A Scanner Darkly is not only a new movie it is a…

A Scanner Darkly is not only a new movie it is also an old Science Fiction novel by Philip K. Dick. When a Hollywood studio adapts one of his novels into a “major motion picture” these days we aural-literary-types are also justly blessed. For both Minority Report and Paycheck Harper Audio released the short stories as audiobook MTIs (movie-tie-ins) as read by Keir Dullea – now, with imminent release of A Scanner Darkly we’re getting what sounds like possibly the best Philip K. Dick Movie-Tie-In audiobook yet! Random House Audio is releasing….

A Scanner Darkly
By Philip K. Dick; Read by Paul Giamatti
CDs – [UNABRIDGED]
Publisher: RH Audio
Available: February 7, 2006
Price: $34.95 USD
ISBN: 073932392X

Bob Arctor is a dealer of the lethally addictive drug Substance D. Fred is the police agent assigned to tail and eventually bust him. To do so, Fred takes on the identity of a drug dealer named Bob Arctor. And since Substance D–which Arctor takes in massive doses–gradually splits the user’s brain into two distinct, combative entities, Fred doesn’t realize he is narcing on himself.

Dick was no stranger to paranoid drug fantasies. Back in 1972 with his fourth marriage in ruins, an unsolved burglary in his home and a serious amphetamine addiction Dick travlled to Vancouver, British Columbia to be Guest of Honor at V-Con, after delivering a landmark speech he attempted suicide. Desperate, Dick begged and gained entrance to a heroin addiction treatment center called X-Kalay despite the fact he wasn’t addicted to heroin. When he eventually retuned to Calfornia he started work a new novel. A Scanner Darkly was the result. Now 33 years later Dick’s novel is being adapted for audio.

Paul Giamatti (who had a supporting role in the film version of Paycheck) is set to read the unabridged audiobook! His twitchy on-screen persona should make A Scanner Darkly an awesome listen – Giamatti is the epitome of a PKD protagonist. Here’s some evidence of that – back 1994 in an interview conducted for MoviePoopShoot.com interviewer Josh Horowitz talked to Giamatti about the adaptation of Dick’s films:

JH: Speaking of which…is Paycheck more than just a paycheck?
PG: (LAUGH) Well, you know…I mean, I really do like [director] John Woo. I almost did that Windtalkers movie which I never saw.

JH: That kind of movie has to be a no-brainer to do anyway. It’s a big budget film with John Woo based on a story by Philip K. Dick.
PG:
Yeah, Philip K. Dick is another reason to do it although they never do his stuff right. They turn them into these big action movies when there’s really no action in them and the heroes in them are nerdy, geeky, loser guys.

JH: So you’re saying Ben [Affleck] should have been your sidekick instead of vice versa?
PG:
(LAUGHS) There you go. Exactly. It should be a guy like Steve Buscemi or somebody like that. It’s a weird guy to use as a basis for action movies.

Well said Paul!

You listen to him Hollywood, but even if you dont… please keep adapting PKD to film, we need more of his audiobooks.

The second issue of Orson Scott Card’s Intergala…

SFFaudio News

The second issue of Orson Scott Card’s Intergalactic Medicine Show will feature a bonus audio mp3 version of Middle Woman a short Science Fiction Fantasy which was written by OSC in 1981. It’ll run nearly 10 Minutes and will be read by our very own Mary Robinette Kowal. Congrats go to both Mary and the subscribers of OSC’s IGMS magazine! This’ll be another must buy!

Posted by Jesse Willis

Review of The Quantum Rose by Catherine Asaro

Science Fiction Audiobooks - The Quantum Rose by Catherine AsaroThe Quantum Rose
By Catherine Asaro, read by Anna Fields
1 CD (MP3) – 13 ½ hours [UNABRIDGED]
Publisher: Blackstone Audiobooks
Published: 2004
ISBN: 0786186232
Themes: / Science fiction / Fantasy / Romance / Space opera / Telepathy /

I’ve always been a big fan of math. I like the chumminess of commuting, associating, and distributing; the edginess of integrating by parts; and the sharp antiseptic sting of differentiating exponentials. In The Quantum Rose, Catherine Asaro brings the robust methodology of a table of cosines to romantic space opera. Like a seasoned mathematics professor, she begins by defining the variables: A fantastically beautiful heroine; her strong, handsome but brutish betrothed; and a mysterious stranger who takes a sudden interest in the heroine. She then lays out the equations for us: fear, mutual need, and strange loyalty between her and the betrothed; fear, mistrust, sexual attraction, and a hidden wound that must be healed between her and the stranger. From there, she manipulates the terms using standard algebraic operations such as nudity, well-meaning ignorance, revenge, treachery, self-sacrifice for the greater good, declarations of undying love, and first time sex so amazing it humbles those of us with decades of experience.

Asaro’s story-solving skills are honed to such an atom-splitting edge that only halfway through the book, she derives the main quantity of interest: True love. Not satisfied with so straightforward a proof, however, she dashes diligently on to lead us through a desperate, if leisurely (and admirably bloodless), rescue of an exiled royal family halfway across the galaxy. It’s all quite rigorous.

Never does Asaro skip a step. In fact, for the elucidation of the reader, she will often review a step several times to ensure we’ve understood each point before moving on to the next. She also provides enlightening chapter headings, which contain both a plain English title and a subtitle composed from quasi-quantum mechanical terms (for those hopelessly muddled by such clever cryptology, I’ll provide a clue: Substitute the word “person” for “particle” in these subtitles, and you’ll crack the code for over half of them). Thus, we are duly apprised of all developments well before they occur in the text. As a final touch, Asaro has defined most of the significant variables to be empaths or telepaths, which means we are never in doubt of what anyone in the story is thinking or feeling unless some misunderstanding is required by the plot.

Anna Fields adds to the proceedings by reading the text out loud for us. As an intriguing counterpoint to Asaro’s linear clarity, Fields adds a note of mystery by using female character voices that are quite similar to one another and by occasionally using the voice of one lead male to deliver the dialog spoken by another. The drunken mutter she maintains for the most prominent male throughout the entire length of the book also tends to soften the hard edges of understanding that sometimes seem too prominent for comfort.

The most exciting aspect of this audio book, however, is the medium it is recorded on. That MP3 technology allows nearly 14 hours of spoken text to be recorded on a single, handy CD is like a divine response to listeners’ prayers. There is only one nicely packaged jewel box to open–no snarling tapes nor floppy CD sleeves that produce obligingly but accept only grudgingly, the sound quality is excellent, and the production is clean. Maybe someday I will have the opportunity to actually enjoy an audio book in this format.

Posted by Kurt Dietz