I was tagged by LibriVox ductapeguy, Sean McGaughey, and while I’ve done my time as Meme-Servant and moved on … I thought I could spin this one on-theme, so … here goes.
* The most common background noise you may hear in my recordings is that of seagulls — their piercing shrieks go straight through double-glazing and my sound-dampener. Luckily for me, I love the sound.
* The modern book I would most like to read is The Hungry Cloud by Tom Ingram. it has cult-status amongst those of us who’ve read it — it is a formidably good fantasy story for older children. Sadly out of print and apparently unheard of by anyone who didn’t read it, I’d still love to meet its author and say thankyou.
* My microphone is a Samson C01U. It was probably the most expensive thing I’ve ever bought in pursuit of a hobby.
* I’ve contributed 293 audio-files to LibriVox, MCed 75 projects past and present, and recorded in 4 languages (mostly briefly and badly, though!) In addition to that, I’ve hosted 15 LV community podcasts.
* I have 3 solos on the go at the moment and am about to start a 4th (but will work on finishing up the others once it’s begun.)
* I like getting feedback. It’s fun knowing who’s listening to what, and which bits they’ve enjoyed or have reservations about.
At this point I’m s’posed to tag on to another six people, but I’m just going to leave it open to anyone who’s not done this meme in a while, and is in the mood … if you-who-are-reading fancy a go, the rules are below, and feel free to drop a comment here with a link to your own post.
1. Link to the person who tagged you.
2. Post the rules on the blog.
3. Write six random things about yourself.
4. Tag six people at the end of your post.
5. Let each person know they have been tagged.
6. Let the tagger know when your entry is up.
Euterpe Archipelago* have been putting their pick of public domain recordings to music for a while now, and my voice has popped up there now and again. Just stumbled across one that’s new-to-me … it’s an excerpt from Paradise Lost, with original music.
I’ve spoken a bit of French, Latin and German within mainly English chapters, but my first beginning-to-end recording in a language other than English has just been released to the LibriVox catalogue, in Alphonse Allais’ À se tordre. I confess it’s only a *part* of the chapter, since the piece is a mini-play with four voices, but I’m proud anyway.
(8:06; 3.8MB)
And one of my early recordings, a lovely E. Nesbit ghost story, is featured in this week’s Cthulu Podcast. I have a book of Nesbit’s other creepy stories, and really must get round to recording a few more of them.
So many books, so little time. It doesn’t help that I want to record nearly everything (old) I see … browsing the texts at archive.org, or the shelves at the nearest University library can be a very hazardous pastime. I currently have three official solos and a duet open, in addition to the usual collection of collaborative chapter claims. Let us not speak of the unofficial solo I somehow started yesterday. I urgently need more hours in the day!
It’s been quiet on the cataloguing front in the last few weeks … I eased back on the editing I was doing, having acquired (happily-intermittant!) tendinitis in my mousing arm, which is little better with a trackball and heaps of anti-inflamatories, as yet. And I’m in the middle of lots of projects, none of which are anywhere near the catalogue stage. There’ll be a flurry in another few weeks, I’m sure.
So, the only two new entries are the Compare and Contrast of a chunk of Mill’s Subjection of Women and a little poem by Tennyson — The Miller’s Daughter. Mill I recorded a while back, and it fell due during the below-mentioned behemoth, so Starlite kindly edited it for me. I look forward to hearing the whole piece, because I start towards the end of Chapter 3, where Mill asks, and then answers, the question:
No production in philosophy, science, or art, entitled to the first rank, has been the work of a woman. Is there any mode of accounting for this, without supposing that women are naturally incapable of producing them?
(20:22min, 9.7MB)
As for Tennyson, I did that by way of a warm-up for a Lamda Grade 6 exam in the Speaking of Verse and Prose. Haven’t had any exam results back yet, though it was fun to do and I think it went well. The poem is in the catalogue as part of a Weekly Poetry set, and was also fun to do. One odd note — not how many women recorded it … but how many apologised for recording it. It is Tennyson being rather stalker-ly, but still. The non-gendering of any text is one of the nicest things about LibriVox. Sure, generally the major parts of plays are cast “appropriately”, and I think we’ve done a very tiny number of books with gendered casting for some reason or another — but the very vast majority of projects are run on the “you want it? you read it” basis. And even those that have been voice-cast would be open to another version being made with a very different voice. So much more fun than someone saying “sorry, you don’t sound old/young/masculine/feminine/english/welsh/canadian/australian enough” — and that being the end of the story.
LibriVox loves Shakespeare, but getting his plays recorded has always been a very major undertaking. We have now only four completed as collaborative works, and one recorded as a solo. A fair number more are underway, but the task of cat-herding all the parts and bits and files and readers and pronunciations is unlike any other at LibriVox.
Laurie Anne did a MARVELLOUS job project managing this from the initial idea … starting the project on 21st April … marshalling a proof-listener, Brian, to check every file as it came in … and dropping me a note “hey, wouldn’t it be fun if you edited this?” I can’t quite imagine what I was thinking when I agreed to … and I can’t admit how long this actually took to edit. Een though I only did 4 out of 5 acts in the end (Laurie Anne did the fourth, I just ran out of time and energy.) But, lordy, it sounds great as an ensemble piece! And it has 440 downloads in 2 days. And I’m completely sure Will would approve.
A bunch of us LibriVoxers have been meeting periodically in London to record various works together, and the longest running of those has recently been catalogued. 17 chapters of recycled British folklore and gossip from the very dear T.F. Thistleton-Dyer have been amusing, bemusing and plain boring a dozen of us for a year now … we’ve ploughed through a chapter or three at every meeting. I shan’t be TOO hard on the fellow, because ridiculous though most of the stories are, they are at least split into lots of sub-sections, often with guest speaking voices, and we’ve had a lot of fun fooling around with those. I have the dubious honour of being the only LVer to have participated in every chapter, and I’m pretty sure that entitles me to my own straitjacket with TF-TD woz ‘ere on the back.
It’s interesting to record with other people around … I feel like I made fewer mistakes with people listening to me (the editors of these chapters may disagree!) And it’s quite sociable, too, gives an instant and limitless source of conversation in wondering at the lengths of TF’s literary poaching.
Probably the least expected of all the chapters is the one collecting stories of Dead Hands - linked below for your listening pleasure:
This takes my total catalogued recording time up over 61 hours, which is nice, because, what with struggling to finish an old solo project, putting in long-ago claimed chapters, and editing the Midsummer Night’s Dream behemoth, it feels like I’ve not been doing much “real” recording.
Another gem catalogued recently was the splendid essay by Agnes Repplier, (1855-1950), titled “A Short Defence of Villains”, in which she argues that Modern Literature is impoverished somewhat by a lack of really good moustache-twirling villains for its heroes and heroines to quest against. You’ll need quite a good background in the literature of her time to make sense of all the references, but it’s a lovely piece regardless.
As part of the LibriVox London get-together this weekend, we sauntered along to Greenwich, to record in the foot tunnel which runs under the Thames. We hadn’t planned it in advance, and simply took along a giant book of poetry to dip into. My dips were pretty random, but I’m most happy with how one particular poem came out — an untitled piece by James Henry. Google was determined to tell me all about Henry James but, no, I am not that much of a dolt … and when I titled JH ‘poet’, he popped up in Wikipedia readily enough.
James Henry (13 December 1798 - 14 July 1876) was an Irish classical scholar and poet.
At its best his poetry has something of the flavour of Robert Browning and Arthur Hugh Clough while at its worst it resembles the doggerel of William McGonagall. His five volumes of verse were all published at his own expense and received no critical attention either during or after his lifetime.
Could be my new favourite poet. The piece I recorded had more of the Browning than the McGonagall, not that McG isn’t very dear to my heart too!
I’d love to go back and work with the echo more, now that I have something of a feel for how it records … but … that’s probably not practical in the near future. This will have to do for the time being, unrehearsed and unedited as it is.
The Water-babies by Charles Kingsley has had, according to the archive.org ticker, 10,148 downloads! Hoorah! Now, admittedly, their counter has good days and bad weeks, and it also counts any file as a download … so that could be 600 people downloading all 17 files separately, or it could be 10,000 people downloading the zip file once each. Plus, many LV books are available via BitTorrents, other audio download sites, and on eBay. So it’s an entirely arbitrary milestone, but it’s my milestone and I’m proud of it anyway!
My other solos are pootling along in reasonable form. Love and Freindship by Jane Austen, has been downloaded 4,891 times — as it has only 3 parts, that’s a minimum of 1690 downloaders. Rather cool! Dear Gertrude, released only a month later, is lagging the set with just 1,735 downloads of its three files / zip collection. This does not surprise me in the least … while it was storming fun to read, I can’t imagine listening to it unless I was contemplating a spectacular mashup in words, music and visuals. (I *hope* someone does that soon, it HAS the potential!) Nesbit’s Unlikely Tales has had 2,858 downloads in 3 months … which is actually rather less than I thought. Mathilda, the Mary Shelley novella is romping along with 2,375 downloads in six weeks - much more than I thought. It IS interesting to know what people want to hear.
I conclude from all this that I do not have even *slightly* popular taste in solo-project books. That said, collaboratively, I am a part of Jane Eyre, which is LibriVox’s top downloaded archive.org book at 391,407 times. (Boggling Big Number.) There’s a “sneeze and you’ll miss me” contribution to Oliver Twist, 181,604 downloads. The other Austen’s I have contributed chapters to clock in at 120,446 for Mansfield Park, 88,659 times for Northanger Abbey (and Persuasion’s 36,591 isn’t in the Top 50!) Unexpectedly, Reviews, by Oscar Wilde is my other entry in the Top 50 with 74,963 downloads. That has 99 files, though, and it’s the sort of thing I’d expect people to pick at, rather than dousing themselves in the whole lot. (Yes, it’s Oscar, and Yes, he does have some droll moments, but nothing in the sections I read (3 or 4?) has stuck with me as über-quotable.)
Still. If it were all about the numbers, I’d be pirating Potter. If it were all about the fame, I guess a solo recording of Jane Eyre would be a solid bet. Since it is, in fact, all about the Posterity, and I strongly believe in the right of all of my authors to audio representation for Posterity … we’re all good. Plus, this shows very decent credentials as a team player, which is nice. So, hmm, what under-loved specimen of literature will I pick on next?
Chapter One is mine, and no, I don’t know what happens next, but I look forward to finding out! It’s a mystery story, I know that much … and any story that starts at sea is starting well in my book.
This week’s community podcast is themed from the forum thread for “One book a week in 2008″. (I’ve only read 12 so far — I think I’m behind?) There was a bit of discussion there about whether listening to a book was the same as reading it. Of course, it comes down to definitions. If the aim is to take possession of a story, then for sure, reading, listening, Braille or graphic novels all work as methods for an author to communicate with other folks. As snobby as some book groups may be about “those who listen” as compared to “those who read”, there’s usually little difference at the end of the day in the speed of the book-discussion going off on a huge and permanent tangent.
Books expand one’s vocabulary — visual has the advantage of teaching the brain spelling, while audio conveys a version of the pronunciation. (Please do not try to pronounce “isthmus” as I do, though, it just ain’t right.)
Paper books are traditionally more sensual than audiobooks, they allow for cosying under blankets, torchlit exploration, the physical response of scent and touch bibliophiles get walking into an old library or second-hand book shop and running their hand over book spines. However, audiobooks have had a recent boost in this area, thanks to the ol’ iPod, which gets owners in a sleek, elegant design froth in no time flat. Steampunking an iPod would seem to be the ultimate win.
Audiobooks suffer much more from “out of sight, out of mind” — I don’t rifle my hard drive of a Sunday afternoon trying to decide what to listen to, in the same way that I peruse my bookshelves. And there’s the unspoken horror of obsolescence (you have a generation 1 iPod, darlink, how retro!) in the hardware and format (MP3s have been going strong since at least 1991, but … how much longer will they last? And how good will they sound shifted into whatever replaces them?) Plus, literacy isn’t grokking the story of Don Quixote … it’s being able to understand how to complete an accident report form or fill in a bank account application.
I’m a firm both-ist. Losing either format would cut down on the richness of my world. Have been thinking about this for a while, and there’s a bit of a waffle in this ‘ere podcast. It hardly even begins to get into the nuances … what about (dubious) learning preferences for visual, audio or kinetic (wonder if that last is the act of LibriVoxing a book — certainly reading the text aloud is a pretty amazing method of consuming it.) I tried not to produce an Audiobook Party Political Broadcast, or the preface of a book (simultaneous publication in paper and MP3, please). Dunno how successful I was. Rest assured, the other people contributing sound great!