#audiobooks

[vampire-apostrophe]

finally starting IWTV in audiobook form. Love that so far Louis’ voice sounds so vampirey. Like it’s a strange mix between Laszo and kind of what you think Dracula is. Louis is from NOLA but the dude decided No. we’re going for creepy vampire.

[leebrontide]

At long last, I have found an audiobook narrator for Names in Their Blood!

The first book in the series, Secondhand Origin Stories, is available on Audible (I'm working with the narrator from that book to get it into other audiobook markets) but Jack wasn't available for this book.

For Names in Their Blood, I'm proud to introduce Kai Stewart, AKA @confoundedcontraption, who makes the fantastic podcast, Bedtime Stories for Nobody and also has music on Bandcamp.

AND they've agreed to let me share their trial recording of the very first scene in the book!

Warning for massive spoilers for Secondhand Origin Stories.

Please have a listen!

[booksinmythorax]

My dear friends: When a librarian or teacher says "Audiobooks count as reading", we do not literally mean that audiobooks are the same as decoding visual meaning via symbols representing sounds. We mean, among other things:

Audiobooks can expose listeners to new vocabulary and forms of syntax.

Audiobooks can present listeners with long-form fictional narratives with engaging characters, interesting literary devices, and poetic turns of phrase.

Audiobooks can teach listeners new information in a long-form manner that goes into depth or wide breadth on a particular subject or subjects.

Audiobooks can help listeners' verbal comprehension skills.

Audiobooks can do all these things without presenting the same difficulties to blind, low vision, partially sighted, visually impaired, or dyslexic listeners; listeners with ADHD; listeners who experience physical difficulty with holding a book or e-reader; or listeners who are disabled in a host of other ways that a physical book or e-reader might present.

The written word is not specially imbued with magical noble worth above the spoken word, and if you think it is, you may have some ableism and/or racism to deconstruct.

[owlbelly]

so. i understand where the sentiment "listening to an audiobook is the same thing as reading the book" is coming from - i mean, yes, the bottom line is you are taking in the same words in what is possibly a more accessible (or maybe just more enjoyable) format for you! and i'm 100% in agreement that "book snobs" who say "no you didn't really read it" if you listened to the audiobook are full of shit. ofc you should engage with stories in whatever way works for you, there is no moral or intellectual superiority to reading words off a page vs. listening to them

but it also is different? an audiobook is a performance. choices a narrator makes about line readings can drastically influence the meaning of the lines. even just different voices, accents, etc. - there are creative choices being made by the person delivering the words to you, and that affects your experience of the story in a different way than if you were making those choices in your own head. it might even change the way you visualize what's going on!

this isn't a bad thing it's just An Actual Thing & i think it's worth talking about. it rubs me the wrong way when people act like accommodations (and for many people audiobooks are an accommodation) always result in a completely identical experience, or even that they should, & if you suggest that people accessing media in different ways are having different experiences it's somehow ableist

anyway on rare occasions i really enjoy audiobooks but mostly they are much less accessible to me than words on a page (i need to be able to reread, flip back and forth, go at my own pace) & i also just really strongly prefer to encounter a text on my own before hearing someone else's performance of it, if possible! again i don't think it's "better" to read a physical book i just think it is a Distinct form of experiencing a story & acting like the two things are entirely the same is sort of doing a disservice to both

[mostlysignssomeportents]

Kickstarting a book to end enshittification, because Amazon will not carry it

My next book is The Internet Con: How to Seize the Means of Computation: it’s a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me — because Amazon refuses to sell my audio:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon’s monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.

That’s a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called “Project Gazelle,” where execs were ordered to attack indie publishers “the way a cheetah would pursue a sickly gazelle”:

https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10

[Image ID: Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow’s sense of urgency is contagious -Publishers Weekly]

I won’t sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became “five giant websites filled with screenshots of the other four” (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

[Image ID: A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI”]

The Internet Con isn’t just an analysis of where enshittification comes from: it’s a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.

How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don’t (think of how an adblocker lets you take the take-it-or-leave “offer” from a website and reply with “How about nah?”):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

But interop isn’t just about making platforms less terrible — it’s an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival’s service. With interop, you can break up with Amazon, and still keep your audiobooks.

So, if interop is so great, why isn’t it everywhere?

Well, it used to be. Interop is how Microsoft became the dominant operating system:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

[Image ID: Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one’s better qualified to deliver us a user manual for fixing it. That’s The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine]

It’s how Apple saved itself from Microsoft’s vicious campaign to destroy it:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that’s piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of “felony contempt of business model” (h/t Jay Freeman).

The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU’s Digital Markets Act and Massachusetts’s Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.

What’s more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the “good ideas lying around” can move from the fringes to the center in an eyeblink:

https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo

[Image ID: Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL]

After all, we’ve known Big Tech was rotten for years, but we had no idea what to do about it. Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There’s no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn’t to make those predators behave better — it’s to evacuate those users:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

I’ve been campaigning for human rights in the digital world for more than 20 years; I’ve been EFF’s European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I’ve devoted my life to, and I live my principles. I won’t let my books be sold with DRM, which means that Audible won’t carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That’s a price I’m willing to pay if it means that my books aren’t enshittification bait.

But not selling on Audible has another cost, one that’s more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don’t find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon — me, reading an essay, explaining how Audible rips off writers and readers. It’s called “Why None of My Audiobooks Are For Sale on Audible”:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

[Image ID: Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock]

To get my audiobooks into readers’ ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon’s monopoly:

https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/

And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2–3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I’m able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:

https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/

Producing my own audiobooks has been a dream. Working with Skyboat Media, I’ve gotten narrators like @wilwheaton​, Amber Benson, @neil-gaiman​ and Stefan Rudnicki for my work:

https://craphound.com/shop/

[Image ID: “This book is the instruction manual Big Tech doesn’t want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We’ll Miss It When Its Gone”]

But for this title, I decided that I would read it myself. After all, I’ve been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?

Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good — even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!

https://archive.org/details/cory_doctorow_internet_con_chapter_01

I hope you’ll consider backing this Kickstarter. If you’ve ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer’s income and even as a single company takes over nearly the entire audiobook market.

Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover — including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

What’s more, these ebooks and audiobooks are unlike any you’ll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they’re yours, and you are allowed to do anything with them that copyright law permits — give them away, lend them to friends, or simply read them with any technology you choose.

As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with “sideloading,�� a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.

The Internet Con isn’t just a lament for the internet we lost — it’s a plan to get it back. I hope you’ll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.

Next weekend (Aug 4-6), I'll be in Austin for Armadillocon, a science fiction convention, where I'm the Guest of Honor:

https://armadillocon.org/d45/

If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con

[Image ID: My forthcoming book 'The Internet Con: How to Seize the Means of Computation' in various editions: Verso hardcover, audiobook displayed on a phone, and ebook displayed on an e-ink reader.]

[myjetpack]

My cartoon for this week’s Guardian books.

[dduane]

Please read this. It is deeply, DEEPLY freakish.

[Robin, a librarian] received a message from a patron of her library system that there was something wrong with an audiobook they had borrowed. The patron reported that during a quiet part of the audio, there seemed to be a tiny portion of another recording inserted into the silence. It happened more than a few times and the patron also provided a timestamp, because this patron is very awesome. Robin says that this isn’t unusual, and the process is pretty routine:  “It’s usually just a corrupted file transfer or something. And we contact the publisher and let them know, or let OverDrive know, and it gets re-uploaded.” So then what happened?  Robin: “So I went to look up the specific book to see who the publisher was. Mostly because I wanted to know. We would contact OverDrive about the error, and they would fix, or talk to the publisher directly.” Digital files get corrupted often enough, so this isn’t alarming. But then, Robin and her coworkers noticed the name of the narrator: “Scarlett Synthesized Voice.”

And that's just the beginning of it. Who is "author" Blake Pierce, and how do they have more than seven hundred books??

[incognitopolls]

Anon is visually impaired and listens to a lot of audiobooks, but people have told them that audiobooks don't really count as "real books."

–

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[shiftythrifting]

Me: man I want to listen to hitchhikers guide but I don't want to pay for it on audible

Thrifting fate:

[sudoscience]

Disadvantages of audiobooks: hard to pay attention to sometimes, can't always understand everything that's said, no idea how things are spelled

Advantages of audiobooks: this

God bless you, Moira Quirk.

Transcript:

"No," said Dulcinea. "Oh, no no no. Stay awake."

Gideon couldn't say anything but blearrghhh, mainly because blood was coming enthusiastically out of every hole in her face.

🇵🇸 Gaza Funds 🇵🇸

[peonyblossom]

save me audiobooks. save me

[player-1]

Just making a separate post on the Limbus Library for now, though looking through Project Gutenberg and LibriVox is pretty great too. So here's a full list in the order of the Cantos :)

-Metamorphosis (Book & Audiobook)

-Crime and Punishment (Book & Audiobook)

-Demian (Book & Audiobook)

-The Wings (Book & Audiobook)

-Moby Dick (Book & Audiobook)

-Wuthering Heights (Book & Audiobook)

-Don Quixote (Book & Audiobook)

-Dream of the Red Chamber (Book & Audiobook (& bonus drama series))

-Hell Screen (Book & Audiobook)

-The Stranger (Book & Audiobook)

-The Odyssey (Book & Audiobook)

-Faust (Goethe and Marlowe books & Audiobooks 1 and 2)

[barely-living-wizard-apprentice]

why are spells stored in dusty old tomes why aren't they audiobooks

[claudufus]

I love the marauders band au bc it has so much potential, I mean imagine the interviews.

Give me Remus doing the buzzfeed interview with puppies, give me James and Sirius doing the wired autocomplete interview. Give me Regulus doing a what’s in my bag, Give me Peter beating everyone at an art challenge. Give me Sirius and James prank calling people on Elle.

I WANT IT ALL.

[mostlysignssomeportents]

Kickstarting the audiobook of The Lost Cause, my novel of environmental hope

Tonight (October 2), I'm in Boise to host an event with VE Schwab. On October 7–8, I'm in Milan to keynote Wired Nextfest.

The Lost Cause is my next novel. It's about the climate emergency. It's hopeful. Library Journal called it "a message hope in a near-future that looks increasingly bleak." As with every other one of my books Amazon refuses to sell the audiobook, so I made my own, and I'm pre-selling it on Kickstarter:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

That's a lot to unpack, I know. So many questions! Including this one: "How is it that I have another book out in 2023?" Because this is my third book this year. Short answer: I write when I'm anxious, so I came out of lockdown with nine books. Nine!

Hope and writing are closely related activities. Hope (the belief that you can make things better) is nothing so cheap and fatalistic as optimism (the belief that things will improve no matter what you do). The Lost Cause is full of people who are full of hope.

The action begins a full generation after the Hail Mary passage of the Green New Deal, and the people who grew up fighting the climate emergency (rather than sitting hopelessly by while the powers that be insisted that nothing could or should be done) have a name for themselves: they call themselves "the first generation in a century that doesn't fear the future."

I fear the future. Unchecked corporate power has us barreling over a cliff's edge and all the one-percent has to say is, "Well, it's too late to swerve now, what if the bus rolls and someone breaks a leg? Don't worry, we'll just keep speeding up and leap the gorge":

https://locusmag.com/2022/07/cory-doctorow-the-swerve/

That unchecked corporate power has no better avatar than Amazon, one of the tech monopolies that has converted the old, good internet into "five giant websites, each filled with screenshots of the other four":

https://twitter.com/tveastman/status/1069674780826071040

Amazon maintains a near-total grip over print and ebooks, but when it comes to audiobooks, that control is total. The company's Audible division has captured more than 90% of the market, and it abuses that dominance to cram Digital Rights Management onto every book it sells, even if the author doesn't want it:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

I wrote a whole-ass book about this and it came out less than a month ago; it's called The Internet Con and it lays out an audacious plan to halt the internet's enshittification and throw it into reverse:

http://www.seizethemeansofcomputation.org/

The tldr is this: when an audiobook is wrapped in Amazon's DRM, only Amazon can legally remove it. That means that every book I sell you on Audible is a book you have to throw away if you ever break up with Amazon, and Amazon can use the fact that it's hold you hostage to screw me – and every other author – over.

As I said last time this came up:

Fuck that sideways.

With a brick.

My books are sold without DRM, so you can play them in any app and do anything copyright permits, and that means Amazon won't carry them, and that means my publishers don't want to pay to produce them, and that means I produce them myself, and then I make the (significant) costs back by selling them on Kickstarter.

And you know what? It works. Readers don't want DRM. I mean, duh. No one woke up this morning and said, "Dammit, why won't someone sell me a product that lets me do less with my books?" I sell boatloads" of books through these crowdfunding campaigns. I sold so many copies of my last book, *The Internet Con, that they sold out the initial print run in two weeks (don't worry, they held back stock for my upcoming events).

But beyond that, I think there's another reason my readers keep coming back, even though I wrote a genuinely stupid number of books while working through lockdown anxiety while the wildfires raged and ashes sifted down out of the sky and settled on my laptop as I lay in my backyard hammock, pounding my keyboard.

(I went through two keyboards during lockdown. Thankfully, I bought a user-serviceable laptop from Framework and fixed it myself both times, in a matter of minutes. No, no one pays me to mention this, but hot damn is it cool.)

https://pluralistic.net/2022/11/13/graceful-failure/#frame

The reason readers come back to my books is that they're full of hope. In the same way that writing lets me feel like I'm not a passenger in life, but rather, someone with a say in my destination, the books that I write are full of practical ways and dramatic scenes in which other people seize the means of computation, the reins of power or their own destinies.

The protagonist of The Lost Cause is Brooks Palazzo, a high-school senior in Burbank whose parents were part of the original cohort of volunteers who kicked off the global transformation, and left him an orphan when they succumbed to one of the zoonotic plagues that arise every time another habitat is destroyed.

Brooks grew up knowing what his life would be: the work of repair and care, which millions of young people are doing. Relocating entire cities off endangered coastlines and floodplains, or out of fire-zones. Fighting floods and fires. Caring for tens of millions of refugees for whom the change came too late.

But with every revolution comes a counter-revolution. The losers of a just war don't dig holes, climb inside and pull the dirt down on top of themselves. Two groups of reactionaries – seagoing anarcho-capitalist billionaire wreckers and seething white nationalist militias – have formed an alliance.

They've already gotten their champion into the White House. Next up: dismantling every cause for hope Brooks and his friends have, and bringing back the fear.

That's the setup for a novel about solidarity, care, library socialism, and snatching victory from defeat's jaws. Writing it help keep me sane during the lockdown, and when it came time to record the audiobook, I spent a lot of time thinking about who could read it. I've had some great narrators: Wil Wheaton, @neil-gaiman, Amber Benson, Bronson Pinchot, and more.

I record my audiobooks with Skyboat Media, a brilliant studio near my place in LA. Back in August, I spent a week in their recording booth – "The Tardis" – doing something I'd never tried before: I recorded a whole audiobook, with directorial supervision: The Internet Con:

https://transactions.sendowl.com/products/78992826/DEA0CE12/purchase

When it was done, the director – audiobook legend Gabrielle de Cuir – sat me down and said, "Look, I've never said this to an author before, but I think you should read The Lost Cause. I don't direct anyone anymore except for Wil Wheaton and LeVar Burton, but I would direct you on this one."

I was immensely flattered – and very nervous. Reading The Internet Con was one thing – the book is built around the speeches I've been giving for 20 years and I knew I could sell those lines – but The Lost Cause is a novel, with a whole cast of characters. Could I do it?

Reader, I did it. I just listened to the proofs last week and:

It.

Came.

Out.

Great.

The Lost Cause goes on sale on November 14th, and I'll be selling this audiobook I made everywhere audiobooks are sold – except for the stores that require DRM, nonconsensually shackling readers and writers to their platforms. So you'll be able to get it on Libro.fm, downpour.com, even Google Play – but not Audible, Apple Books, or Audiobooks.com.

But in addition to those worthy retailers, I will be sending out thousands – and thousands! – of audiobook to my Kickstarter backers on the on-sale date, either as a folder of DRM-free MP3s, or as a download code for Libro.fm, to make things easy for people who don't want to have to figure out how to sideload an audiobook into a standalone app.

And, of course, the mobile duopoly have made this kind of sideloading exponentially harder over the past decade, though far be it from me to connect this with their policy of charging 30% commissions on everything sold through an app, a commission they don't receive if you get your files on the web and load 'em yourself:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

As with my previous Kickstarters, I'm also selling ebooks and hardcovers – signed or unsigned, and this time I've found a great partner to fulfill EU orders from within the EU, so backers won't have to pay VAT and customs charges. The wonderful Otherland – who have hosted me on my last two trips to Berlin – are going to manage that shipping for me:

https://www.otherland-berlin.de/en/home.html

Kim Stanley Robinson read the book and said, "Along with the rush of adrenaline I felt a solid surge of hope. May it go like this." That's just about the perfect quote, because the book is a ride. It's not just a kumbaya tale of a better world that is possible: it's a post-cyberpunk novel of high-tech guerrilla and meme warfare, climate tech and bad climate tech, wildcat prefab urban infill, and far-right militamen who adapt to a ban on assault-rifles by switching to super-soakers full of hydrochloric acid.

It's a book about struggle, hope in the darkness, and a way through this rotten moment. It's a book that dares to imagine that things might get worse but also better. This is a curious emotional melange, but it's one that I'm increasingly feeling these days.

Like, Amazon, that giant bully, whose blockade on DRM-free audiobooks cost me enough money to pay off my mortgage and put my kid through university (according to my agent)? The incredible Lina Khan brought a long-overdue antitrust case against Amazon while her rockstar DoJ counterpart, Jonathan Kanter, is dragging Google through the courts.

The EU is taking on Apple, and French cops are kicking down Nvidia's doors and grabbing their files, looking to build another antitrust case for monopolizing GPUs. The writers won their strike and Joe Biden walked the picket-line with the UAW, the first president in history to join striking workers:

https://doctorow.medium.com/joe-biden-is-headed-to-a-uaw-picket-line-in-detroit-f80bd0b372ab?sk=f3abdfd3f26d2f615ad9d2f1839bcc07

Solar is now our cheapest energy source, which is wild, because if we could only capture 0.4% of the solar energy that makes it through the atmosphere, we could give everyone alive the same energy budget as Canadians (who have American lifestyles but higher heating bills). As Deb Chachra writes in her forthcoming How Infrastructure Works (my review pending): we get a fresh supply of energy every time the sun rises and we only get new materials when a comet survives atmospheric entry, but we treat energy as scarce and throw away our materials after a single use:

https://www.penguinrandomhouse.com/books/612711/how-infrastructure-works-by-deb-chachra/

Anything that can't go on forever will eventually stop. We have shot past many of our planetary boundaries and there are waves of climate crises in our future, but they don't have to be climate disasters. That's up to us – it'll depend on whether we come together to save ourselves and each other, or tear ourselves apart.

The Lost Cause dares to imagine what it might be like if we do the former. We don't live in a post-enshittification world yet, but we could. With these indie audiobooks, I've found a way to treat the terminal enshittification of the Amazon monopoly as damage and route around it. I hope you'll back the Kickstarter, fight enshittification, inject some hope into your reading, and enjoy a kickass adventure novel in the process:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/10/02/the-lost-cause/#the-first-generation-that-doesnt-fear-the-future