/ / News, Podcast

Here’s a reading of my story “Another Place, Another Time,” which was my contribution to The Chronicles of Harris Burdick, a companion volume to Chris Van Allsburg’s classic Mysteries of Harris Burdick, a collection of illustrations and titles from a lost (imaginary) short story collection. I was commissioned to produce a story for the collection along with Sherman Alexie, M.T. Anderson, Kate DiCamillo, Jules Feiffer, Stephen King, Tabitha King, Lois Lowry, Gregory Maguire, Walter Dean Myers, Linda Sue Park, Louis Sachar, Jon Scieszka, Lemony Snicket, and Chris Van Allsburg.


Gilbert hated time. What a tyrant it was! The hours that crawled by when his father was at sea, the seconds that whipped past when he was playing a brilliant game in the garden with the Limburgher children. The eternity it took for summer to arrive at the beach at the bottom of the cliffs, the flashing instant before the winter stole over them again and father took to the sea once more.

“You can’t hate *time*,” Emmy said. The oldest of the three Limburghers, and the only girl, she was used to talking younger boys out of their foolishness. “It’s just *time*.”

Gilbert stopped pacing the treehouse floor and pointed a finger at her. “That’s where you’re wrong!” He thumped the book he’d taken out of his father’s bookcase, a book fetched home from London, heavy and well-made and swollen with the damp air of the sea-crossing home to America. He hadn’t read the book, but his tutor, sour Senor Uriarte, had explained it to him the day before while he was penned up inside watching the summer moments whiz past the study’s windows. “Time isn’t just time! Time is space! It’s just a dimension.” He thumped the book again for emphasis, then opened it to the page he’d marked with a wide blade of sawgrass he’d uprooted before, and chewed while Senor Uriarte explained time and space to him.

“See this? This is a point. That’s one dimension. It doesn’t have length or depth. It’s just a dot. When you add another dimension, you get *lines*.” He pointed at the next diagram with a chewed and dirty fingernail. “You can go back and you can go forward, you can move around on the surface, as though the world was a page. But you can’t go up and down, not until you add another dimension.” He pointed to the diagram of the cube, stabbing at it so hard his finger dented the page. “That’s three dimensions, up and down, side to side and in and out.”

Emmy rolled her eyes with the eloquence of a 13 year old girl whose tutor had already explained all this to her. Gilbert smiled. Em would always be a year older than him, but that didn’t mean he would always be dumber than her.

“And Mr Einstein, who is the smartest man in the whole history of the world, he has proved — absolutely *proved* — that time is just *another dimension*, just like space. Time is what happens when you can go up and down, side to side, in and out, and *before and after*.”

Em opened her mouth and closed it. Her twin brothers, Erwin and Neils, snickered at the sight of their sister struck dumb. She glared at them, then at Gilbert. “That’s stupid,” she said.

Mastering by John Taylor Williams: wryneckstudio@gmail.com

John Taylor Williams is a full-time self-employed audio engineer, producer, composer, and sound designer. In his free time, he makes beer, jewelry, odd musical instruments and furniture. He likes to meditate, to read and to cook.

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/ / News

My latest Guardian column is “Movie fans turn to piracy when the online cupboard is bare,” a report on the Open Rights Group’s study of the lawful options for people who want to watch great British movies online. The UK government and courts keep ratcheting up Internet censorship proposals because they say that there are so many lawful marketplaces that there’s no excuse for “piracy.” But ORG’s research shows that large swathes of critical material isn’t available for sale. And as we saw when major rightsholders pulled out of Hulu and iTunes before, the availability of their material on BitTorrent spiked — if you don’t offer lawful channels, you drive customers to unlawful markets.

Here’s what ORG found: though close to 100% of their sample were available as DVDs, more than half of the top 50 UK films of all time were not available as downloads. The numbers are only slightly better for Bafta winners: just 58% of Bafta best film winners since 1960 can be bought or rented as digital downloads (the bulk of these are through iTunes – take away the iTunes marketplace, which isn’t available unless you use Mac or Windows, and only 27% of the Bafta winners can be had legally).

And while recent blockbusters fare better, it’s still a patchwork, requiring the public to open accounts with several services to access the whole catalogue (which still has many important omissions).

But even in those marketplaces, movies are a bad deal – movie prices are about 30% to 50% higher when downloaded over the internet versus buying the same movies on DVDs. Some entertainment industry insiders argue that DVDs, boxes and so forth add negligible expense to their bottom line, but it’s hard to see how movie could cost less on physical DVDs than as ethereal bits, unless the explanation is price-gouging. To add insult to injury, the high-priced online versions are often sold at lower resolutions than the same movies on cheap DVDs.

Movie fans turn to piracy when the online cupboard is bare

/ / News

Robert LLewellyn, Red Dwarf star, has a great little video series called Carpool, where he gives someone he’s interested a lift to work in a car that’s been fitted with cameras and microphones, and interviews that person while driving her or him to work. Last summer, Robert gave me a ride to the airport while I was on my way to the World Science Fiction Convention in Reno and interviewed me about ebooks and publishing. It came out great.


LLEWTUBE: Home Of Carpool & Fully Charged