The air’s heating up in our part of the world, so to cool ourselves down, we’ve decided to revisit our popular first Romance Collection.
I was doing a little Wikipedia surfing the other day, and ran into this post on Sexy Primes. And I thought it remarkable that maths types have come up with some romantic language for themselves. So, in the interest of mashing up sexy numbers with some of our conventional and unconventional romance offerings, we have a great June is Audiobook month discount for you:
Enter sexy-prime at checkout for the entire collection at a sexy-primed $7.13 discount, or a total of $17.86! (Okay, $17.86 isn’t a sexy number, but it’s an unbeatable price for 5 steamy audiobooks). Here’s what it gets you:
Around the World in Stilettosby Natalie-Jane Revell. Narrated by Cori Samuel. Published in print by HandE Publishers. “Cori Samuel beautifully brings Sophie to life in the most engaging and entertaining way; the personal tone flawlessly conveys Sophie’s point of view, in a way that makes you care about her decisions as one her best friend would do. — If you enjoy books like The Bridget Jones’s diary, and you love the Shopaholic books than you would find Sophie’s story very entertaining, or if you just want a light romantic listen with well developed – charming, characters, a beautifully descriptive and amusing narrative you’ll find Sophie’s drama hard to put down or in this case, hard to stop listening to.” — Hot Listens Romance Audiobooks
The Lady Soldierby Michelle Styles and Kate Allan. Narrated by Emma Newman. Published in print by Salt Publishing. “I have a weakness for loving “Chick-in-Pants” stories and Lindsey fed that need wonderfully with her rich descriptions and historical texturing. Her prose is beautiful and the historic research she obviously did proves that she is a writer with potential.” — Cybil Solyn, Rakehell
Daughter of Darkness by Janet Woods. Published in print by Belgrave House. Narrated by Tadhg Hynes. Major prize winner. Australian Woman’s Day Romantic Fiction award. (From judge’s report) “Highly entertaining story, skilful writing. interesting characters and good dialogue. Romance well developed, clever plotting generating suspense and reader involvement.” – Winner. 2002 Australian 2002 Romantic book of the year award 2002 (mainstream section) Awarded by: Romance Writers of Australia. BONUS:Listen to a lusty excerpt at our Tumblr.
Nanny Behaving Badly by Judy Jarvie. Published in print by Salt Publishing. Narrated by Lee Ann Howlett. If you like the characters you are reading about to grab you by the throat and pull you into their world, then this is a book to pick up and enjoy. Be warned, that once you open the first page, you may be reluctant to put it down until you turn the last one, so be prepared to give yourself plenty of time when you start reading. Some books you enjoy, and say ‘ahh’ when you put it down, some books you enjoy and pass on, and some.. like this one you add to your ‘keeper’ list. – Jay Essay, The Romance Studio – Five Hearts Rating BONUS:Read a saucy excerpt at our Tumblr.
Reversing Over Liberaceby Jane Lovering. Narrated by Cori Samuel. Published in print by Samhain Publishing. “One of the funniest books I’ve read in ages! It is smart and witty and the romantic oozes from every direction in this story… the chaos is hysterical!… A whole host of laugh-out-loud bits make this book one I won’t forget.” — Marlene, Fallen Angels Reviews
Here’s what to do:
We’re big fans of June around here, and not just because it means bikinis and ice cream. It also means books on the beach, particularly fed directly to your brain by way of your ears. Look for a month of audiobook discounts and other goodies in celebration of June is Audiobook Month (#jiam2012 if you’re following in hashtag land).
To get us started, for the next week (or longer, if I develop a case of June fever), get a special collection of these recent Sci-Fi/Fantasy titles at 50% off by entering the code jiam2012-scifi at checkout. You shouldn’t miss this. Add these books to your cart, enter the code jiam2012-scifi and dig out your sunscreen. Enjoy!
A Book of Tonguesby Gemma Files. Narrated by Gordon Mackenzie. Published in print by ChiZine. “(A) boundary-busting horror-fantasy debut . . . Files smoothly weaves an unusual magic system, Aztec mythology, and a raunchily explicit gay love story into a classic western tale of outlaws and revenge . . . this promising debut fully delivers both sizzling passions and dark chills.” — Publishers Weekly
A Rope of Thornsby Gemma Files. Narrated by Gordon Mackenzie. Published in print by ChiZine. “This sequel to A Book of Tongues paints a stark, vivid, and gory picture of the ‘wild west’ in the years following the Civil War. . . . Filled with antiheroes, sacrificial victims, and supernatural beings, Files’s latest is not for the squeamish but should delight fans of gothic Western fantasy and Central American myths.” — Library Journal
The Otherby Matthew Hughes. Narrated by Edward Willett. Published in print by Underland Press. “Hughes serves up equal measures of wit, intrigue, and seat-of-the-pants action and even dabbles a little in Jungian psychology.” — Booklist
The Silence of Treesby Valya Dudycz Lupescu. Narrated by Xe Sands. Published in print by Wolfsword Press. “Few book reviews start with a foot rub but, really, more should. In one of the most thrilling scenes in Valya Dudycz Lupescu’s first novel—exciting for its unabashed passion and feminism, and most important for the new story it promises to start even thirty pages from the book’s end…” — Kristin Thiel, The Nervous Breakdown
Paul Almond’s The Alford Saga Continues with the audiobook release of The Survivor and The Pioneer joining our earlier release of Book 1 of the series, The Deserter. Narrated by the author, the series chronicles 200 years of Canadian history through the wide lens of one family of settlers. A listener of The Deserter remarks “These adventure stories are a little piece of pure Canada, like chunks of frozen maple syrup containing part of our country’s DNA in the way a fly is preserved in amber. This first audio book is a gem.”
Books 2 and 3 undoubtedly live up to the bejeweled status of The Deserter. To get all three of the Alford saga releases (so far! There will be others) at a special discount, check out this package. Otherwise, here are additional details on books 2 and 3:
The Survivorby Paul Almond. Narrated by Paul Almond. Published in print by McArthur and Company. “With The Survivor now on the shelves, the Alford saga is well on its way to completion, and may well go on to become one of our more important literary oeuvres. This is not much of a stretch, considering both the epic and historical nature of the subject matter, as well as the easily accessible prose style employed by its nationally prominent author.” — Westmount Examiner
The Pioneerby Paul Almond. Narrated by Paul Almond. Published in print by McArthur and Company. “The Pioneer has been described as enthralling and adventurous. It is certainly all that and more.” — The Gaspé Spec
I suppose you think we’ve been quiet lately. You’d be excused for thinking so, even if you’d be sadly mistaken. We’ve been churning away at producing some of our most ambitious projects to-date, including our first massive-narrator anthology of crime fiction, a couple of literary fiction pearls, and enough science fiction and fantasy selections to send you to other worlds, alternate universes, or altered states. Enjoy!
A Book of Tonguesby Gemma Files. Narrated by Gordon Mackenzie. Published in print by ChiZine. “(A) boundary-busting horror-fantasy debut . . . Files smoothly weaves an unusual magic system, Aztec mythology, and a raunchily explicit gay love story into a classic western tale of outlaws and revenge . . . this promising debut fully delivers both sizzling passions and dark chills.” — Publishers Weekly
A Rope of Thornsby Gemma Files. Narrated by Gordon Mackenzie. Published in print by ChiZine. “This sequel to A Book of Tongues paints a stark, vivid, and gory picture of the ‘wild west’ in the years following the Civil War. . . . Filled with antiheroes, sacrificial victims, and supernatural beings, Files’s latest is not for the squeamish but should delight fans of gothic Western fantasy and Central American myths.” — Library Journal
The Otherby Matthew Hughes. Narrated by Edward Willett. Published in print by Underland Press. “Hughes serves up equal measures of wit, intrigue, and seat-of-the-pants action and even dabbles a little in Jungian psychology.” — Booklist
The Silence of Treesby Valya Dudycz Lupescu. Narrated by Xe Sands. Published in print by Wolfsword Press. “Few book reviews start with a foot rub but, really, more should. In one of the most thrilling scenes in Valya Dudycz Lupescu’s first novel—exciting for its unabashed passion and feminism, and most important for the new story it promises to start even thirty pages from the book’s end…” — Kristin Thiel, The Nervous Breakdown
LITERARY FICTION Trash Sex Magicby Jennifer Stevenson. Narrated by Arielle Lipshaw. Published in print by Small Beer Press. “This just absolutely rocks. It’s lyrical, it’s weird and it’s sexy in a very funky way. Trash Sex Magic is full of people you would maybe be afraid to meet in real life, but once you’ve met them fictionally you are damn sorry you can’t at least have a beer with them.” — Audrey Niffenegger, The Time Traveler’s Wife
We are so deeply saddened to learn of the sudden death of Iambik founding narrator and prolific Librivox short sci-fi enthusiast Gregg Margarite.
Gregg participated in Iambik’s inaugural literary fiction collection with Gordon Lish’s Collected Fictions, to which Gregg contributed over 16 hours of audio. He branched into the crime fiction genre with his release of Terry Griggs’ Thought You Were Dead, and most recently for Iambik, lent his distinctive baritone to Iambik’s production of Benjamin Pazybok’s Couch.
In the wider world, Gregg was well-known for his hundreds of public domain recordings on Librivox.org, and his penetrating eye and ear for science fiction short fiction masterworks. Some of his self-recommended titles, as well as an archive of his interviews with the website SFFAudio, can be found on his website, Acoustic Pulp.
The world of digital audiobook production is a small and tightly-knit one, and to suggest we’ve lost a family member is not euphemistic. Gregg’s work, his wit, his dedication and his knowledge will be sorely missed, although we realise our great fortune in knowing his voice will live on.
On my many days of chronic over-employment (or at least professional over-stretchment) I often find myself daydreaming of a simpler life of commune living, of swapping pupik lint and wild-harvested leeks for ink pens and coffee beans, and this sort of thing. I’m far from alone in this fantasy.
In Steve Himmer’s breathtaking debut The Bee-Loud Glade, our hero realises this fantasy by becoming a decorative hermit. Below, author Himmer chats with The Bee-Loud Glade audiobook narrator Mark F. Smith about employment, wealth, and self-sufficiency. Maybe if you read the entire thing, you’ll find a way to win a copy of the audiobook for yourself.
Mark F. Smith, narrator of The Bee-Loud Glade: OK, right away, we need to know if the inspiration for The Bee-Loud Glade was a family camping trip in your past that went horribly wrong?
Steve Himmer: Thank goodness, no. I’ve had some exciting camping adventures but never one that went horribly wrong. The closest I’ve come to was a camping trip in Australia during which some drunk hunters out spotlighting mistook (somehow) my friends and in our brightly colored sleeping bags for possums. The seed of the novel probably was planted during that trip, though, because during my time in Australia I was volunteering as a conservation laborer and became fascinated (and confused, and appalled, sometimes) at the degree of artificiality and construction even in so-called “natural” landscapes. I spent a couple of weeks, for instance, removing all the “unapproved” plants from a riverbank so the “approved” plants could thrive.
Author Steve Himmer
MFS: How on earth did you latch onto the idea that a great self-gift for the man who has everything is having one’s own hermit?
SH: It came from TV, from the BBC series The Worst Jobs In History. I watched a marathon of that show one afternoon while home sick, and in the episode about the Georgian period one of the worst jobs was “ornamental hermit.” It just clicked in my imagination, and I knew immediately I wanted to write a novel about someone with a contemporary version of that job.
MFS: I wanted the employer, Mr. Crane, to turn out to be some mystical being with a hidden purpose. Were you really tending in that direction as you wrote?
SH: No, there’s nothing mystical about him, I’m afraid, although he has attained a level of wealth that approaches being supernatural and as implausible as mystical powers. But I was committed to making the novel plausible, though unlikely — I don’t think there’s anything in it that’s strictly impossible, though I wasn’t terribly concerned with making it realistic.
Narrator Mark F. Smith
MFS:Why did you decide to impart special flow properties to the artificial river?
SH: There’s that old adage attributed to Heraclitus, that you can’t step in the same river twice (though the number of other people that also gets attributed to suggests you can coin the same phrase twice). Finch, however, can step in the same river twice. It’s a natural feature, yet wholly artificial at the same time, and that seemed potent to me — we’re used to thinking of rivers as flowing, as both timeless and deeply entrenched in the passage of time, and I enjoyed playing with and inverting that notion.
MFS: Just as the reader is left wondering about the employer and his life, the camping couple invites the same question. What’s their backstory?
SH: Oh, I can’t tell you that! I’d rather each reader or listener work that out on their own, or make up their own version. Some of it’s revealed, of course, in the end of the book, but the specifics… well, I suppose I like keeping the reader in the dark about that to the same extent Finch himself is kept in the dark. One of the novels I drew inspiration from while writing The Bee-Loud Glade was William Gaddis’ Carpenter’s Gothic, and what I enjoyed most in that book was how much of the action took place “off stage,” so to speak, and beyond the knowledge of the main characters and readers alike. I hope I’ve done something similar in my story.
MFS: At some point I wondered at the unfairness of Finch’s contract: five million a year to do nothing. That had to rankle Smithee and the other employees. Why so much for a decorative hermit?
SH: Oh, absolutely it rankled, as Smithee eventually makes pretty clear — and yet that’s all beyond Finch’s ken, isn’t it? There’s some tension, I hope, around that issue of labor and so-called self-sufficiency. But as for why he’s paid so much, you’d have to ask Mr. Crane, but there’s a vicariousness, a symbiosis maybe, between employer and employee: Mr. Crane is willing to pay so much first because he can, but also because that’s all he can do — he can’t actually live as Finch does, whether he wants to or not, and throwing money at the problem is his only real option. As it seems to be with most of his life.
MFS: Which is closer to the truth: The Bee-Loud Glade is a commentary on how people live vicariously by watching other people’s lives, or, it’s about how one can live while under that scrutiny?
SH: Can I just say, “Yes?” I suppose the question for me is is a combination of those two, or one that falls between them: how dependent is one life upon other lives, and how possible is it to actually live independently or in isolation? So it’s about not only watching other lives, but impacting them whether through wealth or labor, and also about telling ourselves we’re independent while depending so directly on institutions, and structures, and myths, to give ourselves that complicate, possibly false, sense of independence. With regards to watching and being watched, I guess I take it more or less for granted — or did in this novel, anyway — that we’re all in the panopticon already.
MFS: Come on: — you can tell us — didn’t you want to write a love story between the hermit and his employer’s wife?
SH: I can honestly say it never occurred to me to have an actual romance blossom between them. Desire, yes, and a sense of possibility, certainly, but no, I never thought about having something actually happen. In part, because the story required isolation rather than connection, as well as the monastic nature of Finch’s commitment. And I doubt Finch is capable of an actual “love story” — certainly not one with a woman he’s built up in his head before he even meets her, to the point he’s more or less incapable of seeing her as the person she actually is.
Miette Elm: In an interview with Atticus Books, you express a tendency toward isolation and solitude in your characters. I think that as a rule, the experience of listening to an audiobook removes the element of solitude from the reading experiences by introducing a narrator reading the book to you. How do you think The Bee-Loud Glad, specifically Finch in all his solitude, works when interpreted as audio?
SH: On the one hand, the nature of the novel is so interior — told in Finch’s voice, with so little dialogue, that I think a narrator becomes the embodiment of the character as much as of the story (if that makes any sense). There’s a freneticism, and exuberance, I imagined in Finch’s voice that I think Mark captures nicely. At the same time, one of the elements of the story is Finch’s own need for an audience, one he fulfills by imagining a “scribe” who follows him around and writes down what he thinks and does. So by listening to the story the reader is almost forced into the role of that scribe, following Finch around, taking in his story as it unfolds. I find that pretty appealing, because it adds a whole new layer to the experience.
ME: Finch’s voice is so rhythmic throughout the text, and his story so vibrant, that to me The Bee-Loud Glade seems perfectly suited for the oral tradition. Did you read aloud while writing? (Or, do you as a rule?)
SH: I do read aloud, and I’m very concerned with rhythm; I’ll add or remove a word or syllable just to match the rhythm I hear in a line. And writing, for me, is as much about connecting to oral traditions as literary ones — I’m really interested in folklore and storytelling performances (which isn’t to say I’m much good as a storyteller myself), and I think that’s reflected in how I write. The use of alliteration, for instance, which I know some reviewers and readers didn’t care for, but to me is an element of oral tradition that makes a story take on a performative life of its own.
ME: We love identifying great contemporary books that would be missed by mainstream audiobook publishers. What titles come to mind that you think would benefit from an audio treatment?
SH: Oh, well… just off the top of my head, I think Sara Levine’s new novel Treasure Island!!! from Europa Editions’ imprint Tonga Books would be a phenomenal audiobook. Her narrator has an exiting, madcap, and distinctive voice that could really come to life in the reading. Also, Robert Kloss — who, full disclosure, is a friend of mine — has a novel coming out with Mud Luscious Press called The Alligators of Abraham. His writing is dense, and driven less by narrative than richness of description, repetition, and incredibly vivid imagery. Fiction like that would be really exciting to listen to, and could envelop a reader with more than “just” hearing the story. The way Seamus Heaney’s recording of Beowulf does, for instance.
Tom McCarthy (C, Remainder) calls The Bee-Loud GladeAn allegorical novel that seems eerily contemporary. Thoreau meets Ballard, meets Huysmans and many more.
Steve Himmer’s The Bee-Loud Glade can be had for $6.99. Or, for cheapskates bargaineers: We’re still all swoony from recent corporate chocolates, so from now until Friday, February 17, 2012, get this and any other title for 50% off by entering the code love-your-ears when prompted for a discount code at checkout on Iambik.com.
Or, for hermits-in-the-making looking to take a step toward self-sufficiency, here’s a chance to win one of three copies of the audiobook:
We’ve gotten lucky lately with some lovely reviews from around the web, and thought we’d share a couple of our recent favourites with you. Since we turn all kinds of red from gushing at kind words, to restore our humility, we’re offering a chance to win up to 3 titles of your choice (between now and February 10, 2012). Read to the bottom of the post for details. And to those who’ve taken the time to listen and review our titles, thank you. If you’re a blogger, Goodreads member, or reviewer, feel free to contact Miette for review copies of any Iambik title.
Audiobook listeners who heard E.J. Newman’s recent reading of Graham Storrs’ Timesplash will no doubt be well aware of her ability to draw the listener in to the narrative of a well-written tale.
A further release, a collection of 25 short stories entitled From Dark Places not only gives the author another platform to display her capabilities as an excellent storyteller and but also as a writer.
E.J. Newman’s approach as a writer is captivating, far from taking a one-dimensional stance, she approaches her subject by thinking outside the box and making each tale in the collection different.
The interpretation by Ruth Golding captivated my attention from the get go. Ms. Golding’s seasoned voice and accurate interpretations of the characters lend the perfect ambiance to the novel. The distinctive male voices are impressive as well as the different tones she applies to give the novel the authenticity that nicely brings the story to life.
Ms. Golding is a new- to me narrator, but one I’m not planning to shy away from in the future.
Trencarrow Secret could be described as Gothic, but it doesn’t take place in the traditional Gothic setting. Trencarrow is an open and airy mansion filled with the Harts’ friends and relations all congregating for Isabel’s twenty-first birthday. The Gothic moodiness is in Isabel’s mind, where her fears cast a shadow over everything and everyone…
Ruth Golding does a fabulous job. Her older-sounding voice lends a feel of nostalgia to the story, as if Isabel is thinking back to her time in Trencarrow.
My point is: Death of a Nationalist has all the strength and authenticity of a novel written in the 1930′s. The writing style, historical details and psychology of the narrative reminded me so much of Nada by Carmen Laforet that I completely mistook Pawel for a contemporary. There is an immediacy to the events and opinions, an absence of hindsight, that I thought would be hard to create so long after the fact.
Elizabeth Klett, who narrates Death of a Nationalist, does a great job. Her character voices are nuanced, each is imbued with subtle individuality. I’ll definitely be listening to more of her work.
I read, er, listened to this book over the past day. This was my first ever audio book and it was life changing. The book itself was incredible. Matthew Johnson creates a world full of wonder and and excitement. And the world is very vivid.
Now review time. Shi Jin, and a group of convicts, are sent to a world to terraform and colonize it. However, as Shi Jin soon discovers that not is all that it seems to be. After the appearance of some mysterious creatures Shi Jin and the other convicts enter into a dangerous game of cat and mouse, but who is the cat and mouse? Wait, is that a dog? Now they are playing Dog-Cat-Mouse. Now things have gotten complicated. Who will prevail?
I listened to this book as read by Emma Newman and let me just say that she did an amazing job. Emma has change my opinion on audio books. She has an amazing voice for reading these kinds of books.
Sounds good, right? So how about trying to win a few? Enter using the widget below to win your choice of Iambik titles. We have one grand prize of three books of your choice, and two second prizes worth 1 audiobook each. Good luck!
Usually here in the Iambikopolis, it’s our narrators asking questions of the authors whose books they’ve performed. In a table-turning twist best described by your humble bloghostess as “thrilling” (honestly), Robert Freeman Wexler, author of The Painting and the City, sends questions to narrator and actor Robert Keiper. The full interview can be found at Robert Wexler’s internet home, The Laconic Writer.
Don’t forget to enter to win one of 3 copies of The Painting and the City at the end of this post! Or if you just can’t wait, this and all our titles can be had at a 25% discount below by entering the code listen-more between now and the end of January 2012.
An excerpt from the interview:
LC: How does working as a voice artist on audio books differ from performing a play on stage? RK: The immediacy of feedback on stage is galvanizing, a creative condition when all my resources are simply there without effort. In film work there’s always crew, director and other actors to bring about that same “heightened state.”
Narration is a solitary effort as, I’m sure, is yours. The opening of resource paths requires more and more consistent effort. I am my audience, my admirer and my critic.
But the rewards are delightful and amazingly identical, so long as approbation doesn’t creep in. It’s never about me, it’s always and only about the story.
Laconic Central: I’m pretty thrilled that someone did an audiobook of my writing, and I love how it came out. But I have to say I was pretty apprehensive at first. It was very strange hearing someone else read my words. How did voicing The Painting and the City compare with other narrations that you’ve done?
Robert Keiper: Even though I’d done several books prior to yours, I was still fairly new to this performing art as I started The Painting and The City. So I was making lots of mistakes, backing and filling, getting disgusted with myself and swearing I’d never finish the darned thing. Then I’d come to one of the interesting plot twists and get hooked all over again. I particularly remember the first time the puppet appears in the story, and the galvanizing effect that had on me. I was delighted with the character and my choice for a voice for him—but I knew he would appear again later, so I made a short recording of his voice and kept it handy as a reminder when needed again. Consistent character voices are as fundamental to the story as any other character traits, but when their appearances are far apart you have to take special care.
Our newest literary fiction collection is sure to provide your ears with a much-needed break from the endless throes of holiday jingles they’ve been exposed to lately. Enjoy a tale of two sisters involved in an imaginative new style of performance art; a classic exploration of sexual politics; a hilarious story of self-discovery by way of an orange couch; the first in a thrilling series chronicling a hundred years of Canada’s history; and a biting, heartfelt commentary on the nature of the workplace. As always, these audio gems can be yours for $6.99 each, or you can pick up the entire collection for only $24.99.
Is your wallet still closed? Okay. Through the end of January 2012, enter listen-more at checkout for an extra 25% off all orders. Here’s what’s for grabs:
The Bee-Loud Gladeby Steve Himmer. Narrated by Mark F. Smith. Published in print by Atticus Books. “An allegorical novel that seems eerily contemporary. Thoreau meets Ballard, meets Huysmans and many more.” — Tom McCarthy, author of Remainder and C
Couchby Benjamin Parzybok. Narrated by Gregg Margarite. Published in print by Small Beer Press. “Delightfully lighthearted writing… Occasionally laugh-out-loud funny, the enthusiastic prose carries readers through sporadic dark moments… Parzybok’s quirky humor recalls the flaws and successes of early Douglas Adams.” — Publishers Weekly
The Deserter by Paul Almond. Narrated by Paul Almond. Published in print by McArthur and Company. “The Deserter is the kind of book you need to give to anyone in your life who can’t stand reading. In fact, every school should have a stack of these in the library. This is history with a beating heart — not to mention a man o’war, redcoats, native people, lumberjacks and more than a few bears.” – Carole’s Book Talk
The Return of the Nativeby Thomas Hardy. Narrated by Tadhg Hynes. “This is the quality Hardy shares with the great writers…this setting behind the small action the terrific action of unfathomed nature.” — D.H. Lawrence
Sleightby Kirsten Kaschock. Narrated by Adam Verner. Published in print by Coffee House Press. “Kaschock’s work stands out for the originality of its concepts, narrative structure, and, particularly, language, as the author redefines words in relation to her art and boldly breaks from traditional grammatical constructions. Kaschock’s intimate knowledge of dance is an asset, helping her bring the sleight performers vividly to life. . . . Sleight is to the traditional fiction narrative what alternative music is to mainstream pop. Readers who enjoy the challenge of an innovative, unconventional style will take pleasure in this selection.” — Library Journal
If you haven’t been around on Facebook or Twitter, you might not be privy to the stuffers we’ve been offering for the stockings on your ears. Our friend at Martha’s Bookshelf, who recently reviewed Graham Storrs’ TimeSplash, just hosted a giveaway of the same, whose results you can see here. And in the same giving spirit, reviewer Nerfreader, who covered TimeSplash in November, is currently giving away three copies of the book, narrated by the lovely Emma Newman. And there’s a bonus: the winners also receive access to the mp3 of the prequel short story, “Party Time,” read by the author himself.
Mr Storrs also took the time to answer some questions for Nerfreader. An excerpt:
“Party Time” reminds us that side effects can be more important than the original action. While listening, I thought of the movie Primer, which also follows brilliantly destructive PhD students. Can any good come from time travel or is it something students should be dissuaded from pursuing? Its discovery doesn’t seem to have improved the TimeSplash world.
In film and literature, there is hardly a single instance where time travel actually turns out well. You’d think that would be a warning to us all, yet people keep on trying to make it happen! There are physicists who believe that the Universe must somehow forbid paradoxes from happening, even if time travel was allowed (no matter how hard you try, when you pull that gun on your grandmother, something will stop you). I’m sure there is a great comedy novel in there somewhere. But, even if Stephen Hawking now believes that time travel might just be possible, the mind-bending technologies and staggering energies involved mean it won’t be happening any time soon – unless somebody comes back and shows us how. The thing is, humankind has explored just about everything within reach and we crave that next big adventure. The only places left to go now are Time and Space. And I don’t think any amount of dissuading will stop people trying to go there.
