Slow Sculpture (The Complete Stories of Theodore Sturgeon Book 12)
His work has long been deeply appreciated for its sardonic sensibility, dazzling wordplay, conceptual brilliance, memorable characters, and unsparing treatment of social issues such as sex, war, and marginalized members of society.
The book includes a new Foreword, an illuminating section of Story Notes, and a comprehensive index for the entire series. The Nail and the Oracle.
This book contains ten major stories by the master of science fiction, fantasy, and horror written during the s. The Man Who Lost the Sea.
By the winner of the Hugo, the Nebula, and the World Fantasy Life Achievement Awards, this latest volume finds Theodore Sturgeon in fine form as he gains recognition for the first time as a literary short story writer. Written between and , when Sturgeon and his family lived in both America and Grenada, finally settling in Woodstock, New York, these stories reflect his increasing preference for psychology over ray guns.
Always in touch with the zeitgeist, Sturgeon takes on the Russian Sputnik launches of with "The Man Who Lost the Sea," switching the scene to Mars and injecting his trademark mordancy and vivid wordplay into the proceedings. And Now the News. Written between and , the 15 stories in And Now the News … include five previously uncollected stories along with five well-known works, two cowritten with genre legend Robert Heinlein.logesvasscali.ga
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Spanning his most creative period, these tales show why Sturgeon won every science fiction award given. Bright Segment.
Sci-fi master Theodore Sturgeon wrote stories with power and freshness, and in telling them created a broader understanding of humanity—a legacy for readers and writers to mine for generations. If you have questions about downloading or accessing digital files, please refer to our Tech Support page. For general inquiries, please see our Customer Service page.
Theodore Sturgeon. Gordon W. Max Ehrlich.
This eleventh volume follows the same eccentric chronology as its fellows: the stories are arranged not in order of publication but in order of composition, as far as that can be determined. This is not necessarily an exact science. The blurb that accompanied that original publication reports that Sturgeon happened upon the story in in a file of old and unpublished work. It is clear, therefore, that on the strict chronological structure of this series, the story should have been published a number of volumes ago.
Except that we have no idea when, prior to , Sturgeon actually wrote a story that he had clearly forgotten by the time of its rediscovery. Certainly the story feels out of place where it now appears, and it is interesting to note that the original blurb described it as old-fashioned, a "period piece Now, another 40 years on, it feels positively antique.
It tells of a robbery at a small, late-night diner foiled by a distraught and lovelorn waitress, and it is absolutely packed with coincidence and contrivance. There isn't a sentence in the story that rings true. If you were to put this story, unattributed, in front of anyone and say it was the work of the best short story writer in science fiction, you'd get some very peculiar looks. There is something strange about both cut-off points. The first story included here, "Ride In, Ride Out," written with Don Ward, is a cowboy story that was probably written in but first published only in ; and it is the only story that does not date from the 60s, as if really it should have been tucked on to the end of the previous volume rather than added to the beginning of this volume.
At the other end of the book, the last four stories included here -- "Jorry's Gap", "Brownshoes", "It Was Nothing -- Really" and "Take Care of Joey" -- are four of the so-called "Wina" stories, written under the influence of the woman who would be his fourth long-term partner.
Yet there were more than four Wina stories, they filled his collection Sturgeon Is Alive And Well , and it seems curious that the editors have not thought to keep this body of work together in one volume. What we have, therefore, is 12 stories written over a period of 13 years that effectively chart Sturgeon's relationship with the 60s. If ever there was a writer who seems ideally suited to that liberated, hedonistic decade, it should be Theodore Sturgeon.
His fiction had assumed an ease with sexual matters, and in life as Harlan Ellison reports in a typically bombastic introduction he was prone to casual nudity. Yet the 60s did not seem to suit him at all.
His productivity declined sharply the Wina stories marked the beginning of a late flowering, but that is for a subsequent volume , and the stories he did write tend to ignore the mores of their age or else approach them with a noticeable dis-ease. Only two of the stories in this collection really seem to connect with their milieu, and they are the only two that make a serious contribution to his reputation as a writer. Although Sturgeon was primarily a science fiction writer, and clearly at his best in the genre, like most writers who emerged out of the pulp tradition he was ready and able to turn his pen to any type of story.
This collection, therefore, includes one cowboy story, two crime stories and a mainstream piece.