The podcast has moved!

Greetings, Constant Listener!

As I've mentioned on the podcast, I have moved the whole works over to the new site, http://thelablib.org

That's http://thelablib.org

So go on over there, change your bookmarks and your RSS feed (http://feeds.feedburner.com/TheLabyrinthLibrary) and you will continue to receive your high-quality, professionally produced, organically-grown, lead-free book review podcasts every week!

If you're a subscriber via iTunes, you should continue to get your podcasts on schedule. Assuming, of course, that everything works out the way I think it does. Which almost certainly means that it won't.

I'm looking forward to another year of book-talk, and have a few ideas for some new features on the podcast. If you have any thoughts, of course, you can contact me about them. Even better, go over to the listener survey and put them there!

So, to recap:

• The new site is at http://thelablib.org
  
• The RSS feed is http://feeds.feedburner.com/TheLabyrinthLibrary (http://thelablib.org/feed should work, too)
  
• iTunes will probably keep updating, unless it doesn't, and then I'll look into it
  
• I will gladly accept donations in the form of used $20 bills, with non-sequential serial numbers. Or cookies. Or large tracts of coastal real estate. Use your discretion.

Thanks for visiting, and I'll see you at the new site!

Review 104: The Long Dark Tea-Time of the Soul

Remember - go and take the listener survey! The gods command you!)

The Long Dark Tea-Time of the Soul by Douglas Adams

This is the second of the Dirk Gently books - and the final one - and is no easier to explain than the first. But I'll try.

In this story, Dirk is contracted to meet a client one morning at 6 AM, and play bodyguard. The time is vital. The client has made it a point that Dirk absolutely, positively has to be there by six, and he's willing to pay handsomely for it. So when Dirk wakes up at 11 AM, he suspects that he's screwed up royally.

His suspicions are confirmed when he arrives at the home of his client, who is sitting quite comfortably in an armchair while his head is rotating slowly on a nearby turntable. The only clues to his grisly demise are his ravings about a green, scythe-wielding monster and a mysterious packet of papers, written in a language that Dirk cannot begin to understand. But he does know their shape - they're a bill. But for what services, and rendered by whom? So now Dirk has to figure out who, or what, did this to his client and why.

But there's more to this story (isn't there always?) An American woman, Kate Schechter, is one of the survivors of the explosion of an airline ticket counter, something that everyone who knows about explosions is calling an "act of god." But which god would do such a thing, and why? Lucky for her, Kate is about to find out, and she's also about to find out why gods aren't quite all they're cracked up to be.

There aren't a lot of greater themes in this book - it's an adventure, of sorts, but as far as overarching messages go, it's pretty thin other than watch out for eagles and be nice to homeless people. It's entertainment as only Douglas Adams can deliver it. There is some thought given to gods, however, which is a topic I always enjoy. In Small Gods, Terry Pratchett asks where gods come from, and what sustains them. In American Gods, Neil Gaiman asked the question of what happened to gods who were brought to America by their believers. Adams asks what happens to gods once we don't actually need them anymore.

We made them, after all, and most of the time we made them immortal. We needed gods to be bigger than we, stronger than we, and generally everything we weren't. And then we went around infusing them with humanity - with jealousy, courage, rage and fear. When we were done with them, we let them go. But that didn't mean they went away. An immortal is an immortal, and without work to do or followers to deal with, what is a god to do? In the case of Odin, the father of gods and the ruler of the Norse pantheon, the solution is very simple. What's more, it keeps him pampered and cared for, which is all he ever really wanted.

While I love Hitchhiker's Guide first and foremost among Adams' works, I really wish he could have lived to write more Dirk Gently books. The character is a person of reprehensible ethics and somewhat tarnished morals, but you can't help but love him. Lurking refrigerators, coffee-thievery and all, you find yourself wishing that you could hang out with Dirk, while at the same time knowing that he'd probably invite you out for lunch and somehow make you pay for the meal. He's a bad person, but an excellent detective - and a great character.

So pick this one up and give it a read. It's fast, it's fun - you won't regret it.

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"Nobleness was one word for making a fuss about the trivial inevitabilities of life, but there were others."
Douglas Adams, The Long Dark Tea-Time of the Soul

The Long Dark Tea-Time of the Soul on Wikipedia
Douglas Adams on Wikipedia
The Long Dark Tea-Time of the Soul on Amazon.com
The Douglas Adams Homepage

Review 103: The Waste Lands

The Waste Lands by Stephen King

Remember to go to the Listener Survey! If you don't, you have clearly forgotten the face of your father....)

The way this book started really threw me when I first read it. It was too... alive.

The Gunslinger takes place entirely in a desert - featureless, dry, unchanging. The Drawing of the Three takes place on a beach - featureless, slightly less dry, unchanging. With this book, a few months have gone by and Our Heroes are in a rather lush forest, without the privation that they had gone through in the previous books. They weren't desperately racing the clock to try and find food or medicine or water, but rather were going at their own pace, according to what they wanted to do.

It felt weird to me, honestly.

In any event, that is how the book begins - Roland has taken Eddie and Suzannah (formerly Odetta/Detta) under his wing and is training them as apprentice gunslingers. They're learning to shoot, to hunt, and to trust the instincts that they have so long let lie dormant. When they accidentally awaken a gargantuan insane robot bear named Shardik, they discover the path of the Beam, which finally sets them on their way to the Dark Tower.

But all is not well. There is a problem, you see, one having to do with the very nature of the events that have gone before us, and it has to do with young Jake Chambers.

In The Gunslinger, Roland meets Jake, who has been transported to Roland's world after dying in his own. The last thing the boy remembers was being pushed in front of a speeding Cadillac while on his way to school, seeing a strange man in black who claimed to be a priest, and then waking up in the dusty way station in the middle of the desert. Roland befriended the boy, took him along on his journey, and then sacrificed him to gain an audience with his own Man in Black. Without Jake, and Jake's double death, Roland could never have made it to the beach where he pulled Eddie and Suzannah out of their worlds.

But there was a third door, remember? Through that door, Roland learned the true identity of the person who killed Jake - a man named Jack Mort, whose hobby was making people die in accidents. By taking possession of, and eventually killing, Jack, Roland erased Jake's first death. He was never pushed in front of a car, never died, and never came to Roland's world.

Except that he did.

Or rather, he didn't.

But he did.

This paradox is driving both of them insane - Roland in his world and Jake in his. Their minds are trying to reconcile two irreconcilable histories, two versions of events that are both true, even though only one can be said to actually be true. In order to save them both, Roland and his ka-tet need to get Jake to their world, where he belongs. Doing so will take all of them risking their lives against agents of unspeakable power.

That's the first half of the book, and this is another big difference between this book and the two that came before it. If he had wanted to, King probably could have split this book into two smaller ones, and they wouldn't have lost much. Once Jake is rescued, we are granted a moment to breathe, a moment to appreciate the work and energy that went into making sure Jake and Roland came through the event with their sanity intact. Once we take that moment to breathe, which in the book consists of a wonderful dinner with the few residents of a dying town, the group finds themselves in terrible danger again as they enter the dying city of Lud.

All through the series, it is said that "The world has moved on." People talk about the civilization that has just collapsed (of which Roland is a final relic) and the one that came even before them - that of the Great Old Ones. The city of Lud is held up as a prime example of their prowess and their poisoned legacy. Within it dwells the tribal descendants of whose who fought over the ruins of Lud, sacrificing their neighbors at the sound of great drums that echo through the city (which are, oddly enough, the drum track from ZZ Top's song, Velcro Fly), and living like rats in its crumbling walls.

The group is split at this point, with Roland and Oy (a doglike animal whom Jake befriends) trying to rescue Jake from the decaying clutches of a pack of murderers, and Eddie and Suzannah hunting through the city for Blaine the Mono, a monorail train that could be their only way across the horrible irradiated wastelands just outside the city.

It's an exciting book, I'll tell you that much, and let me tell you right now that you're going to hate the ending. At least you would have if you were reading it when it first came out. You see, King admits that The Dark Tower is one long story which, for various practical and financial reasons, has to be split up into multiple books. This means that there isn't always a practical and clean place to break off the story so the readers can wait for the next one. With this in mind, Kind decided to end The Waste Lands with one hell of a cliffhanger - Roland and his ka-tet aboard Blaine the Mono, an insane, sentient computer train that wants nothing more than to end its life. If they can defeat Blaine, they may live. If not, they'll all die when Blaine slams into a wall at the Topeka terminal at 900 miles an hour.

This isn't too troubling today, when you can just turn to your bookshelf after you finish, pick up Wizard and Glass, and keep reading. But put yourself in the shoes of the first readers of this book: they had already waited four years for this book to come out, and it would be another seven before Wizard and Glass was finally published. Even worse, I knew a guy here in Japan who was a huge Dark Tower fan, and he not only had to wait for King to finish writing the book, he also had to wait for it to be translated. My heart went out to him....

But I digress. This book finally sees our heroes on their way - walking on the path of the Beam, as it were. After two and a half books, the journey has finally begun, and if this book is any indication, it's not going to be an easy one.

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"Jesus Pumpkin-Pie Christ, don't you get it? You're killing each other over a piece of music that was never even released as a single!"
Eddie Dean, The Waste Lands

The Waste Lands on Wikipedia
The Dark Tower Portal on Wikipedia
Stephen King on Wikipedia
The Dark Tower homepage
The Waste Lands on Amazon.com

Review 102: Dave Barry Does Japan

(Just a reminder - take the listener survey! Or I will be forced to do the honorable thing and disembowel myself to rid my family of the shame....)

Dave Barry Does Japan by Dave Barry

In September of 2008, I went to Hiroshima with The Boyfriend. I knew it would be a more serious place to visit than a lot of the other places I've been to in Japan, for obvious reasons, and as I thought about it, I remembered this book. You see, while Dave Barry is enormously funny, and I always have a hard time holding in my laughter when he writes, he also knows exactly when to turn off the funny and talk seriously about a topic. Such was the case with this book, and the chapter on visiting Hiroshima.

But I'll get to that later. Let me start by saying that yes, this is a very funny book, as so many of his books are. I can only imagine, though, how funny it is to someone who's never been to Japan, much less lived there. I'll bet that, while reading some of the more ridiculous examples of how different Japan is from the US, a lot of readers were thinking, "No, it can't be that weird. He must be exaggerating for comic effect."

No, no he's not. Not in the least. Well, some, yes, because that's his job, but all of the things that he points out as being "strange" about Japan - the ubiquitous vending machines, rockabillies dancing very seriously in a circle, kids practicing their English with strangers, plastic food shops, all of it is absolutely true. He is not, in fact, making this up.

He says at the beginning of the book, "So this book is not authoritative. If you want authoritative, go buy a real book." At no point does he claim to be an expert on Japan, or that spending three weeks here would make him one. In fact, the main aspect he plays on is his eternal cluelessness. As he points out, Japan is like one big, very exclusive club into which you must be born if you want to become a member. There are rules that no outsider can ever really learn, much less on a three week whirlwind tour. There are people who try - there are a lot of foreign-born residents in this country who do their best to live according to the rules, but no matter how hard we try, we'll never really become members of Club Japan. So, Barry just decides to do his best and try not to make himself look completely stupid.

He marginally succeeds, which is good - otherwise there would be no book.

With his family, Barry goes from Tokyo to Kyoto to Kyushu and back again, stopping to see temples and shrines, sumo, ceremonies, kabuki, rakugo and car factories, among other things. Through it all, they do their best to adapt to the strangeness of Japanese life and Japanese food, and he comes out with some wonderful stories that had me cackling on the bus ride down to Hiroshima.

Which I believe I mentioned before.

It's an interesting chapter in the book. The chapter itself is flanked by two grey pages - a signal to the reader that this is a no-funny zone. There will be no jokes between these pages, and rightfully so. Barry and his family went there on the anniversary of the bombing, August 6th, and observed the Peace Ceremony. They looked at the statues and the monuments and the dome, and went to the museum, and came out with an enormous sense of... conflict.

There is no question in anyone's mind that what happened in Hiroshima - and Nagasaki - was horrific. All you have to do is read the testimonials, look at the photos and the drawings in the museum, look at the charred and burned school uniforms, pieces of flesh on display, dioramas of the flattened city and you know that the nuclear bomb is nothing that you can really joke about. Hundreds of thousands of people died because of those bombs, and not all of them died right away. Soldiers, yes -Hiroshima has a history as a military city - but babies, students, innocent men and women also perished in fire, blast, trauma and, of course, the long, lingering death of radiation sickness.

No city deserves that. Ever.

At the same time, Barry feels that the bombing is presented without context, and he's not the only one to think so. From what he could see, it looks like America just decided to do this horrible thing, and there's not sufficient explanation to visitors as to why this was done. What would make a supposedly civilized nation do such a patently evil thing to so many people?

It's very hard to justify what was done. I know the arguments - that Japan was training civilians to defend the home islands to the death, that millions more might have died in a long, drawn-out battle, that the Soviets were ready to swoop in and take over - but all those justifications kind of sound hollow when you see the photographs of people with fifth-degree burns, and read about the thousands of children who were orphaned in a fraction of a second. To those leaders, however, at that time, the dropping of those bombs was a necessary option, and I don't think even they knew how bad the effects would be.

Regardless, the bombs were not dropped capriciously. They were dropped following a long chain of events, decisions and ambitions that reached back decades. And I think I agree with Barry that more attention should be paid not only to the aftermath of the bombing, but also to what led up to it. Maybe just because I don't want my country to look like a monster.

Anyway, the Hiroshima chapter aside, it really is a very funny book. Even funnier if you've ever been to or lived in Japan. It's not the kind of book you buy if you're actually interested in learning about Japan, but if you want some good laughs, go for it.

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"Compared with the Japanese, the average American displays in communication all the subtlety of Harpo hitting Zeppo with a dead chicken."
-Dave Barry, Dave Barry Does Japan

Dave Barry on Wikipedia
The Dave Barry Website
Dave Barry Does Japan on Amazon.com

Review 101: World War Z

World War Z: An Oral History of the Zombie War by Max Brooks

(Two reminders: The new blog is up at thelablib.org, which is where everything will be happening soon, and you should go take the listener survey. You'll have good luck for seven years, I swear!)

So where were you when the zombies came? I remember where I was. I remember vividly.

It was the third lesson of the day - still one more to go before lunch - and one of my regular students was due for her weekly lesson. She came in each week like clockwork, and while her English never got a whole lot better, she seemed to enjoy herself. Actually improving her English was secondary to having a nice chat, I think, and we could always count on her to liven things up.

Not this day, though. For one thing, except for me, none of the teachers showed up. Normally that would be a problem, but a lot of students weren't in either. It was just a few of us and one staff member. We had heard of some new sickness going around, but we work for a company that doesn't accept sickness as an excuse for missing work. After all, I'd seen students come in with a cold that would have kept me at home, and Mrs. Kuroda was just that kind of person. Come hell or high water, I knew she'd be there. And she was.

No sooner did she get in the door than she collapsed. Her skin was pale and waxy and she had a bandage on her hand. It had little yellow flowers on it, I'll always remember that. Like she'd made it out of a dress or curtains or something. I don't know why that sticks in my memory, but it does.

The staff, Naoko, called 119 for an ambulance, and one of the other students, Shyunsuke, who was studying medicine at Kyodai, tried to see what was wrong with her. He laid her on her back, felt for a pulse, and got all panicky. "Shinda," he said over and over. She was dead.

Now I don't know if you've ever had anyone die in your workplace, but it's weird. We didn't know what the protocol for this kind of thing was. There were only six of us in the building, and none of us were really experts in dealing with sudden and unexpected death. Aki, a high school girl, started crying. Naoko kept redialing 119, but no one was answering. I was about to suggest moving her into another room when suddenly the most horrible sound came from the body on the floor.

It was somewhere between a moan and a gurgle, like someone drowning in syrup. We all looked at Mrs. Kuroda.

She was moving.

Slowly, jerkily, she was moving, getting her feet back under her and moaning the whole time. Naoko started to go to her, to see if she was okay, and I remember yelling, "Don't!" At the time I didn't really know why I yelled that. I know now. My years on the internet had pretty much prepared me for it, but I wasn't nearly ready for the way the Mrs. Kuroda grabbed Naoko and took a huge bite out of her throat. Blood flew everywhere, and I think everyone was screaming. Mrs. Kuroda dropped Naoko and started making her way towards us, her arms reaching for us and that low, wet growl coming from her throat. I knew what she was then.

I grabbed a chair from a lesson room and started shoving her back, like some kind of lion tamer. I yelled for the other students to get out, but they weren't moving. Aki was crying harder, Shyunsuke was busy vomiting, and the other two had hidden somewhere in the building. "Everybody out!" I yelled again, and gave Mrs. Kuroda a shove away from the front door. Then I swung it at her, aiming for the head, of course. It connected, and she went down. I ran back, grabbed Shyunsuke and Aki by the arms and yelled "Everybody out!" again.

I had barely enough time to shepherd them to the door than Naoko started to twitch. And Mrs. Kuroda was already trying to stand up.

We ran. Didn't even care where we ran to - just away. The streets were quiet, but once I knew what I was looking for, it seemed like the zombies were everywhere. I've never run like that in my life, you know. Always used to joke that I would run when I was chased. So there you go.

We broke into a sports equipment shed at Otani University and each took one of those aluminum baseball bats. Then we headed for the Botanical Gardens. I still don't know why we chose there, especially after what happened to Aki. A large, sprawling garden with lots of twisting paths and forests? Can't imagine what we thought we'd accomplish. I just knew that we couldn't barricade ourselves in a building - that never works, right?

I got the zombie that took Aki, and Shyunsuke was the one who made sure that Aki wouldn't wake up again. Then we headed for the Great Lawn, on the theory that we'd be able to see any zombie coming from a few hundred meters.

Bad move.

It would have been a fine idea if there were more of us and if we were all armed with shotguns and chainsaws. All we had, though, were the two of us and some dinged-up aluminum bats. Against half a hundred zombies that all wanted to take a good look at the tasty humans who had so kindly put themselves on display. Shyunsuke and I were back to back, and I could hear him saying something over and over again in Japanese. I didn't know what he was saying, but I reckoned it was a prayer of some kind. I was doing some praying myself as those things got nearer. I could see the dull shine of their eyes and hear their feet shuffle across the dead grass and wished for the first time in my life that I had a gun.

Not for them.

We were saved, improbably enough, by an SDF helicopter. It was doing flybys around the city and saw the zombies moving towards us. Some of the soldiers started taking head shots while others lifted us up into the copter to safety. Shyunsuke pretty much broke down as soon as we were safe, and I'm not ashamed to say that I did too.

That was the last I saw of the zombies. The rest of the story you already know - Japan was evacuated until the zombie threat was cleared. I wasn't allowed to go back to Osaka, so I could only pray that The Boyfriend made it out alive while I waited in the refugee camp in Pusan. When I did make it back, after the war, I found that everything on this side of the river had burned to the ground. At that point, I prayed that he'd died in the fire. Anything other than becoming one of them.

It's been a long while since "victory" was declared over the zombies, inasmuch as they care. People in Japan don't like to talk about it, though. You get the feeling that we all did things and saw things that we'd rather forget, and if any nation is good at selective amnesia, it's the Japanese. So I was really glad when this book came out. It made me feel... less alone.

Brooks went around the world, interviewing people who had experienced the Zombie War - including a couple of guys up in Kyoto, even. He listened to their stories, kind of like Studs Terkel, and wrote down what they had seen and done. He talked to everyone - soldiers, sailors, housewives, government officials - everyone who would talk to him. What he made of it is maybe not a comprehensive account of the war, but a broad look at all the things that people went through during those horrible years.

A soldier who went through the Decimation in the Russian army; another who witnessed the Iran-Pakistan "war"; that asshole who made "Phalanx," which so many people thought would save their lives, Brooks talked to them all. He showed how the Great Panic killed so many people, and how the Redeker Plan and all its emulators saved so many more, as heartless and cruel as it was. He looked at the army and how they had to figure out how to fight an enemy that doesn't need to eat or sleep, and which recruits new members as it kills them.

We still don't know where the zombies came from or why they rose up. And I don't think it really matters. As this book shows, there was so much death and pain, with so much heroism and glory, that the question of where the zombies came from is really immaterial.

It opened my eyes, I'll say that much. From the refugee camp, we got very little news at all about the world. Just that the war was continuing. We heard about the civil war in China, and whatever it was that happened to North Korea - everyone heard about that. But the rest, I didn't know. Not until now.

Brooks' book is exactly what it claims to be. It's an oral history, the collected stories of dozens of people who survived the war, and it's something that our descendants will need to read carefully. For those of us who survived the war, the pain may still be close. So if you're not sure if you're ready for this kind of book, give it time. But do read it.

We must never forget what happened to the world when the Zombies came. In many ways, the living dead showed us just how important it was to be alive.

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"Don't worry. Everything's going to be all right."
- Dr. Kuei, World War Z
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World War Z on Wikipedia
Max Brooks on Wikipedia
World War Z on Amazon.com
World War Z website
Max Brooks' website

Listener Survey Time!

Hey, kids, you know what's fun? That's right! Filling out listener surveys!!

Seeing as how I'm up to episode 100 on this podcast - and it's really all thanks to you - I thought it would be good to get your opinions on what I'm doing so that I can make it more interesting, informative and fun for everyone.

To that end, please follow this link to my simple, ten question survey. It won't take a lot of time, and it'll be a big help to me.

Also, check out the new home of the Labyrinth Library - thelablib.org!

I'll be moving operations over there permanently in a month or so, giving you plenty of time to change your links and do whatever you need to do for the transition to be smooth. The new place looks a lot nicer - I like it, and I think you will too.

Thanks a lot for listening!

Chris

Review 100: Machine of Death

Machine of Death, edited by Ryan North, Matthew Bennardo, and David Malki !

How would you live if you knew how you would die?

The premise for this collection of short stories was introduced back in 2005, in an installment of Ryan North's popular Dinosaur Comics. In it, he presents the following premise: there is a machine which, with only a small sample of your blood, can tell you how you will die. But there are no dates, no details, no explanations. Just a few words, and that's it. The Machine is never wrong, but it is annoyingly vague and has a decidedly un-machinelike love of irony. So you might get OLD AGE and think you were set, right? Not necessarily. You could be murdered by an octogenarian while trying to steal their TV. Or you might get PLANE CRASH and decide never to fly again. Fine, but that won't stop the single-engine Cessna from plowing into your house one fine spring afternoon. Pulled GUILLOTINE, did you? Hope you know to stay away from heavy metal concerts.

But it doesn't matter. The Machine, while perversely misleading at times, is never wrong, and like most prophets, its predictions often only make sense after the event has already happened.

With that premise, hundreds of writers across the internet set to work. How would this Machine affect people? How would it affect society or business or politics? Would we become slaves to its predictions, or simply shrug it off and live our lives as we did before, knowing that we were going to die someday anyway?

In "Flaming Marshmallow" by Camille Alexa, we see how the existence of the Machine has begun to shape youth culture. Carolyn is about to turn sixteen, the legal age at which one can be tested. A milestone equivalent with getting one's driver's license or being able to vote, kids monitor each other's fates with scrupulous detail. Your eventual manner of death brings you together with those of similar fates, and new cliques begin to form. Kids who are going to die violent deaths sit together in the lunch room, far away from the ones who get OLD AGE. The kids with DRUG OVERDOSE and fates like it all mill about with each other, and nobody talks to the ones who get SUICIDE. By finding out one's manner of death, a teenager gets what teenagers always want: a sense of belonging and inclusion. But will Carolyn's fate bring her closer to her fellow students or just leave her an outsider?

"After Many Years, Stops Breathing, While Asleep, With Smile On Face," by William Grallo, continues that idea out into the adult world. Ricky is dragged out on the town to a nightclub where people flaunt their deaths. They wear fake toe tags with MURDER or HEART ATTACK on them. Or, if they're feeling impish, NEVER, or BOREDOM. But while everyone else is mocking their deaths, Ricky is in the odd position of knowing that he's got a good end to his life. What he doesn't know is what will happen between now and then, or with whom he will share it.

David Malki ! explores the darker side of society's reactions in "Cancer." James is a young man whose father is dying of cancer. It's what the Machine had predicted, and it was all coming true. Despite the Machine's infallibility, however, his father was seeking out a cure, a way out from the fate that had been given to him. And he's not the only one - a new generation of hucksters and faith healers has sprung up, all claiming to be able to defy the predictions of The Machine. It gives James' father hope, but whether that hope is worth the price or not is something James is unsure of.

"Nothing," by Pelotard, is a touching tale of a young woman who discovers a family secret that never would have been revealed before the Machine was invented. "Despair," by K.M. Lawrence, is an examination of how paralyzed people might become by the ambiguity of the predictions, unable to act lest they inadvertently fulfill them. "Improperly Prepared Blowfish" by Gord Sellar is an entertaining moment of secrets and betrayal among a group of yakuza in Japan, and Ben "Yahtzee" Croshaw has some fun with the politics of Machine predictions by giving us a politician whose fate is to die from EXHAUSTION FROM HAVING SEX WITH A MINOR.

Some stories are funny, others are touching, but they all center around that most existential of questions: how do we live, knowing that we will die?

Without The Machine, we still know we're going to die. Every one of us has, somewhere in the back of our mind, that constant reminder that our lives are finite, that there is a limit to the amount of time we can spend on this earth. And, for the most part, we choose to ignore it. After all, if you spend your whole life obsessing over your own death, then you can't have much of a life, now can you? But add to that fundamental knowledge of finitude the extra awareness of the manner of your death. If you get CAR CRASH, what can you do with that knowledge? You know it's inevitable, that The Machine is never wrong, but you may still struggle with that fate. You may cut up your driver's license, move out to Amish country and vow never to be within striking distance of a car again. The entire course of your life will shift drastically, based on the two words printed on that card, but the end result will be the same: CAR CRASH. Knowing that, is it better to act on the knowledge you have gained, or to ignore it?

Even worse, sometimes the very act of finding out your fate leads you right to it. In "Suicide" by David Michael Wharton, characters learn about their deaths only moments before experiencing it. Had they not gone to get tested on The Machine - had they not gone to that machine - would they have avoided their fate? The Machine would say no, but you'd have to ask it first. The best expression of this paradox is contained in the book's shortest tale, "HIV Infection From Machine of Death Needle" by Brian Quinlan, wherein the very act of discovering your fate causes that fate to happen, whereas you would never have had it if you hadn't gone looking for it. It's kind of a mind trip, if you think about it.

What if you get something fairly straightforward, like CANCER, and you decide to, say, jump out of an airplane without a parachute? Will that even be possible, or will random events conspire to keep you safe until your proscribed end? And if you get SUICIDE, the one form of death you have absolute control over, do you fight against it or give in, knowing that nothing you do will change the outcome?

And what could this tell you about the future for everyone? In "Heat Death of the Universe," by Ramon Perez, teenagers who reach the legal testing age start getting NUCLEAR BOMB as their means of death. The government springs into action, testing, re-testing, and vowing to corral all these kids into one place. But if their deaths are inevitably by NUCLEAR BOMB, what does that mean? It means that whether they're all in one place or dispersed across the country, that is how they will die. Acting on the information doesn't change its outcome, only what the manner of that outcome will be.

Conversely, it might be impossible to predict anything from the predictions The Machine gives out. As was pointed out in the same story, the 3,000 victims of 9/11 probably wouldn't have all had TERRORISM printed on their little cards. They might have had FALLING or FIRE or PLANE CRASH - all true, but none of that would have helped anyone prevent that event. Even something as clear and unambiguous as GLOBAL THERMONUCLEAR WAR creates problems, as Cassandra finds out in the story of the same name by T. J. Radcliffe. If you tell people about this future, will they even believe you? Or will the actions they take to prevent it instead be what causes it to happen? There are no easy answers, at least not without electroshock.

It's a fascinating group of stories, illustrated by some of the internet's best artists - Adam Koford, Kevin McShane, Aaron Diaz, Kate Beaton, Christopher Hastings, and too many others to mention. It will do what all really good writing should do - make you think. As seductive as it sounds, knowing the means of your death is information that you really can do without. It is the end to your story, whether you know it or not, but everything until then is still up to you. While you may not have any choice over how you die, you still have plenty of control over how you live. You can live in fear or hope, make plans and take risks and hope for the best.

Just like we do now.

I'll leave you with a joke from Steven Wright, one that was running through my head as I read the book: My girlfriend asked me if I could know how and when I was going to die, would I want to know? I said, "No, not really." She said, "Okay, forget it, then."

Thank you, he'll be here all week.

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"What good is knowing the future if you can't do anything with the knowledge?"
Dad, from "Friendly Fire" by Douglas J. Lane
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