An NYRB Classics Original Robert Sheckley was an eccentric master of the American short story, and his tales, whether set in dystopic cityscapes, ultramodern advertising agencies, or aboard spaceships lighting out for hostile planets, are among the most startlingly original of the twentieth century. Today, as the new worlds, alternate universes, and synthetic pleasures Sheckley foretold become our reality, his vision begins to look less absurdist and more prophetic. This retrospective selection, chosen by Jonathan Lethem and Alex Abramovich, brings together the best of Sheckley’s deadpan farces, proving once again that he belongs beside such mordant critics of contemporary mores as Bruce Jay Friedman, Terry Southern, and Thomas Pynchon.
Three great SF stories from the golden age of fantastic tales!:The space ships were miracles of power and precision; the men who manned them, rich in endurance and courage. Every detail had been checked and double checked; every detail except—THE NOTHING EQUATIONBy TOM GODWIN There are times when a broken tool is better than a sound one, or a twisted personality more useful than a whole one. For instance, a whole beer bottle isn't half the weapon that half a beer bottle is …IN CASE OF FIREBy RANDALL GARRETTRed and Slim found the two strange little animals the morning after they heard the thunder sounds. They knew that they could never show their new pets to their parents.YOUTHby ISAAC ASIMOV
The various monsters that people 1950s sf - giant insects, prehistoric creatures, mutants, uncanny doubles, to name a few - serve as metaphorical embodiments of a varied and complex cultural paranoia."--BOOK JACKET. "Hendershot provides both theoretical discussion of paranoia and close readings of sf films in order to construct her argument, elucidating the various metaphors used by these films to convey a paranoiac view of a society forever altered by the atomic bomb."--BOOK JACKET.
Following World War II, the Fleuve Noir publishing house published popular American genre fiction in translation for a French audience. Their imprint Anticipation specialized in science fiction, but mostly eschewed translations from English, preferring instead French work, thus making the imprint an important outlet for native French postwar ideas and aesthetics. This critical text examines in ideological terms eleven writers who published under the Anticipation imprint, revealing the way these writers criticized midcentury notions of progress while adapting and reworking American genre formats.
1950s Cold War-era monsters meet 21st-century terrorists: Matthews provides a thoughtful interpretation of sci-fi movies that examines the similarities and differences between the political environment and popular culture of two eras. This well-researched examination and appreciation of science fiction films includes behind-the-scenes tales about their production and many quotes from those who produced and starred in the films. The book will tantalize not only fans of the science fiction genre but also sociologists, film historians, and politicians. The author draws parallels between the Cold War fears of the 1950s and 60s and the constant "terrorism alerts" of the September 11th era, exploring how the politics and the psychological climate of the times influences and is reflected in this vehicle of popular culture. This book is the first of its kind, studying the pop culture genre in the wake of the September 11th tragedy. The alien invaders of the 1950s signified a Russian invasion of America, while other films of the genre such as "Invaders from Mars" depicted aliens utilizing mind control to manipulate humans to commit acts of sabotage, signifying Communist enslavement. If such a film were made now, such invaders could be seen as terrorist masterminds using human slaves to commit terrorist acts. "Them!" the 1954 atomic mutation classic, is the spiritual ancestor of the 2002 film "Eight Legged Freaks." Finally, several 1950s films depicted the end of the world at a time when Americans expected a nuclear war with Russia. Godzilla, the only 1950s-era monster to remain a "movie star" beyond that era, can be fashioned to reflect whatever issues dominate the times: nuclear war in the1950s, environmental pollution in the 1970s. Conceivably a Godzilla for the age of terrorism is soon to be released. The immediate pre-September 11th era witnessed films presenting galactic threats to mankind's existence ("Independence Day," "Armageddon," "Deep Impact"), while the early 2000s witnessed the popularity of the "Left Behind" Christian films dramatizing the Tribulation period in the Book of Revelation. It seems that whatever the era and whatever the challenges and crises confronting America, many entertainment themes remain the same, reflecting their respective times and the relevant issues. * Melvin E. Matthews, Jr. is a freelance writer and a horror movie aficionado who has been studying the genre for thirty years. In this work he shares his personal correspondence with film and television star Beverly Garland, and brings together a wealth of detail about the fun and the challenges of the costumes, stunts and special effects, as well as the actors' and producers' thoughts on the meaning behind the stories.
John Wade grew up in the 1950s, a decade that has since been dubbed the 'golden age of science fiction'. It was a wonderful decade for science fiction, but not so great for young fans. With early television broadcasts being advertised for the first time as 'unsuitable for children' and the inescapable barrier of the 'X' certificate in the cinema barring anyone under the age of sixteen, the author had only the radio to fall back on - and that turned out to be more fertile for the budding SF fan than might otherwise have been thought. Which is probably why, as he grew older, rediscovering those old TV broadcasts and films that had been out of bounds when he was a kid took on a lure that soon became an obsession.For him, the super-accuracy and amazing technical quality of today's science fiction films pale into insignificance beside the radio, early TV and B-picture films about people who built rockets in their back gardens and flew them to lost planets, or tales of aliens who wanted to take over, if not our entire world, then at least our bodies. This book is a personal account of John Wade's fascination with the genre across all the entertainment media in which it appeared - the sort of stuff he revelled in as a young boy - and still enjoys today.
