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Crossing the boundaries between fabulist literature, science fiction, and magical realism,�the stories�in this collection offer a valuable glimpse into the evolution of Carol Emshwiller s ideas and style�during her more than 50-year career. Influenced by J. G. Ballard, Steven Millhauser, Philip K. Dick, and Lydia Davis,�Emshwiller has a�range of works that�is impressive and demonstrates her refusal to be labeled or to stick to one genre. This exhilarating new collection marks the first time many of the early stories have been published in book form and is evidence of the genius of Emshwiller, one of America s most versatile and imaginative authors.
- Sales Rank: #577304 in Books
- Brand: Brand: NonStop Press
- Published on: 2011-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.60" w x 6.00" l, 2.04 pounds
- Binding: Hardcover
- 536 pages
- Used Book in Good Condition
From Publishers Weekly
In her introduction, Emshwiller (The Secret City) says, "I've never known quite what to call my writing." Readers of this offbeat collection of more than 80 short stories spanning nearly five decades might apply labels such as murder mystery, hard science fiction, magical realism, and narrative nonfiction. 1954's "Built for Pleasure" anticipates The Stepford Wives by decades, but is followed by two tales with similar premises, diluting its impact. The transition from mail-order wives to feminist writings, including musings on female genitalia and a story accompanied by drawings of breasts in profile, is abrupt and jarring. The contents are arranged chronologically and unfortunately bereft of authorial notes that might bring some order to the chaos. SF fans may want to skip straight to the moving Nebula-winning "Creature" and otherwise select their own "best of Carol Emshwiller" from this overly comprehensive collection. (Apr.)
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Review
"Emshwiller's readers know her�as a major fabulist, a marvelous magical realist, one of the strongest, most complex, most consistently feminist voices in fiction."� —Urusula K. Guin, award-winning author,�Lavinia --x, most consistently feminist voices in fiction."� —Urusula K. Guin, award-winning author
"First and foremost, Emshwiller is a poet—with a poet's sensibility, precision, and magic. She revels in the sheer taste and sound of words, she infuses them with an extraordinary vitality and sense of life."� —Newsday
--Newsday"[Carol Emshwiller] has important things to tell us." Magazine of Fantasy &�Science Fiction (November 2011) --Magazine of Fantasy &�Science Fiction
About the Author
Carol Emshwiller has been awarded a National Endowment for the Arts grant and a Pushcart Prize. She has received the Philip K. Dick, Hugo, and Nebula awards for her novels and short stories, which include Carmen Dog, Mister Boots, The Mount, The Secret City, and The Start of the End of It All. Her stories have appeared in McSweeney's, Omni, and The Voice Literary Supplement. She lives in New York City.
Most helpful customer reviews
3 of 4 people found the following review helpful.
Too literary for me, but you know your own taste
By Elizabeth A. Root
I've rated this a 3-stars although I would prefer not to rate it at all, since my reaction is largely a matter of taste. Two people on LibraryThing gave it 5-star ratings, but no reviews.
One of the most haunting stories that I ever read was written by Carol Emshwiller, Unfortunately, it is not in this book, although it was of this time period, but having found "Adapted" again, I decided that I wanted to read her other work. Carol Emshwiller tends to be described as a science fiction writer, but Luis Ortiz tell us in Emshwiller: Infinity x Two: The Life & Art of Ed & Carol Emshwiller, a biography chiefly of her husband, but secondarily of Carol, that she decided to break out of the genre and into more literary work. She certainly seems to have succeeded.
Emshwiller tells us in her introduction that she went through three stages in her writing, first, learning to plot, next, learning to hit her subconscious, and last, learning not to plot. I enjoyed the earliest stories, but most of these works seem to be after she stopped plotting. After much labor, I am about halfway through this book, and I suppose I will finish the book, but I find most of her work to be as enthralling as reading the cereal box during breakfast, and some of the worst could be collections of nonsense syllables.
Emschwiller has real writing ability, and a gift for description, but most of her works after the first dozen simply don't interest me. The most interesting part of her later stories is that she prefers not to explain the situation in which the character finds him or herself, but to let the reader put it together from the generally first-person narrative, which does a bit to replace the lack of a plot. Otherwise, I lived through this school of writing when it was new, and it hasn't improved with age.
On the matter of hitting one's self-conscious, I remember a college professor explaining that feeling something doesn't mean that it is a good work. As he said, perhaps one sees flies on a window and suddenly the meaning of life becomes clear and one writes down "Flies." That isn't a meaningful piece of work, although absurdists might argue that it is.
If one wants to argue that life doesn't have a plot, that is true, but we live life, we shouldn't need to read it. Emshwiller does appear to have returned to plotting later in life, so maybe I will try some of her later work.
"Adapted", which I still recommend, especially for anyone who has wondered if they are on the wrong planet, originally appeared in The Magazine of Fantasy & Science Fiction, May 1961, and later in Rod Serling's Devils and Demons.
2 of 3 people found the following review helpful.
Waste of a talent
By Simon Barrett 'Il Penseroso'
Who knew a book this big could be this good? The first bit, anyway. As well as being a yarn-spinner, Emshwiller has a moral voice altogether refreshing. There's a kind of innocence, but also a kind of clear-sightedness, that I fear we may have lost. Although a large volume, it has been put together with evident care. Aside from the proof-reading, that is. Proof-reading? What proof-reading? Ah well. A younger, more refined Charles Beaumont? Love it, misprints* and all. Can Rudy Rucker's 2v complete or Kit Reed's recent uber-selected possibly compare?
At 1/3 in, I can see why her reputation's been a long time coming. In the Sixties, following a six-year hiatus, she migrated from the pulps to the little magazines. Were the Sixties good for Carol E? Well, were they good for Charles B? TV's gain (The Twilight Zone) was arguably prose narrative's loss. As for Emshwiller, too literary (intelligent?) for genre (as practised in the Fifties) she is just too darn genre to cut it as literature. Four hundred pages of what feel like arid writing exercises, Carol? We are supposed to be impressed? Sometimes less can be more. Five stars for those early ones though - sheer enjoyment
* How about this, from page 180: 'the river does not How [flow?] across that whole wrist of land'
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