Gorgatron

Fantastique

Revisado: 11-18-24

I’ve seen the David Suchet version (season 3, episode 1) and actually prefer this (only just). The actors do a great job and Dinklage kills it as Poirot. More please!

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Waiting For A Fourth

Revisado: 11-17-24

The Dispatcher stories are great. An interesting concept with yet another excellent execution (dispatch?) and fantastic narration by Zachary Quinto.

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Oddly Heartwarming

Revisado: 11-14-24

This is a book that plays on the trope of “orphan rescued by destiny” aka the tale of many heroes from Luke Skywalker to Harry Potter. Joseph Campbell territory. However that’s a very naive and unfair lens. It’s actually funny, fast, and full of cats.

Wil Wheaton, who has narrated many (but not all) Scalzi books does a bang up job. The only criticism, and it isn’t really that, is that I’ve heard enough of them that I have heard a few of these voices before. But that’s not really a complaint.

I was pleasantly surprised on just how enjoyable something that seems rather cliche (“you’re really the heir of a Bond-esque villain!”) and does something fun, unique, and highly enjoyable.

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Not Quite the Whole Story

Revisado: 09-18-24

Calling this the "Story of the Screaming Trees" is a bit of a stretch since the author, Barrett Martin, didn't join the band until their second major label (and sixth overall) record. Which isn't to say Martin's part of the story isn't relevant or useful... it's more that there's six years of records that predate his arrival so this misses all of that, which is not really his fault (other than picking a title that's slightly misleading).

Martin tells the story of his time in the Trees from his personal experience. Knowing that up front is useful because this isn't like the Michael Azerrad books ("Come as You Are" or "Our Band Could Be Your Life") or other books you might know ("Come My Fanatics", "Sellout", etc). This wasn't written by a journalist or a professional author, though Martin has written seven books to date as I type this.

The Trees are an interesting band. As a caveat to the reader, I was not really a fan and still wouldn't call myself that. I am in that "elder millenial/oregon trail" generation born in the early 80s who was only aware of "grunge" when Nirvana exploded onto MTV and then only partially, being a pre-teen and still mostly interested in Yo! MTV Raps.

I didn't even hear of the Trees until I rented a copy of the movie Hype! wherein Van makes that joke about "The Trees Being a Ton of Band". I didn't even listen to them until well into college in the aughts and even then, they didn't grab me. No, I was a kid who got into rock music via skateboard videos which led to punk, hardcore, indie rock, etc. Hell, I didn't even listen to Nevermind all the way through until I was in my thirties. When I was a teenager anything major label was anathema with the exception of Burton era Metallica or, oddly enough, indie bands that still somehow had cred (Built to Spill, Dinosaur Jr, Husker Du, Modest Mouse, The Mats, etc). The politics of musical gatekeeping are nuanced and, frankly, stupid.

I listened to the Trees and really only gave the SST material the time of day for obvious reasons. But that was heavily built on garage rock and psych. The first records have a Stooges vibe which I dug.

In fact, I didn't listen to their major label records until I read this book.

Now I know what you're thinking, "why would a non-fan of the band read this book?"

For one, I don't think you have to love a band to find their story interesting. Hell sometimes it works in reverse. Reading a Van Halen book made me despise the people in the band more than I already did. But secondly, I love music history and have been on a kick of reading music books in the last few years.

The Trees failed to really connect with me and my peers, despite having appropriate touchstones: they put out records on Greg Ginn (before he lost his shit)'s label like Black Flag, Hukser Du, The Minutemen, Sacchrine Trust, The Descendents, Sonic Youth, etc. They came from the underground. Mark Lanegan had a great voice. Hell Josh Homme played in the band.

But somewhere as they matured in sound, they got further away from any sort of punk fingerprints. That's all I can think of, honestly. Even though Dinosaur Jr put out major label records (and J kicked out Lou and fired Murph), they still had undercurrents of the punk energy they started with which appealed to kids like me. The Trees grew more mature and sounded closer to Pearl Jam than Nirvana to me, even in 2003.

Not that you should feel bad for liking them, not at all. I say this because it's a shame they didn't get the same accolades as other bands. Listening to them now, I appreciate them a lot more.

Now Martin's writing isn't bad, but it's not as engaging or engrossing as Henry Rollins' seminal "Get in the Van" which is both dark and hilarious at various turns. Obviously Rollins is an unfair comparison as he wrote quite a few popular books (hell I have seen him do his standup/talking act a few times). But this isn't that and sometimes Martin draws some conclusions that are wishful (like wondering if Kurt thought they should headline Rockskilde and that's why he swapped spots with them). I mean I don't blame him, who knows the answer to some of those questions?

The vocal performance is good, but there's a bit of dead air and sometimes the cadence/mastering seems off. Maybe another edit is a worthwhile go. But I still liked it. I would say reading it is a bit more enjoyable than listening to it, which is why I gave the story another star.

What really makes me a bit sad about the book has nothing to do with Martin's writing or delivery... it's more that with two of the original members now passed, there's fewer folks left to tell the story of the Trees and I fear that because they were basically overlooked by Millenials, no one is going to try and write something more akin to Azerrad's works (and I'm aware that Kurt lied a bit to Azerrad... I think everyone knows that now).

I'd love to know more about the formations of the band, life in the 80s underground, etc. Those things fascinate me (I re-read "Our Band Could Be Your Life" every few years). Where is the larger story of the Conner brothers?

If this sounds like I didn't like the book, far from it. I think it's great. It's not the best book on the history of pop music, but it's better than some others... (I read the Motley Crue one out of morbid curiosity, bleh).

It makes me wish the Trees had a better fate and it makes me wonder about more of the story. I'll read Lanegan's book next.

Thanks Mr Martin, sorry if I sound like a downer.

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Fun, Fast, Well Worth Your Time

Revisado: 03-28-22

On the heels of his "Lock In" series, Mr Scalzi was planning a much darker, heavier novel (he discusses this in the afterword). Then 2020 happened. The Kaiju Preservation Society (KPS, which is an acronym used in the book) is the opposite of that.

What if there was a world where Kaiju actually existed, but were kept under wraps? That may sound like a spoiler, but it really isn't. The title of the book clues you into this, so when you start reading you already know where it's going... just not how.

Jamie Gray is a doctoral dropout working at a start up who happens to get laid off at the start of the pandemic. He ends up delivering food and then "interesting things" happen. In terms of Scalzi's body of work, this has less in common with the "Lock In" or "Old Man's War" books and is more like "Redshirts" or "Agent to the Stars".

Given what we've all gone through, it's a pretty relatable setting. He doesn't bother politicizing or even dwelling too much on the pandemic, other than the effect it has had on the characters...

That said, it's actually a pretty fleshed out setting. There's some "light" science (very light), some handwaving, but it never drags. I managed to finish it in a couple of days and, the best thing I can say about it: I would read another book dealing with the KPS.

My only criticism (which is perhaps true of all Scalzi's lighter books): there's perhaps too many jokes and they are more "amusing" than they are "lol". For example, there's a running: "XYZ, excellent band name" joke made amongst the characters. That said, very few books in this style are "lol" or perhaps I'm just jaded and old. If you want pure yucks, there are a litany of other authors that skew that way. To Scalzi's credit, these jokes are relatable. The kind of jokes you make with your friends at a bar over and over again. To that end, they're fine. If you want to lol, read "Vacationland" or something.

To his eternal credit, when Scalzi writes more humorous, lighter fare (and there's a touch of humor in all of his books) he does not try to merely ape Douglas Adams... I've read a bookcase full of authors who went that route and very few have the chops to effectively pull it off.

Scalzi calls it a "literary pop song" and he isn't wrong. It's not heavy on character development. It makes no literary aspirations. It's just enjoyable and quick. A "beach read" if there ever was one. Unlike similar fare (ahem "Ready Player One") I could see value in re-reading it.

As usual, Wil Wheaton does a good job narrating and doesn't get distracted trying to do too many voices or accents. If you've heard other Scalzi books Wheaton narrates (or, sigh, "Ready Player One"), you know what you're in for. Not my favorite narrator, but his style works well for these kinds of books. Very well. This is the sort of book where too much of that would probably just be distracting.

It's a quick read and it is quite enjoyable. Maybe Mr Scalzi can give us another?

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1948 Progenitor of a Genre

Revisado: 12-20-21

Before I begin, some context is important with regards to the time the novel was written. Jack Williamson was primarily an author of sci fi "pulp" with a forward thinking bent. "Darker Than You Think" is often considered his best work, name dropped by modern luminaries like Neil Gaiman. Williamson was one of the first authors to incorporate scientific ideals into his writing, diverging from the sort of "Buck Rogers" fantasy sci fi that was more common.

Given when it was published, some of the descriptions are outright racist (the phrase "oriental eyes" being the most common), and some of the attitudes with regards to women are certainly misogynistic. The women are less fleshed out, save for April Belle, who still falls into one of the historical archetypes of "sly/crafty women" versus a character with clear motivation and her own agency. There's also mention of "racial memory" that is presented for most of the novel as a genetic characteristic, it is only near the denouement that this is better explained as tradition, culture, et cetera. This update may have been introduced when Williamson converted the original novella into a full fledged novel. There are other notions of race/genetics that are outdated and based on earlier comprehension of the topic. Again, this was written just after WW2 and, even with these caveats, is still more progressive than "pulpier" works of his contemporaries. But be warned that these issues are still less acceptable to modern readers.

All that said, this is a compelling story. It is not merely a story about lycanthropy, but an attempt to explain it in pseudo-scientific terms. Williamson paints a world in which nothing is as it seems as the plot develops. The sanity of the protagonist (Will Barbee) is constantly a question for the reader... because it isn't written in first person, this is akin, but not quite the same as the device of an "unreliable narrator".

The "twist" in the story (not a spoiler) is probably discernible by most readers relatively early in the book, but that did not diminish my enjoyment of the story and the details of the "twist" include more information than the reader might guess. Williamson does a good bit of foreshadowing that only becomes clear when the story is almost over.

Jim Meskimen's narration is appropriate and transitions well into describing Will's degrading mental state.

If you enjoy historical sci fi, and the history of the genre, as well as a bit of "noir-like" narration, this is certainly well worth your time.

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Excellent

Revisado: 09-03-20

While I've enjoyed Jemisin's other works, I really liked "The City We Became." It, of course, adds the Lovecraftian/Eldritch horror aspect to a story that is very similar to the city/world building you find in Johnathan Lethem's New York based novels.

Of course, Jemisin does much to include protagonists that cover the spectrum of humanity, representing LGBTQ folks in honest and non-distracting ways. I've always liked this about her work.

Before I go further, I have one nit with the narration. I don't know why, but every so often I find a book wherein the narrator does not realize that a "road that winds" (insert staircase, river, et cetera) uses the homonym "wind" in such a way that should rhyme with "kind" not "pinned". The former refers to "winding" as in a spring or rope, the latter means "moving air". It is really odd... it's not a UK vs American English thing either. This is one of those titles where the narrator makes that mistake.

Now, as to the actual review of the book itself... SPOILER AHEAD:

The character of Staten Island's attitudes towards POC's and immigrants is especially vivid. So much so that (and this is the SPOILER), Staten Island gets replaced by Jersey City as part of NYC. It completely makes sense and speaks oddly to the political climate of late 2020. Is this the only solution to bigotry and intolerance? Does Jemisin feel like this is where we are headed? It is clear that the MAGA types really don't want to discuss or think too much about their attitudes towards "foreigners" and... well, anyone who isn't white. It's a disturbing thought.

I hope that she perhaps continues exploring this universe. Again, SPOILER, but I'd like to see what she does with Staten Island. Is there redemption? Has she betrayed the world of humanity to side with the city of R’lyeh (there's pure Lovecraftian reference there).

END SPOILERS

If you're a fan of science fiction that is more closely akin to Literary Fiction (Lethem, Barry, et cetera), this is a great read. It reminded me a bit of books like "The Fold" and "14" by Peter Clines. Books that also introduce a new Lovecraft mythos, but leave it well shrouded in mystery. I definitely recommend this title.

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Simple in Worldview and Execution

Revisado: 02-11-16

What could have made this a 4 or 5-star listening experience for you?

If the book had better characterization and didn't rely on stereotypes.

Has Home - A Post Apocalyptic/Dystopian Adventure turned you off from other books in this genre?

Only from this author.

Which character – as performed by Kevin Pierce – was your favorite?

Marcus, but the book is slanted towards him.

What reaction did this book spark in you? Anger, sadness, disappointment?

Disappointment. The crass stereotyping and very lazy characterization, even of the protagonist was disappointing.

Any additional comments?

It's written from a simplistic, conservative, libertarian, (and coincidentally misogynist), point of view. The antagonists backstory, for example, is a paragraph of internal dialog that Marcus has with himself. Lazy and amateur.

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Silly Voices Doesn't Make You Right

Revisado: 02-11-10

I approached this audio book with "open ears" as it were, and a notepad. I was not going to allow an ad hominem fallacy to override what may be valid reasoning. I jotted down many of the points he makes and looked them up later, using a variety of resources. He has a tendency to distort the truth, and sometimes his historical facts are incorrect (case in point: his example with Insoll is factually wrong, historically on a number of items). There is also a large amount of what, to be fair, is really a kind of ignorance: he doesn't know that (for example) the taxation of software is complicated because legislators and even the general public, do not really understand how it is written or distributed. The point being that laws are often complex, not to confuse, but because the issues involved are complex. As Adam Smith made clear it is "division and specialization of labor" that drives the wealth of nations and this is precisely what makes the modern world complex. He dismisses these notions and naysayers as "idiots", taking on a voice that is as much Homer Simpson as it is Huckleberry Hound. This is unfair, and inaccurate as his "idiot" views are not well-reasoned nor are they the views of his detractors. Instead, he fashions a straw man of a simpleton progressive that is not accurate: his position of argument is weak because he is not arguing any real points. At the end, this is pure polemics and is primarily entertainment, don't be fooled. It would be useful for humanity and for his fans, if instead they had an intellect bordering on Noam Chomsky levels of discourse, but the National Review crowd (as much as I may disagree with them) is not in charge of Conservatives anymore. Instead, populist humorists like Beck serve to build the foundation of ignorance that is being used to argue against progressivism.

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