Paul McAuley est revenu sur les nouvelles de science fiction les plus marquantes pour lui en tant que lecteur.
Voici sa réponse. Elle est à lire ici :
A handful from my personal Golden Age:
"Surface Tension" by James Blish. One of his pantropy stories, set in a future where human beings are radically adapted to survive on other planets. Here, microscopic colonists inhabiting a pond in a low-energy water world decide to find out what's on the other side of their sky, and build a wooden spaceship. Rigorous world-building (and a neat parody of pulp planetary adventure) that culminates in a dizzily perfect evocation, via sudden expansion of scale, of that good old sense of wonder:
Under the two moons of Hydrot, and under the eternal stars, the two-inch wooden spaceship and its microscopic cargo toiled down the slope towards the drying little rivulet.
"Aye and Gomorrah..." Samuel R Delany. Vividly evoked exoticism, the queasy link between space travel and sex - polymorphous perversity the only human link androgyne astronauts can hope for - and sheer narrative pace. How do the astronauts go up? The story absorbs the technology completely, which is as it should be.
"When It Changed" by Joanna Russ. Men return to a women-only world - a world that isn't the usual feminist utopia of the time (the 1970s), but a world of ordinary people facing an alien invasion. Subversive at every level.
"Running Down" by M John Harrison. Hapless narrator becomes entangled with a man who accelerates the entropic decay of every system around him, and (this is the brilliant part) *can't escape.* Tough-minded yet tenderly lyrical.
"The Island of Doctor Death and Other Stories" by Gene Wolfe. A boy trying to make sense of his lonely life with his vivid but self-destructive divorced mother is helped by characters from a pulp novel, The Island of Doctor Death, who begin to appear in the real world. A marvellously controlled and multilayered story within a story told in second person (the literary equivalent of breaking the fourth wall, but here an essential structural element rather than a gimmick) by a writer coming into the height of his powers.
Voici sa réponse. Elle est à lire ici :
A handful from my personal Golden Age:
"Surface Tension" by James Blish. One of his pantropy stories, set in a future where human beings are radically adapted to survive on other planets. Here, microscopic colonists inhabiting a pond in a low-energy water world decide to find out what's on the other side of their sky, and build a wooden spaceship. Rigorous world-building (and a neat parody of pulp planetary adventure) that culminates in a dizzily perfect evocation, via sudden expansion of scale, of that good old sense of wonder:
Under the two moons of Hydrot, and under the eternal stars, the two-inch wooden spaceship and its microscopic cargo toiled down the slope towards the drying little rivulet.
"Aye and Gomorrah..." Samuel R Delany. Vividly evoked exoticism, the queasy link between space travel and sex - polymorphous perversity the only human link androgyne astronauts can hope for - and sheer narrative pace. How do the astronauts go up? The story absorbs the technology completely, which is as it should be.
"When It Changed" by Joanna Russ. Men return to a women-only world - a world that isn't the usual feminist utopia of the time (the 1970s), but a world of ordinary people facing an alien invasion. Subversive at every level.
"Running Down" by M John Harrison. Hapless narrator becomes entangled with a man who accelerates the entropic decay of every system around him, and (this is the brilliant part) *can't escape.* Tough-minded yet tenderly lyrical.
"The Island of Doctor Death and Other Stories" by Gene Wolfe. A boy trying to make sense of his lonely life with his vivid but self-destructive divorced mother is helped by characters from a pulp novel, The Island of Doctor Death, who begin to appear in the real world. A marvellously controlled and multilayered story within a story told in second person (the literary equivalent of breaking the fourth wall, but here an essential structural element rather than a gimmick) by a writer coming into the height of his powers.
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