Dalle profondità: dello spazio e del tempo. Ma anche nelle profondità: della psiche. O forse è vero il contrario. Trattandosi di un racconto di fantascienza, per De Profundis si dovrebbe probabilmente preferire un’interpretazione più letterale; ma it is true that in those years, its authors were waging their own academic training in the field of psychological studies and were thinning out a lot, up to almost skip it, their science fiction, devoting himself mainly to mystery novels (after death her husband, Catherine Lucille Moore was to write screenplays for a few more years for major television series of the time, then giving up writing altogether after his second marriage in 1963).
In the course of human history those who hear voices have had different fates. Also according to who these items belonged to God or some god, the devil or some devil, aliens, the dead. Who hears God (or god) can have luck and great credit as a prophet or shaman, as a visionary mystic. Or maybe you can start a religion on its own. If you do not have luck or do they stick out in a mental hospital and throw away the key. The diversity of fate may depend purely by chance, or perhaps the cunning of the individual. Sometimes in a life-captain both. Some who hear voices obey them and kill, and we are recognized as murder and locked up in prison or executed, while others obey them, and kill, and we are recognized as saints and raised to the altars. Here again the diversity of fate may depend on the case or even on how much caution in the choice of identity due to the items. Here, too, may sometimes be seen first in one way and then another: humanity is beautiful because it is varied. However, if the rumors are that a person feels confused, indeterminate, or are the aliens, his best of luck will be regarded as a harmless nutcase, tolerated because it was judged as not dangerous sociopath. William Rogers, the protagonist and narrator of the story, has no such luck.
William is a certified madman, a man still young at a very young age in and out of so-called mental health institutes. William professes to be always aware that there is something wrong in his head: hallucinations, delusions, strange shapes, devils, voices. And the Cloud : a blur, discreet and not too intrusive, a presence, sometimes elusive, in a mental corner. William claims to know that none of this is real. Royal however, swears William, are the guest ( The Visitors was the title of the story before it Kuttner and Moore dismissal a slightly revised), which only recently joined the company. Aliens, probably, or perhaps from another time and another space, the visitors studied humanity and the Earth , using highly sensitive personality, like William, in order to wedge in real time-space land. As the visitors told him, William can only see them. Logical that physicians tend not to believe William much when telling their visitors. Whose vision and whose shares are William source of immense suffering, not only spiritual, in complete disregard of his captors came from somewhere. Before William comes to the end for consumption, However, the Cloud - Cloud quell'innocua that with the advent of Visitors for the man had become like the reassuring presence of an old friend - which is appaleserà entity far greater power of the tormentors of William, and drive out and destroy exploiters of those rough its privileged position of observation of humanity. In the end the authors do not really melt the story, the reader no room for ambiguity open to interpretation. The Cloud is actually , too, is an alien entity or any real or the whole affair is nothing but the worsening of mental status William Rogers? De Profundis is a tale of sf, and as I said a literal reading appears to be favored in this respect. Yet the spaces of our minds (and the more nearly sixty years ago) are still more unknown and full of surprises as physical in our solar system and beyond? Our mind, in some respects, is still the most alien (not) know. The two readings can not weakens the story as true product of science fiction, nor confined within the boundaries of gender as a portrait of a troubled mind. Indeed enhances both dimensions, providing the science-fiction story a depth and a thickness of three-dimensional, and the story mainstream an enigmatic vein, which increases the charge anxiety. A distant echo of the active influence of Lovecraft on both the authors warn.
When they write this story, Henry Kuttner and CL Moore writers are mature and fully aware of their means of expression. Active since the '30s (Catherine begins in 1933, Henry in 1936, both with two memorable stories), were among the absolute rulers of the scene of American science fiction magazines in the '40s, both the quantity and quality of published work. Today, if their name is less well known than those of Asimov, Heinlein, Leiber, Sturgeon (and Simak and van Vogt, yet most neglected) is remembered as the first because at the end of the decade their activities in the field slowed greatly, and then stop completely with the early death of Kuttner. Many of their works, however, appear to be valid today, and should be interpreted and reported to the attention of readers.
De Profundis is is a shining example of great inventiveness that characterized them for their strong writing and emotionally colorful. William is a figure that strikes the reader's imagination and is engraved in his memory. He's crazy or really visited by someone not important: we are not able to really get to understand it from the inside of his mind, much less so if we could be outside, where such are his doctors. But beyond this unresolved (and irresolvable), what really stands out and makes valuable reading is important, however, makes this realistic journey into the depths of the psyche of William. Kuttner and Moore might not sink at all, and somehow they look really does not go to the bottom of William's mind - it is still a short story, and favor a greater effect than substance has its own reason. However, the description of compensates for this lack of effect on the violence with which it reveals the desperation and anguish of William, pictured with the participation and effectiveness. As can be flamboyant and emotional, in fact, the two authors writing remains lucid and analytical for the whole story. The disconsolate grief spiritual William is transmitted to the reader with a strong impact on their senses, but is also thoroughly eviscerated in the short but narrow story. In any case, reading purely science fiction remain fully legitimate, and the story of this poor human mind battleground for powerful alien entity in itself is already full of innuendo (it's 1953, do not forget, and to say Joe McCarthy is alive and They struggle with ...).
Henry and Catherine on the legends flourished: he was better - no, she was better, that story was written by him (or mostly him) - no, she has written (or mostly her). The fact that after their marriage in 1940 to publish have used many pseudonyms - at least a fortnight - in addition to their names, does not help to disentangle the various nodes. Lewis Padgett was the one who used more; Lawrence O'Donnell was probably used to tell (much less than those of Padgett, but most memorable) written by Catherine alone or mostly by yourself. Tracing a rule, however, is almost impossible to tell the story of 1943 Clash by Night was published by Lawrence O'Donnell and most likely was written solely by Catherine, the novel Fury of 1947, revising and expansion of the novel is a collaboration between the spouses, and was also published on the magazine under the pseudonym O'Donnell ... however the issue in volume some time later came under the single name of Henry Kuttner. The fact that in their time the work of a writer was generally underestimated (and paid for worse ...), then it has probably led to underestimate the contribution of Catherine, and the revisionism of recent decades has probably led to underestimation in recent times to Henry. The vulgate Kuttner was a writer who wants more fertile inventiveness and the ease and speed of writing, skillful interweaving e nel creare psicologie credibili e approfondite, ma debole nello sviluppo consequenziale delle trame; mentre Moore fosse autrice stilisticamente più raffinata e dall’immaginazione meno ampia ma dalle coloriture più fantasiose, e molto più rigorosa nel condurre in porto le proprie trame. Quel che i loro lavori precedenti il matrimonio ci dicono è che Henry Kuttner e C. L. Moore erano già due eccellenti scrittori popolari (Henry pubblicava di più; e Catherine aveva senza dubbio una scrittura evocativa, romantica ed emotivamente esuberante in grado di scatenare il sense of wonder ), che negli anni successivi seppero crescere ulteriormente e integrarsi alla perfezione in uno scrittore più completo della somma delle loro parti: il racconto qui in questione mostra, fusi armonicamente, i pregi di entrambi che la vulgata accredita. L. Sprague de Camp aggiunge alla loro leggenda che con il tempo fossero diventati a tal punto coordinati che l’uno o l’altra poteva interrompere il lavoro nel mezzo di una frase e l’altra o l’uno riprendere immediatamente senza che vi fossero interruzioni e si notassero differenze. E’ probabilmente un’esagerazione, ma rende bene l’idea di quella che dovette essere una collaborazione davvero profonda, a estensione e integrazione di un rapporto di vita.
De Profundis fu pubblicato, as far as I can to determine, under the single name of Henry, but it is clearly established a partnership between the spouses. In Italy it was released three times, none of them recently. The last two in the anthology The Twonky, time and madness (originally Ahead of time) for the SFBC in 1971, and later in the volume of the Highest Science Fiction dedicated to Kuttner, which contains several other significant stories, among which the novel Vintage season, almost certainly the work of one Catherine, and The Twonky , probably the only Henry.
Segnalo below links to their stories of onset. Shambleau , which appeared in Weird Tales in 1933 is the initial news cycle dedicated science-fantasy space adventurer Northwest Smith. Today, it is dated in many ways, but the triumph of fantasy, horror and sheer imagination represented in its pages, as well as the brilliant baroque richness of the writing make it one more reading to enjoy. The graveyard rats , also published in Weird Tales in 1936, is a horror story of rare and simple effectiveness (Lovecraft, in all likelihood, he worked a thorough revision of the text by first time Kuttner disciple).
Shambleau:
The graveyard rats:
0 comments:
Post a Comment