skulk (v.) /skəlk/ – Keep out of sight, typically with a sinister, evil or cowardly motive
Example: The thief skulked in the shadows.
Skulking Permit is a cute Robert Sheckley story. Frankly, it is not one of his best. His best stuff will send your brain into a week long head-shaking fugue state that’ll leaving you both laughing and crying at the pathetic beast called man. But, Skulking Permit definitely is cute and it definitely does deliver the anthropological satire that Sheckley is so very fond of.
In this case there’s a Earth colony, called New Delaware, which had been cut-off for more than two hundred years. Luckily, it has recently been informed that it’ll be receiving a visit from a representative from Earth. To prepare for the occasion they colonists have decided to make everything familiar to the coming representative – make it all homey, like back on Earth – and so they’ve assigned societal roles to every member of the colony’s community. Everyone is getting used to their characters: the mayor is telling everyone what to do (he’s got to write up some laws real quick) and the police chief has to make his own badge. The little red school house and the little white church are being built and painted and the “no aliens allowed within city limits” sign is being put up. But the plan to make New Delaware a little mirror of Earth aren’t going perfectly smoothly. For what exactly is a criminal? And who can possibly play such a demanding role?
“Wanted: one man to do a totally impossible job. Salary: the knowledge that a planet’s life depends upon his being able to do it!”
X-Minus One – Skulking Permit
Based on a story by Robert Sheckley; Adapted by Earnest Kinoy; Performed by a full cast
1 |MP3| – Approx. 29 Minutes [RADIO DRAMA]
Broadcaster: NBC Radio
Broadcast: February 15, 1956
Provider: Internet Archive
|SCRIPT| A small colony, cut off from Earth for generations, must prove they are a model of Earth culture when a ship arrives to effect their ‘reclamation’. They strive to provide archetypes of Earth society, including a town criminal… First published in the December 1954 issue of Galaxy Science Fiction magazine.
Cast:
Dick Hamilton
Wendell Holmes
Joe DeSantis
Joseph Boland
Alan Hewitt
Bill Quinn
Mandel Kramer
Ruby Dee
Announcer …. Jack Costello
Directed by Daniel Sutter
Illustrations, by Mel Hunter, from the original Galaxy publication:
Odd and the Frost Giants
By Neil Gaiman; Read by Neil Gaiman Audible Download – Approx. 1 Hour 46 Minutes [UNABRIDGED]
Publisher: Harper Children’s Audio
Published: September 2009
Provider: Audible.com
Themes: / Fantasy / giants / Scandinavia / Norse mythology / winter /
Odd (a Scandinavian name meaning tip of the blade) is a boy living in long ago Scandinavia. After his father dies, he is accidentally crippled, his mother remarries a bully, and winter extends into the months of spring, Odd’s life doesn’t seem as if it can get worse. Odd decides to go live in his father’s cabin in the woods. An otherworldly adventure begins when a fox fetches him to rescue a bear whose paw is stuck in a tree.
This charming, simple story takes us into the world of Norse mythology, acting almost as a primer on the characters of Thor, Loki, Odin, and Freya. And, of course, we learn about the Frost Giants. Written for younger children, it is nevertheless a fresh, well paced story that held my interest quite well. It could well interest readers enough to explore the Nordic myths for themselves. Above all, it is the story of a gentle, kind, intelligent boy who has had terrible events in his life but who does not let those events define how his attitude toward life.
The audiobook was read by author Neil Gaiman who, as always, does his story full justice. He has a particular talent with using accents to define character that is a joy to hear. There is also something wonderful in hearing an author read his work so that listeners know just how he imagined it.
Neil Gaiman is a master story teller and this tale, no matter what the intended age, is enchanting. Recommended for younger readers and the young at heart.
As mentioned on SFFaudio Podcast #116 there is no commercially available audiobook edition of The Space Merchants. What I failed to mention, however, is that there is a two-part radio dramatization from 1957:
CBS Radio Workshop – The Space Merchants
Based on the novel by Frederik Pohl and C.M. Kornbluth; Performed by a full cast
2 MP3 Files – Approx. 1 Hour [RADIO DRAMA]
Broadcaster: CBS
Broadcast: February 17th and 24th, 1957
Provider: archive.org Mitch Courtenay, portrayed by Staats Cotsworth, is a rising star copywriter for the Fowler Schocken Advertising Agency. He’s just been given the company’s biggest campaign – he must promote the colonization of Venus. You’d think would be no problem at all given that Earth is an over-populated planet with polluted air and played-out resources. But there’s a wrinkle – somebody is working against Mitch, and an underground rebellion threatens the very foundations of Earth’s economy!
First serialized in the March through May 1952 issues of Galaxy Science Fiction under the title Gravy Planet, The Space Merchants by Frederik Pohl and C.M. Kornbluth was one of the most popular science fiction novels of the 20th century. Here’s the first ever depiction from it, by Ed Emshwiller, for the cover story from the March 1952 issue of Galaxy:
Darrell Sweet’s cover for the 1976 Ballantine Books paperback edition took inspiration from the original magazine appearance:
Whereas Steve Stone’s cover art for the Orion / Gollancz – SF MASTERWORKS (Volume 54) edition seems more inspired by Blade Runner:
The Outlaw Of Torn
By Edgar Rice Burroughs; Read by Richard Kilmer and Susan Umpleby 19 Zipped MP3 Files or Podcast – Approx. 7 Hours [UNABRIDGED]
Publisher: LibriVox.org
Published: March 31, 2010 The story is set in 13th century England and concerns the fictitious outlaw Norman of Torn, who purportedly harried the country during the power struggle between King Henry III and Simon de Montfort. Norman is the supposed son of the Frenchman de Vac, once the king’s fencing master, who has a grudge against his former employer and raises the boy to be a simple, brutal killing machine with a hatred of all things English. His intentions are partially subverted by a priest who befriends Norman and teaches him his letters and chivalry towards women.
Otherwise, all goes according to plan. By 17, Norman is the best swordsman in all of England; by the age of 18, he has a large bounty on his head, and by the age of 19, he leads the largest band of thieves in all of England. None can catch or best him. In his hatred for the king he even becomes involved in the civil war, which turns the tide in favor of de Montfort. In another guise, that of Roger de Conde, he becomes involved with de Montfort’s daughter Bertrade, defending her against her and her father’s enemies. She notes in him a curious resemblance to the king’s son and heir Prince Edward.
Finally brought to bay in a confrontation with both King Henry and de Montfort, Norman is brought down by the treachery of de Vac, who appears to kill him, though at the cost of his own life. As de Vac dies, he reveals that Norman is in fact Richard, long-lost son of King Henry and Queen Eleanor and brother to Prince Edward. The fencing master had kidnapped the prince as a child to serve as the vehicle of his vengeance against the king. Luckily, Norman/Richard turns out not to be truly dead, surviving to be reconciled to his true father and attain the hand of Bertrade
Some stories adapt better than others. I think a straight narration of an audiobook of Daniel Keyes’ novelette of Flowers For Algernon would be an easy and natural way to experience most of the story’s power. Sadly, that’s still yet to happen.
The original story, of course, makes great use of spelling mistakes which could not fully be illustrated in any audiobook narration, but a straight single voiced reading of the story still provides the main thrust of the tale’s dramatic technique; we get the grammar of the main character, his account of what his doctors ask of him, and we get what his”friends” think of him.
The film and television versions that I’ve seen have, with video’s visually orientation, have all eliminated much of the very valuable power inherent in the epistolary.
Indeed, as editor James Gunn puts it in his introductory essay to Flowers For Algernon, found in The Road To Science Fiction #4 – From Here To Forever, “Part of the appeal of the story is the comparison of the reader’s knowledge to Charlie’s, and the ability to see more in Charlie’s reports than he knows is there.” Once you actually get out of Charlie’s head you lose his perspective and lose the unreliable narration.
So I was thinking about all of this as I was downloading a 1991 BBC Radio dramatization, via torrent, from RadioArchive.cc.
I was pretty skeptical of any radio dramatization’s ability to convey the story’s full power. Now though, after listening, I’ve come away convinced that it retains much of its power, and offers up a very innovative use of the aural medium. It is actually quite a tricky balance but it totally worked in the way it is put together.
Bert Coules, who adapted the novelette had this to say:
“In 1991 the BBC asked me to suggest some SF material for a short season. I drew them up a list and at the same time put in a claim to do Flowers, which I think is a tremendous story: it completed knocked me out when I first read it as a kid. I was delighted when I got the commission.”
In Flowers For Algernon the central character keeps a diary – in fact, the entire story consists of his diary entries. I changed the diary into a series of audio recordings made on a personal tape machine, and interspersed them with dramatised scenes which are mentioned or implied in Daniel Keyes’ original but which don’t actually appear in the story at all. When you’re writing new material like that, the challenge of course is to keep it consistent with the stuff that does come more or less straight from the book.
Flowers posed a particular problem: if you’ve read the story you’ll know that Charlie Gordon, the central character, goes through some huge changes which are brilliantly depicted by the way his diary entries are written: as he develops, so does his spelling, grammar and punctuation. I had to find a spoken way of reflecting the same journey.”
I believe he’s done a fantastic job with it.
Incidentally, the other plays in that series included: Brave New World, Kaleidoscope, The Midas Plague, The Chrysalids, Space Ache, Who Goes There? and Tiger! Tiger!.
So, like I was saying, if you haven’t read the original novelette, I recommend you experience the story that way, as a piece of text, first. If you have read it, then I heartily recommend you try the audio drama. It’s a wonderful adaptation with excellent acting and a highly innovative use of the microphone.
Flowers For Algernon
Adapted from the novelette by Daniel Keyes; Dramatized by Bert Coules; Performed by a full cast
Approx. 59 Minutes [RADIO DRAMA]
Broadcaster: BBC Radio 4
Broadcast: September 5, 1991
Source: RadioArchive.cc The play featured as part of a series of forward-looking productions collectively named “The shape of things to come.” Tom Courtenay stars as the intellectually challenged Charlie, who as part of an experiment is offered a “cure” for his low IQ…..First published in The Magazine Of Fantasy And Science Fiction’s April 1959 issue.
Cast: Tom Courtenay ………………… Charlie
Algernon …………………….. Himself
Joanna Myers …………….. Miss Kinnian
Barrie Cookson …………….. Dr Strauss
Ronald Herdman ………………. Dr Nemur
Clarence Smith ………………….. Bert
Nigel Carrington …………. Joe/Donnegan
Auriol Smith ………….. Mrs Flynn/Ellen
Alan Barker …………. Frank/Sherrinford
Adapted by Bert Coules
Produced by Matthew Walters
Recorded Books produced an unabridged edition of the novelized expansion of the story:
Flowers For Algernon
By Daniel Keyes; Read by Jeff Woodman
8 CDs – Approx. 9 Hours [UNABRIDGED]
Publisher: Recorded Books
Published: 1998
ISBN: 9781402550348 Charlie Gordon knows that he isn’t very bright. At 32, he mops floors in a bakery and earns just enough to get by. Three evenings a week, he studies at a center for mentally challenged adults. But all of this is about to change for Charlie. As part of a daring experiment, doctors are going to perform surgery on Charlie’s brain. They hope the operation and special medication will increase his intelligence, just as it has for the laboratory mouse, Algernon. Meanwhile, each day Charlie keeps a diary of what is happening to him. This is his poignant record of the startling changes in his mind and his life. Flowers for Algernon was first published as a short story, but soon received wide acclaim as it appeared in anthologies, as a television special, and as an award-winning motion picture, Charly. In its final, expanded form, this haunting story won the Nebula Award for the Best Novel of the Year. Through Jeff Woodman’s narration, it now becomes an unforgettable audio experience.
As mentioned earlier there have been four major video adaptations of Flowers For Algernon (three television movies and on theatrical film): Des Fleurs Pour Algernon (a 2006 French TV movie), Flowers For Algernon (a U.S. TV movie from 2000), Charly (a U.S. theatrical release from 1968) and a live broadcast teleplay that aired as a part of The United States Steel Hour in 1961 (it was titled The Two Worlds of Charlie Gordon).
And I’m afraid there was also a frightening looking musical theater version:
Audio dramatist Marty Ross recommends we check out a new audio drama producer called 3D Horror Fi. Sez Marty:
I’m a professional writer of audio drama, specializing in the genres of SF and horror. Much of this has been for BBC Radio (the serials GHOST ZONE and CATCH MY BREATH, the anthology series THE DARKER SIDE OF THE BORDER.) Most recently, I’ve had a couple of Doctor Who audio books produced by Big Finish, NIGHT’S BLACK AGENTS and Lurkers At Sunlight’s Edge (which is basically Doctor Who meets H.P. Lovecraft!). But what I’m really seeking to plug here is my play BLOOD & STONE, which has recently been produced by 3DHorrorFi, a new web-based company specializing in horror and SF audio, using seriously state of the art technology. My play for them is gothic horror: you may be acquainted with the true story of Elizabeth Báthory, the Hungarian ‘bloody countess’ who bathed in the blood of innumerable servant girls to preserve her own beauty and was then punished by being locked away in a tower of her own castle. Well, my play imagines what would have happened if she had escaped, after convincing a seemingly naive servant girl of her innocence. I think it’s really good and this company deserves all the encouragement they can get – they’re just starting out, but with a little help, they could become major producers in the horror/SF field. If you check their website, www.3Dhorrorfi.com you could investigate what they offer: their other plays (not written by me) are good too, including the best adaptation of The Cask of Amontillado I’ve ever heard.
Thanks Marty! Yep, that sounds like some stuff we are interested in!
X-Minus One – Skulking Permit
CBS Radio Workshop – The Space Merchants
