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Store of the Worlds: The Stories of Robert…
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Store of the Worlds: The Stories of Robert Sheckley (New York Review Books… (utgåvan 2012)

av Robert Sheckley (Författare), Alex Abramovich (Redaktör), Jonathan Lethem (Redaktör)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
215994,256 (4.15)23
Robert Sheckley was science fiction's in-house reply to theblack humorists of the 1950s and 60s- Bruce Jay Friedman,Terry Southern, and the young Thomas Pynchon were his nonetoo-distant relatives; Mort Sahl's comedy, Charles Schultz'scartoons, and Tom Lehrer's songs all mined similar veins.Sheckley targeted the conformity and consumerism of ourmid-century technotopia while it was still under construction.His new worlds, alternate universes, and future dystopias haveonly become more present with the passing years, even as hiscareer, played out both in the pulp magazines and in front-linevenues like Playboy and Omni, is a glimpse of a time when"science fiction writer" could be a kind of hipster credential.Mordant, absurdist, and deadpan, the best of Sheckley's dissidentfarces represent science fiction's high-water mark as anallegorical clearinghouse for twenty-century angst.… (mer)
Medlem:rmdmphilosopher
Titel:Store of the Worlds: The Stories of Robert Sheckley (New York Review Books Classics)
Författare:Robert Sheckley (Författare)
Andra författare:Alex Abramovich (Redaktör), Jonathan Lethem (Redaktör)
Info:NYRB Classics (2012), 417 pages
Samlingar:Ditt bibliotek
Betyg:
Taggar:to-read, speculative-fiction

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Store of the Worlds: The Stories of Robert Sheckley av Robert Sheckley

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Visa 1-5 av 9 (nästa | visa alla)
I am glad that the New York Review of Books published this collection of Sheckley's short stories. A fair number of these are stories I read in anthologies and magazines in the 1960s, and the pleasure of recognizing a story like "Seventh Victim" or "Pilgrimage to Earth" is considerable. Sheckley is a subtle writer but more than that, his stories mercilessly expose humanity's hypocrisy and other flaws with a wry tolerance and recognition of the best in our species. These stories are worth discovering or rediscovering so many decades after Sheckley first wrote and published them. ( )
  nmele | Aug 10, 2020 |
Ok so I didn't actually finish the book, but I really liked the stories! I'll definitely come back to it in the future. ( )
  katebrarian | Jul 28, 2020 |
Pulpy mid-20th c. sci-fi short stories, ideational rather than technological, a sameness of tone, some flimsy, some profound.

Stone 08.08.08 Vertical Epic Ale
Mast Landing Green to Green IPA
  MusicalGlass | Mar 28, 2020 |
"The Monsters" (1953): 9.5
- The premise isn't that original (although it just as well could have been in the fifties), but I can't think of someone doing more or better with that common premise (changing perspective in the Contact Story from human to alien) than this. The language deliberately keeps the reader off balance, using Human as an analogue and thus deepening the sense of normalization for the indigenous group here, all the while also establishing some customs and traditions we intuitively recognize as both deeply alien and unnormal in and of themselves, if not immoral as well. And all this in several pages of largely unadorned, dispassionate prose that packs a little bounce even in its efficient package.

"The Seventh Victim" (1953): 8
- Was good. Was fun. Wasn't as good as the first, but that's hardly to its detriment, considering that one took a quite common conceit or trope of SF and toyed with it, turning it over and around and inspecting it from different sides -- and not simply in terms of narrative or perspective but, crucially, in terms of tone and prose -- whereas this one simply takes a common conceit or trope and tells a successful story around it (that being: hunting humans is legal. Now go.). The gender stereotypes are obv. all here considering the positionality of our author -- and I'm actually much less prone to dismiss them as I usually might be here, SINCE our buying into them is actually very central to the whole "success" of the story. Nonetheless, there's that steady, confident tone deployed here, as in most Sheckley, that lays out the world and plot so much cleaner than most contemporaneous genre work.

"Shape" (1953): 9
- Again, hard to over-emphasize how 'out of time' Sheckley's stories appear, especially when consumed in close proximity to a mountain of other contemporaneous SFF stories. This is '53, and the tone is breezily serious, the prose playfully smart, and the plotting momentum fluid. The story: the 23rd expedition from an alien invasion force once again flounders in their attempt on earth, as this race -- whose body shape is fluid, malleable, and capable of complete mimicry of all its surroundings, although on their home planet they are forced into rigid caste systems based on body shape and occupation and therefore not allowed to mold into but several proscribed shapes -- cannot help but abandon their mission once reaching the relative 'freedom' of earth. Even if it is not nearly as direct, or pin-pointedly topical as others, Sheckley imbues these stories with social critique, albeit in a way that interacts organically with the story, never overwhelming its telling or development (as here in the caste-based shape restrictions of the Glom, which could be a stand-in for any number of human oppression parallels, from color and class to the more obvious, caste itself).
  Ebenmaessiger | Oct 8, 2019 |
What a find, an excellent collection. Sheckley is a wit, with an amazing ability to see the future. I couldn’t believe how current were several of the stories. A gem. ( )
  ebethe | Jan 26, 2019 |
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Författarens namnRollTyp av författareVerk?Status
Robert Sheckleyprimär författarealla utgåvorberäknat
Abramovich, AlexRedaktörmedförfattarealla utgåvorbekräftat
Lethem, JonathanRedaktörmedförfattarealla utgåvorbekräftat
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Robert Sheckley was science fiction's in-house reply to theblack humorists of the 1950s and 60s- Bruce Jay Friedman,Terry Southern, and the young Thomas Pynchon were his nonetoo-distant relatives; Mort Sahl's comedy, Charles Schultz'scartoons, and Tom Lehrer's songs all mined similar veins.Sheckley targeted the conformity and consumerism of ourmid-century technotopia while it was still under construction.His new worlds, alternate universes, and future dystopias haveonly become more present with the passing years, even as hiscareer, played out both in the pulp magazines and in front-linevenues like Playboy and Omni, is a glimpse of a time when"science fiction writer" could be a kind of hipster credential.Mordant, absurdist, and deadpan, the best of Sheckley's dissidentfarces represent science fiction's high-water mark as anallegorical clearinghouse for twenty-century angst.

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