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Radioland
A group of hobbyists experiment with a device that allows brain activity to be electrically recorded and broadcast over satellite radio networks, instantly sharing emotional states between users. After a neighbor introduces him to the experience, a man becomes obsessed with exploring the minds of strangers.
"Radioland" is a short novella (11,000 words) by the author of "Scrooge & A Sequel to 'A Christmas Carol'."
"Radioland" is a short novella (11,000 words) by the author of "Scrooge & A Sequel to 'A Christmas Carol'."
37 pages, Kindle Edition
First published November 3, 2011
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July 3, 2026
There’s reading, then there’s experiencing. When it comes to fiction, the difference between the two is considerable, like the difference between eating and dining, knowledge and understanding, affection and love. Said difference is not easily forgotten.
I didn’t read the novella, Radioland, as much as I experienced it. Matt McHugh’s prose made that difference.
On the surface, it’s a science fiction story about the novelty of new gadgets and the trials of midlife crisis, but the route it takes summons images and emotions seldom found in such literature.
Stephen, a married father and an everyday protagonist, discovers a device capable of receiving and transmitting brain waves and emotions. He spends considerable time, much like an addict, experiencing the feelings of others as if they were his own, while also projecting his own emotions. The story delves into Stephen's inner thoughts and the external obstacles he faces as he becomes utterly consumed by the desire to understand the minds of others, resulting in his total neglect of his family.
But when he receives the feelings of a soldier who eventually dies in battle, everything changes, and he steps away from the gadget. Needless to say, the authorities catch up with and arrest him for his troubles.
The story is also a tragedy, with Stephen’s tragic flaw being his own avoidance of vulnerability. He’ll gladly broadcast his own emotions, even in the aid of his fellow man, but always to an audience, never a mirror. He does not reflect. He does not introspect. He does not contemplate. He cannot see the destruction his obsession is leaving behind, including the deterioration of his immediate family and his eventual failure as a husband and a father.
But this is not what makes this story unforgettable.
The text highlights the contrast of extreme emotions, illustrating the simultaneous highs and lows one can experience, while delving into the depths of an unexplored emotional terrain. Each juxtaposition of emotion is illustrated beautifully, with phrases and descriptors like “He was finger-painting, splattering emotions on himself like a canvas,” and “It was crisp and dazzling, full of strength and bravado, blue and red granite monoliths lining the horizon, acid-etched swords glinting in the painted desert sun.” Such experiences change a person, and I was right there with Stephen as he endured all of this.
Needless to say, McHugh’s prose is unmatched.
The exposition necessary for speculative fiction–what we writers affectionately call “Info dumps”–does not jut or glare within McHugh’s prose. It’s so craftily interwoven with plot elements and characterization details that it’s virtually seamless. Again, this adds to the “experience” of this novella.
I highly recommend reading…no, experiencing Radioland. It will definitely be worth your while.
I didn’t read the novella, Radioland, as much as I experienced it. Matt McHugh’s prose made that difference.
On the surface, it’s a science fiction story about the novelty of new gadgets and the trials of midlife crisis, but the route it takes summons images and emotions seldom found in such literature.
Stephen, a married father and an everyday protagonist, discovers a device capable of receiving and transmitting brain waves and emotions. He spends considerable time, much like an addict, experiencing the feelings of others as if they were his own, while also projecting his own emotions. The story delves into Stephen's inner thoughts and the external obstacles he faces as he becomes utterly consumed by the desire to understand the minds of others, resulting in his total neglect of his family.
But when he receives the feelings of a soldier who eventually dies in battle, everything changes, and he steps away from the gadget. Needless to say, the authorities catch up with and arrest him for his troubles.
The story is also a tragedy, with Stephen’s tragic flaw being his own avoidance of vulnerability. He’ll gladly broadcast his own emotions, even in the aid of his fellow man, but always to an audience, never a mirror. He does not reflect. He does not introspect. He does not contemplate. He cannot see the destruction his obsession is leaving behind, including the deterioration of his immediate family and his eventual failure as a husband and a father.
But this is not what makes this story unforgettable.
The text highlights the contrast of extreme emotions, illustrating the simultaneous highs and lows one can experience, while delving into the depths of an unexplored emotional terrain. Each juxtaposition of emotion is illustrated beautifully, with phrases and descriptors like “He was finger-painting, splattering emotions on himself like a canvas,” and “It was crisp and dazzling, full of strength and bravado, blue and red granite monoliths lining the horizon, acid-etched swords glinting in the painted desert sun.” Such experiences change a person, and I was right there with Stephen as he endured all of this.
Needless to say, McHugh’s prose is unmatched.
The exposition necessary for speculative fiction–what we writers affectionately call “Info dumps”–does not jut or glare within McHugh’s prose. It’s so craftily interwoven with plot elements and characterization details that it’s virtually seamless. Again, this adds to the “experience” of this novella.
I highly recommend reading…no, experiencing Radioland. It will definitely be worth your while.
This entire review has been hidden because of spoilers.
Displaying 1 - 1 of 1 review