Based on the short story by Clifford D. Simak; Adapted by George Lefferts; Performed by a full cast
1 |MP3| – Approx. 30 Minutes [RADIO DRAMA]
Broadcast: February 22, 1956
Provider: Internet Archive
A spaceship finds some strange artifacts from an unremarkable planet. But when the crew tries to take off they find that they’ve forgotten how to fly the ship.
First published in Galaxy, May 1953.
Though the original story is still under copyright in the United States the X Minus One adaptation (above) and the original Don Sibley illustrations, from Galaxy, May 1953, (below) are in the PUBLIC DOMAIN.
Posted by Jesse Willis
Talked about on today’s show:
The audiobook, Recorded Books, the appendix, The Lord Of The Rings, the feeling in your right hand, a dream-like book, Room 101, a disjointing of time, Infinite Jest by David Foster Wallace, Signet Classic, already a member of the Junior Anti-Sex League at 12, a 1971 sex drive, memory, Winston Smith’s obsession with the past, the three traitors, the Soviet Union as applied to Britain, show trials, it is so effective, The Running Man is a prole version of Nineteen Eighty-Four, “WHITMAN, PRICE, AND HADDAD!!! You remember them! There they are now, BASKING under the Maui sun.”, down the memory hole, the brutality of the movies and the applause of the audience, the crushing of weakness, the terrible children, the 1954 BBC TV version starring Peter Cushing, Winston’s own memories of his childhood, did Winston kill his sister, his bowels turn to water when he see a rat, the return of the mother, a bag of decay, the 1984 version of 1984, John Hurt looks like he was born to play Winston Smith, is it Science Fiction?, dystopia, does this feel like Science Fiction?, Social Science Fiction, If This Goes On… by Robert A. Heinlein, Animal Farm, Goldstein’s Book, the re-writing of history, collapsing the vocab, The Languages Of Pao by Jack Vance, Babel-17 by Samuel R. Delany, The Embedding by Ian Watson, Isaac Asimov’s review of Nineteen Eighty-Four, Orwell imagines no new vices, WWIII, in regular SF we get used to a lack of motifs, the coral, the memories, the place with no darkness, everything is recycled in a dream and people merge, in dream logic 2+2 can equal 5, reduction of the world and the self, Brave New World by Aldous Huxley, soma, The Hunger Games, Wool by Hugh Howey, cleaning day, grease, transformed language, a crudboard box, euphony, a greasy world, a comparison to We by Yevgeny Zamyatin, We The Living by Ayn Rand, Harcourt Brace, Politics And The English Language by George Orwell, V For Vendetta, Norsefire vs. IngSoc, a circuitous publishing history, crudpaper, prole dialect, part dialect, New Speak, military language, Generation Kill, military language is bureaucratic language, Dune by Frank Herbert, Battle Language, private language, Brazil, the thirteen’s hour, The Canterbury Tales by Geoffrey Chaucer, victory means shit, Airstrip One, speakwrite, Star Wars, careful worlding, a masterwork, a transformation and an inoculation, watch 1984 on your phone while the NSA watches you watch it, North Korea, “without getting to political”, 2600‘s editor is Emmanuel Goldstein, the traitor Snowden, that’s what this book is, it’s political, The Lives Of Others, hyper-competent, the bedroom scene, “We are the dead.”, how did the picture break off the wall, dream-logic, Jesse knows when he’s dreaming, if you dream a book you must generate the text, dreaming of books that don’t exist, a great sequel to Ringworld?, The Sandman, “We shall meet in the place where there is no darkness.”, O’Brien, Martin, the worst thing is you can’t control what you say when your sleeping, uncanny valley,
Whatever it was, you could be certain that every word of it was pure orthodoxy, pure IngSoc. As he watched the eyeless face with the jaw moving rapidly up and down, Winston had a curious feeling that this was not a real human being but some kind of dummy. It was not the man’s brain that was speaking, it was
his larynx. The stuff that was coming out of him consisted of words, but it was not speech in the true sense: it was a noise uttered in unconsciousness, like the quacking of a duck.
Polar Express, the book within the book, high end books, Fahrenheit 451 by Ray Bradbury, is London the capital of Oceania?, the value of the book, Stephen Fry’s character, a book that tells you only things you already knew, The Man In The High Castle by Philip K. Dick, the possibilities of other books, supercharged moments in movies, Twelve Monkeys, Dark City, Book Of Dreams, utopias within dystopias, reading in comfort and safety, the golden place, Julia is a pornosec writer, Robert Silverberg, Lawrence Block, Donald E. Westlake, Marion Zimmer Bradley, The Processed Word by John Varley, Russian humor, is there really a war?, power is the power to change reality, Stephen Colbert’s truthiness, doublethinking it, the proles seem to be happier, feeling contempt, lottery tickets depress Jesse, “renting the dream”, the proles are obsessed by lotteries, who is the newspaper for?, the chocolate ration, Larry Gonick’s The Cartoon History Of The Universe, how stable is Oceania?, guys and Guy, how stable is North Korea?, Christopher Hitchens, there’s no hope in 1984, the subversion mechanism has been subverted, changing human behavior, Walden Two by B.F. Skinner, Faith Of Our Fathers by Philip K. Dick, genocide, racial purity, are they bombing themselves?, where does Julia get all her treats?, utopia is a nice cup of coffee, The Principle Of Hope by Ernst Bloch, what’s missing from your life comrade?, is Julia playing a role?, she’s the catalyst for everything, misogyny vs. misanthropy, Nietzsche’s master morality slave morality, political excitement is transformed into sexual excitement, ‘I have a real body it occupies space (no you don’t you’re a fictional character)’, Julia’s punk aesthetic, I love you., she’s the dream girl, the romantic couple that brings down the bad order, The Revolt Of Islam by Percy Bysshe Shelley, Pacific Rim, The Matrix, Equilibrium, Mephistopheles, Mustapha Mond, Jesse thought she was in on it, the prole lady out the window, nature, ragged leafless shrubs, nature has been killed, the Byzantine Empire, the Catholic Church, cult of personality vs. an idoru Big Brother, Eurythmics, we’re nostalgic for the Cold War, the now
iconic ironic 1984 Apple commercial, dems repubs NSA, has Britain been secretly controlling the world using America?, George Bernard Shaw, society and politics, SF about the Vietnam War, petition for and against the war, Judith Merril, The Forever War by Joe Haldeman, The Handmaid’s Tale by Margaret Atwood, China.
Posted by Jesse Willis
By Philip K. Dick; Performed by Phil Gigante
1 CD – Approx. 1 Hour [UNABRIDGED]
Publisher: Brilliance Audio
Themes: / Science Fiction / Mars / telepathy / memory /
Philip K. Dick’s classic short story tells the story of Douglas Quail, an unfulfilled bureaucrat who dreams of visiting Mars, but can’t afford the trip. Luckily, there is Rekal Incorporated, a company that lets everyday stiffs believe they’ve been on incredible adventures. The only problem is that when technicians attempt a memory implant of a spy mission to Mars, they find that real memories of just such a trip are already in Quail’s brain. Suddenly, Quail is running for his life from government agents, but his memories might make him more of a liability than he is worth.
The first appearance of Philip K. Dick’s “Total Recall” was under the title “ We Can Remember It for You Wholesale” originally published in 1966 for The Magazine of Fantasy & Science Fiction as well as numerous short fiction anthologies. The current title owes the name to the movie adaptations (similar to 1982’s “Blade Runner”) which have help catapult the author from obscurity into a virtual household name. 2012 featured a new film version of “Total Recall,” and Brilliance Audio has also released among many other previously unavailable Philip K. Dick audiobooks a newly recorded version of the short story under the more familiar title.
The 26-page story is narrated by Audie Award winning narrator Phil Gigante and clocks in on one disc at just shy of one hour. Even though a short story, the narration is superbly done and I especially liked the attention given to little things for an example the telepathic voices heard in protagonist Douglas Quail’s head. For those not familiar with the story, the plot centers around the business REKAL which offers for a discounted fee false memories of adventures planted in their customers brains, often superior to the memories that of an actual excursion. The price includes token memorabilia and the wiping out of any knowledge that the trip was in fact a purchased and pre-packaged false memory. (So much so, that if customers suspect that their trip was in fact purchased at REKAL, they can return for a full discount of their fee.)
For those familiar from the plot of the original movie, only about the first half of the short story is used as a basis to launch the film into a detailed Martian secret agent thriller. The plot of Philip K. Dick’s story actually never leaves Earth, although the Martian journey is referred to as a key element. Instead, the story focuses on continued interaction with REKAL and a surprising further development that will be new to those who are only familiar to the story from the movie versions. (I’ve not seen the latest movie adaptation but it appears to follow the original movie closely more so and deviate even further from the short story.) Whether already a fan of the movies and story or not, the new audiobook offers a fresh and worthwhile take on one of Philip K Dick’s classic tales of science fiction.
Review by Dan VK
Two H.P. Lovecraft poems from Weird Tales, March 1947. Illustration by Boris Dolgov.
Posted by Jesse Willis
Philip K. Dick’s novelette, We Can Remember It For You Wholesale, is a tale full of false memories, soulful wishes, and the planet Mars – all classic Dick themes. It’s hero, Douglas Quail, is a man who longs to visit Mars yet is shrewish wife denies him even the day-dream. But when he discovers that he’s actually already been there, as an agent for a sinister government agency, things start getting a bit confused. Is he really a deep cover Black-Ops assassin with suppressed memories and a false identity? Or is he just a sad shmendrik with delusions of grandeur?
Here’s the editorial introduction, from the publication in Fantasy & Science Fiction, for We Can Remember It For You Wholesale. The article mentioned as being on “page 62” is by Theodore L. Thomas, a noted SF writer and prolific columnist for F&SF in the 1960s. Thoma’s article is based on another entitled “THE FOOD THEY NE’ER HAD EAT” which is available as a |PDF|.
One audiobook version was recorded for BBC Radio 7, now called BBC Radio 4 Extra, and broadcast back in 2003. It’s available via torrent at RadioArchive.cc.
We Can Remember It For You Wholesale
By Philip K. Dick; Read by William Hootkins
2 MP3s via TORRENT – Approx. 64 Minutes [UNABRIDGED?]
Broadcaster: BBC Radio 7 (now called BBC Radio 4 Extra)
Broadcast: September 2003
Doug Quail lives in a future world of memory implants and false vacations. Doug wants to visit the planet Mars but after a mishap at a virtual travel agency, he discovers that he’s already been there. First published in Fantasy & Science Fiction, April 1966.
And, here’s the trailer for the remake of the movie of the story that Philip K. Dick wrote:
Posted by Jesse Willis
Lets assume that each medium offers its own best format. If that’s true, then on TV it is the limited series programme that is the least respected and most underrated. Take The Shadow Line, a BBC 2 television series, created written and directed by Hugo Blick and starring Chewitel Ejifor. The UK paper reviewers seem to want to compare it to The Wire or the Danish series The Killing. But that’s wrong. The Shadow Line isn’t much like either. Really it is just good old fashioned thriller, something the BBC TV has done before. It’s more in the vein of House Of Cards or Edge Of Darkness. But this time it comes primarily from a single creator’s vision. This give it an extended metaphor, the “shadow line” of the title, a thread that pops up in new ways in each episode. It is both a point of dialogue and a mass of ideas. Here’s the show’s premise:
A homicide detective, with partial amnesia, returns to the job to investigate the murder of a recently pardoned heroin importer.
The Shadow Line was aimed high, and it achieved many of its goals. Where it works, it works stunningly well. Where it fails, it fails in small ways, and then moves on. In the end it is an utterly noir thriller, a highly stylized television poem and meditation on life, death and society. The methodically slow paced, cryptic, surprisingly ruthless plot delivers its message in a persuasive form, as a limited series. Most refreshing of all, it does not play, as seems does most TV, to the stupidest person in the room. One commenter put it succinctly:
“This series reminds me why it is worth paying a licence fee. Only the BBC makes drama as good as this. Drama that doesn’t treat the audience like morons.”
Another said this:
“Superb series, and the first time for an awfully long time that I’ve seen a drama on TV that’s made my brain work.”
A third, this:
A sheer joy from start to finish, even with the odd line of clunky dialogue. It was crisp and weird, and the odd, crystal-clear delivery and stylised speech of the characters, from the police to the gangsters, made it stand out from a host of dirge that has been on the screens lately. Yes it had flaws, but the complexity, the suspense, the tension, the labyrinthine plotting and the odd-ball cast of characters made it the best British drama for years.
I agree completely.
Posted by Jesse Willis