As a followup to my last podcast, which featured the Macmillan audiobook of my novella “The Masque of the Red Death”, this week’s podcast starts with a reading of Poe’s original 1842 story, “The Masque of the Red Death. It’s some next-level gothic stuff.
As a chaser, I close this week’s podcast with a reading of Twain’s classic, gothic, comedic “Literary Nightmare,” better known as “Punch, Brothers, Punch,” easily the best story ever written about an earworm.
Warning: earworms.
Edgar Allen Poe wrote “The Masque of the Red Death” in 1842. It’s about a plutocrat who throws a masked ball in his walled abbey during a plague with the intention of cheating death.
My novella “The Masque of the Red Death” is a tribute to Poe; it’s from my book Radicalized. It’s the story of a plute who brings his pals to his luxury bunker during civlizational collapse in the expectation of emerging once others have rebuilt.
Naturally, they assume that when they do emerge, once their social inferiors have rebooted civilization, that their incredible finance-brains, their assault rifles, and their USBs full of BtC will allow them to command a harem and live a perpetual Frazetta-painting future.
And naturally – for anyone who’s read Poe – it doesn’t work out for them. They discover that humanity has a shared microbial destiny and that you can’t shoot germs. That every catastrophe must be answered with solidarity, not selfishness, if it is to be survived.
Like my story When Sysadmins Ruled the Earth, the Masque of the Red Death has been on a lot of people’s minds lately, especially since this Guardian story of plutes fleeing to their New Zealand luxury bunkers was published. Hundreds of you have sent me this.
I got the message. Yesterday, I asked my agent to see if Macmillan Audio would let me publish the audiobook of my Masque of the Red Death for free. They said yes, and asked me to remind you that the audiobook of Radicalized (which includes Masque) is available for your delictation.
I hope you’ll check out the whole book. Radicalized was named one of the @WSJ’s best books of 2019, and it’s a finalist for Canada Reads, the national book prize. It’s currently on every Canadian national bestseller list.
There’s one hitch, though: Audible won’t sell it to you. They don’t sell ANY of my work, because I don’t allow DRM on it, because I believe that you should not have to lock my audiobooks to Amazon’s platform in order to enjoy them.
Instead, you can buy the audio from sellers like libro.fm, Downpour.com, and Google Play. Or you can get it direct from me. No DRM, no license agreement. Just “you bought it, you own it.”
And here’s the free Macmillan Audio edition of Masque of the Red Death, read with spine-chilling menace by the incredible Stefan Rudnicki, with a special intro from me, freshly mastered by John Taylor Williams. I hope it gives you some comfort.
In this special Covid-19 edition of my podcast, I revisit my end-of-the-world short story When Sysadmins Ruled the Earth, originally published in Baen’s Universe in 2005. Hundreds of people have emailed and tweeted me about this story this week, so I thought it was long overdue that I revisited it (I last read it into my podcast in 2006).
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For my latest podcast, I read my latest Locus op-ed, A Lever Without a Fulcrum Is Just a Stick, which analyzes why giving creators more copyright hasn’t made them richer, and proposes other kinds of authors’ rights that would translate into real money for real creators.
Last night I sat down for an interview and lively Q&A at the Kelowna Public Library with the CBC’s Sarah Penton as part of the Canada Reads national book prize, for which my book Radicalized is a finalist. Courtney Dickson was kind enough to send me raw audio from the board and to give me permission to post it and include it in my podcast feed. It was a genuinely wonderful night, with great and thoughtful questions, and I’m really glad that I get to share it with you! (MP3)
My latest Locus column explores what copyright expert Rebecca Giblin calls “The New Copyright Bargain” – a copyright system designed around enriching authors above all, rather rather than treating authors’ incomes as an incidental output of enriching entertainment or tech corporations. The column is called “A Lever Without a Fulcrum is Just a Stick.” Copyright is billed as giving creators leverage over the corporations we contract with, but levers need fulcrums.
https://locusmag.com/2020/03/cory-doctorow-a-lever-without-a-fulcrum-is-just-a-stick/
In an increasingly concentrated marketplace, any exclusive rights that are given to creators are simply appropriated by corporations as a non-negotiable condition of the standard contract. Think of how samples could originally be used without permission (in the Paul’s Boutique/It Takes a Nation of Millions era), enriching old R&B artists who’d been burned by one-sided contracts.
(Image from Kembrew Macleod’s “Creative License” https://www.dukeupress.edu/creative-license)
Those artists experienced a temporary enrichment when paying for samples became the norm, but today, all contracts simply require signing away your sampling rights. The fight to require licenses for samples merely gave the labels yet another right to demand of their artists. Which means that anyone hoping to sample must sign to a label and pay for a license either to that label or one of the other three. Giving new rights to artists in a monopolized market is like giving your bullied kid more lunch money. It doesn’t buy the kid lunch, it just gives the bullies the opportunity to take more money from your kid.
After the “Blurred Lines” suit, labels have begun to fret about being sued over artists’ copying the “vibe” of another artist. It’s easy to feel smug about copyright maximalists being hoist on their own petards. But the end-game is easy to see: just make selling your “vibe” rights a condition of signing a record deal, and you transfer ownership of whole genres to the Big 4 labels.
What would a copyright look like that protected artists, rather than practicing the Magic Underpants Gnome method of:
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Artists get more money
Any new bargain in copyright centered on artists needs to take account of the concentration in tech and entertainment, and create rights for artists that aren’t just creator’s monopolies to be scooped up through non-negotiable contracts. Measures like reversion (which lets artists in the USA claim back rights they signed away 35 years ago), blanket licenses (designed to pay artists regardless of whether they’re “rightsholders”), and restoring unionization rights are the key to paying artists.
Merely expanding the “author’s monopoly” does no good in a world of industrial monopolies: it just gives those monopolists more ammo to use in the fight to shift revenues onto their own balance sheets, at the expense of working creators.
A couple of weeks ago, I posted Part I of my interview with the Firewalls Don’t Stop Dragons podcast, a podcast that covers computer security in a way that is accessible to nontechnical people. Carey Parker has posted part II (MP3) of the interview, where we dig into Right to Repair, Adversarial Interoperability, and monopoly control and trustbusting. It’s a great interview — hope you enjoy hearing it as much as I enjoyed participating in it!
For my latest podcast, I read my 2017 Wired op-ed, Disasters Don’t Have to End in Dystopias, a discussion of the themes in my novel Walkaway.
My book Radicalized is a finalist for Canada Reads, the CBC’s national book prize. I sat down with Sheelagh Rogers, host of The Next Chapter, for a wide-ranging interview (MP3) about the book and the Trump-era anxiety that drove me to write it.
For my latest podcast, I read my latest EFF Deeplinks post, Gopher: When Adversarial Interoperability Burrowed Under the Gatekeepers’ Fortresses.
