice; especially since each part is from a different persons perspective so that the voice of the narrator is essentially their voice.
Posted by Tom Schreck
Themes: / future / time travel / drugs / veterans / crime /
Where Flynne and her brother, Burton, live, jobs outside the drug business are rare. Fortunately, Burton has his veteran’s benefits, for neural damage he suffered from implants during his time in the USMC’s elite Haptic Recon force. Then one night Burton has to go out, but there’s a job he’s supposed to do – a job Flynne didn’t know he had. Beta-testing part of a new game, he tells her. The job seems to be simple: work a perimeter around the image of a tower building. Little buglike things turn up. He’s supposed to get in their way, edge them back. That’s all there is to it. He’s offering Flynne a good price to take over for him. What she sees, though, isn’t what Burton told her to expect. It might be a game, but it might also be murder.
Reading a new William Gibson novel is both delightful and exciting. He delights with the cool, sardonic yet imaginative visions of the present and future. He excites with his uncanny glimpses of the future, grounded in canny selections from our time.
The Peripheral offers another pleasure, that of Gibson trying something new. His recent brace of novels looked at the very near future, each following a normal linear path. His classic cyberpunk or Sprawl trilogy envisioned a medium-term future, also tending to thriller linearity.
But in The Peripheral we see a very different conceit and narrative structure. This novel relies on two timelines, one in the near-to-medium term future, and one almost a century away. At first we follow these in parallel, trying to infer connections. Then we learn that the further-along future has discovered a form of time travel – well, information exchange with the past, to be precise. The far-future signals the closer-to-us future, and has a proposition. Or two. Then more, which aren’t propositions but assassinations.
This dual-track time-travel-ish idea owes much to Gregory Benford’s 1980 novel Timescape. Other parallels appear; see spoiler section at the bottom of this post.
The future-near-to-us characters are also the more sympathetic. They focus on a young, poor Southern woman, Flynn Fisher, and her family. They live in a postwar backwater, where the economy barely exists apart from illegal drug manufacture. Flynn helps her vet brother, Burton, with an online job and witnesses what seems to be a strange murder. In the future-farther-away we see a PR flack, Wilf Netherton, working with a Russian crime family and their staff. Wilf has made an unspecified bad move, and is trying to improve his situation.
The plot ratchets up slowly and steadily to climax in a party, where multiple schemes intersect. Some, not all, is revealed, and the Fishers end up alive, very rich, and with a powerful edge on their present. Wilf somehow survives, and ends up in a relationship. This is too brisk and cursory a summary, but will do for now.
One of the pleasures of reading William Gibson is tracking his experimental words and phrases. These are concentrated projections of a possible future. Let me list some that caught my eye: klepts, artisanal AIs, battle-ready solicitors, court-certified recall, the viz, hate Kegels, autonomic bleedover, continua enthusiasts, drop bears, period trains, neo-primitivist curators, quasi-biological megavolume carbon collectors, heritage diseases, directed swarm weapons, a synthetic bullshit implant, surprise funeral, mofo-ettes, and a neurologer’s shop. One near-future treat is the “freshly printed salty caramel cronut”.
Some of today’s words mutate in these two futures. For example, poor folks don’t cook, but build drugs with some form of 3d printers. “Homes” refers not to homies or residences, but to Homeland Security. A very bad crisis happened between now and 2025 or so. People afterwards refer to it as the Jackpot.
Some of the language is simply cute. One character has her name changed slightly, and refers to it as “amputating the last letter of her name.” Another speaks of “cleaning up the afterbirth of Christmas ornaments”. The Fisher family shops at a Hefty Mart.
In a sense The Peripheral is Gibson’s gloomiest novel. Like the recent film Interstellar (my notes), this story begins in a bad situation, then gets worse. The Fishers are poor and ill (the brother has seizures, the mother seriously ailing) in a society that clearly doesn’t care for them at all. Their story reads like something from a late 19th-century Southern backwater, or like today’s worst countryside. Characters have little help for the future. What we learn about the Jackpot not only makes things horrible, but sets up a future that’s inhumane. Across all of these times looms the specter of vast economic inequality, of a society caring only for the <1%.
There is a powerful sense that the far-future is a kind of 1% taken to an extreme: a lonely elite, casually breaking off temporal worlds as a hobby, easily committing murders. Our lack of information about the world around London’s far-future elite disturbs me, the more I think of it. Conversely, the far-future world is situated in such total surveillance that they see our/Flynn’s sense of surveillance as charmingly antique.
Overall, The Peripheral offers solid future thought in an engaging narrative. Recommended.
I didn’t read this one, but listened to it on audiobook. Lorelei King was the reader and did a fine job, with the whole file running a touch over 14 hours. King does different nationalities well, which matters in the kind of multinational world Gibson loves. She reads with the right level of cool, too – not a thriller’s burning pace, but with a kind of observation acuity that I always associate with Gibson.
Here I reveal mysteries of the novel. Do not read any farther if you wish your brain to remain unsullied.
Here they come:
First, more on the plot: one agency in the far-off future is manipulating the past for its own reasons, and hires the Fishers as proxies. Another far-off-future group hires others to kill the Fisher family. Ainsley Lowbeer, a London cop, or something like that, appears in the far-future, with unusual connections to the Fishers’ time. Flynn and Burton are able to interact with their far-future employers via telepresence robots, the titular peripherals. Wilf explains the Jackpot to Flynn, describing a series of interconnected, overlapping crises that killed the majority of humans:
droughts, water shortages, crop failures, honeybees gone like they almost were now, collapse of other keystone species, every last alpha predator gone, antibiotics doing even less than they already did, diseases that were never quite the one big pandemic but just big enough to be historic events in themselves…
Flynn also learns that by intervening in her time, the far-future team has effectively broken off her world from the stream of time, creating a “stub” which can’t affect their future, and avoiding neatly some classic time travel problems.
Second, how does this gloomy novel end, then? Ah, it’s a happy ending, pretty much, although we don’t learn enough about what happens in the future. We – well, the Fisher stub – get to avoid the Jackpot. Whew!
But Gibson doesn’t want us to relax. Note his comments in a Tor interview:
there may be readers who get to the end and they go, “oh, well, that’s okay, everything worked out for them!”
… But these guys had an immensely powerful—if possibly dangerously crazy—fairy godmother who altered their continuum, who has for some reason decided that she’s going to rake all of their chestnuts out of the fire, so that the world can’t go the horrible it way it went in hers. And whatever else is going to happen, that’s not going to happen for us, you know? We’re going to have to find another way. We’re not going to luck into Lowbeer.
Worse, the Fishers seem like good folks. But what will keep them (or their inheritors) from becoming klepts, with their vast power and advantages?
So this book ends up as a cautionary tale, a huge warning, and a goad to get us hauling ourselves away from the Jackpot.
Third, I mentioned earlier that The Peripheral has links to Benford’s Timescape. Benford’s future world is facing an existential crisis, due to events occurring in the past, so they reach out to communicate with the past to get them to change their ways. Gibson’s far-future has already experienced the Jackpot, but some of the survivors want to change the past to mitigate the experience. I dimly recall Benford’s future coming to an end, somehow, and the past branching off into a new, better world. This recalls Flynn’s world cutting its way into a different, hopefully non-Jackpotted world.
Posted by Bryan A.
Veronica Mars: The Thousand-Dollar Tan Line (Veronica Mars #1)
By Rob Thomas and Jennifer Graham; Read by Kristen Bell
Publisher: Random House Audio
Publication Date: 25 March 2014
[UNABRIDGED] – 8 hours, 42 minutes
Themes: / crime / mystery / kidnapping / girl detective / spring break /
From Rob Thomas, the creator of the television series and movie phenomenon Veronica Mars, comes the first book in a thrilling mystery series that picks up where the feature film left off.
Ten years after graduating from high school in Neptune, California, Veronica Mars is back in the land of sun, sand, crime, and corruption. She’s traded in her law degree for her old private investigating license, struggling to keep Mars Investigations afloat on the scant cash earned by catching cheating spouses until she can score her first big case. Now it’s spring break, and college students descend on Neptune, transforming the beaches and boardwalks into a frenzied, week-long rave. When a girl disappears from a party, Veronica is called in to investigate. But this is no simple missing person’s case; the house the girl vanished from belongs to a man with serious criminal ties, and soon Veronica is plunged into a dangerous underworld of drugs and organized crime. And when a major break in the investigation has a shocking connection to Veronica’s past, the case hits closer to home than she ever imagined.
This is a book for Veronica Mars fans, to listen to after seeing the crowd-funded movie (I watched it last weekend and was not disappointed! While I’ve been watching Kristen Bell’s new show, House of Lies, I miss Veronica and her many mishaps). The story picks up a few months after the movie ends, and Veronica is still in Neptune when a college student disappears during the Spring Break season.
Logan is missing for the entire story (for reasons the movie details) but another person from Veronica’s past shows up that I wasn’t expecting to see again. I hope in the future we see more new characters because I personally am getting a little weary of some of the same old people, but maybe I do not fully appreciate the importance of repetition in a girl detective narrative.
The audio is great fun because it is read by Veronica herself, Kristen Bell. Her voice carried us through the narration of the tv show and movie, and having anyone else read the book would have been a real tragedy. She does different voices for the characters, as well as distinguishing the narrative voice from the character of Veronica Mars. I hope they continue to have her read the future Veronica Mars audiobooks (and I hope there will be future Veronica Mars books).
Posted by Jenny Colvin
The SFFaudio Podcast #254 – The Anticipator by Morley Roberts; read by Mr Jim Moon. This is a complete and unabridged reading of the short story (17 minutes) followed by a discussion of it. Participants in the discussion include Jesse and Mr Jim Moon!
Talked about in this episode: Story “found through a route obscure and lonely” via Arthur C. Clarke’s A Recursion in Metastories; H.G. Wells; story anthologized in time travel collection; Morley Roberts popular in The Strand magazine right alongside H.G. Wells and Arthur Conan Doyle; a story about the writer’s life; serialized fiction in the Victorian era; Victorian writers crossed genres more frequently; ornate, flowery writing style; invoking the ancestors and collective race memory; names in the story; ESP; main character is a drug addict “of the Holmesian school”; metafiction; William Williamson; semiautomatic writing; writing, sleep, and the subconscious; fiction as an escape; recursion in the story; The Food of the Gods (both the novel by H.F. Wells and the short story by Arthur C. Clarke); variations in writerly productivity; The New Accelerator by H.G. Wells; Philip K. Dick’s frenetic drug-fueled writing schedule; modern books are less thought-provoking and don’t age well; The Land of the Ironclads by H.G. Wells; the metaphor of gemstones as writing and the importance of metaphor in general; Mr. Jim Moon debunks the “cult of personality”; Stephen King’s Danse Macabre: “talent is like a knife”; Jesse thinks NaNoWriMo is a bad idea; Ted Chiang; Harlan Ellison’s as-yet-unpublished third volume of Dangerous Visions.
And check out the wonderful two-page doodle of the story by the amazing Samantha Wikan, it’s below!
Talked about on this episode:
Posted by Jesse Willis