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The Classic - Love Letters (The Love Letter 1959) by Jack Finney (1911-1995)

Jack Finney is remembered today (if it is) because his 1955 novel The Body Snatchers was made into the popular film of Don Siegel Invasion of the Body Snatchers ( 1956) with its remake, sequel , appurtenances. Too bad. The film is a landmark of sci-fi film, but his reputation and image will not only crush those of a novel interesting despite some inconsistencies of plot and narrative inconsistencies, but above all they have virtually reduced to this single novel Finney. Instead, there is another and better.

Simak was born in Wisconsin, Illinois, educated in Bradbury, at its best Finney can remember the author's intimate humanism City, but it is especially approachable in style and intent in certain "Impressionism "to that of the Martian Chronicles . In the introduction to one Italian publication of this story that I showing ( time Stories, Galaxy n.207, 1975), the Dioscuri Curtoni Vittorio Gianni Montanari & Finney speak for science fiction twilight. Twilight of course, the science fiction I would say with caution. Moreover Finney, writer since 1946, was never a staff writer for SF gender despite having written since 1951: to say, this story was originally published in the Saturday Evening Post, not one of the magazines. Author eclectic, he was one of the many talented writers who populated the American magazines ranging freely among genres and not, building careers on novels and short stories written with skill, and giving the occasional paw of high class. The love letter is without doubt one of these legs, a short story with a subtle intensity, capable of causing commotion in the best sense of the word, and written with a measured and restrained style, with fine attention to detail and literary atmosphere and impressionistic rendering of the narrative (from story, I find the network, was made in 1998 a TV movie, which frankly are not eager to see nose). They make use of the privileged themes of the narrative of Finney, time and nostalgia, common to his best work: antologizzati other stories in the volume (in the original collection is named after the eponymous story, I love springtime in Galesburg - Galesburg is the city where he grew Finney) and the novel in 1970 Time and again, in Italian back in time. Not to mention The Woodrow Wilson Dime 1968, in Italian The coin of Woodrow Wilson .

The love letter has a disarmingly simple plot: a boy loves a girl. From a strictly narrative point of view, of what happens, there's more. And yet on an issue as minimum (and especially popular ...) Finney manages to strike up a story that can strike the reader and emotions.

Jake Belknap is a young man living in New York in 1959 in Brooklyn, his family is far away in Florida. He has a decent job and live the life of a bachelor without scapestrataggine particular. Longs for love, dare I say the youthful ability to dream, combining a bit of bourgeois common sense. A good guy, good in the sense of the word. The young man buys an antique desk, drawers and exploring discovers the secret compartments, the first of these is the old white writing paper, ink, preserved through the decades and an old pen. And a letter. The letter was signed in 1882 by Helen Elizabeth Worley, una ragazza vissuta a Brooklyn a pochi isolati alla casa di Jake. In ossequio al costume del tempo la giovane donna sta per sposare qualcuno scelto per lei e del quale non è innamorata. La lettera è indirizzata invece all’uomo che ama. Solo che quest’uomo non esiste, è il vagheggiamento di un uomo. Non che Helen sia pazza, la lettera non è in alcun modo un delirio: è un voto, un augurio, l’espressione di un desiderio che ella sa essere del tutto eventuale, quasi certamente destinato a restare tale. Anche in Helen si ravvisano giovanile ardore e borghese assennatezza congiunti in una ferrea unione. Non siamo però nella realtà e neppure in un racconto realistico, per cui qualcosa accadrà.

Driven by an impulse ineffable Jake decides to respond to the letter. That sounds like nonsense so obviously excited to be poor. But as Jake says the same (or more correctly as Finney writes Jake by climbing on the mirrors ;-)) he found himself reading a letter from Helen at night, when the silence and the darkness outside appear to change the very fabric of reality, confuse the mind and body to give ideas that nobody else would. None compos on .

From then on it displayed the wisdom and descriptive narrative of Finney; admire the accuracy pictorial and psychological depth with which recreates the night drifters Jake to the old post office of the district, dating to the time when Helen was born and then finally had a child and young girl, where pockets with all the trappings that the letter sent . And the day wandering on pilgrimage to the house that the girl had lived, and which is now crumbling and in ruin, whilst maintaining the power to evoke the nostalgia of its sheer physical presence. The study research in the library on the New York eighty years ago, and its streets in Brooklyn. These nuances, sometimes soft and delicate nuances are the heart of the story and are at the heart of the story.

Anche se qualche curatore di fantascienza potrebbe pensare che si tratti di dettagli non strutturali. Ma tant’è.

Scrivevo più sopra che crepuscolare è un aggettivo quanto mai adatto a Finney (e a questa storia), ma di certo fantascienza va usato con maggior precauzione. Non che sia di qualche importanza, sia chiaro. E siamo comunque nel campo del fantastico (del fantastico puro, a mio parere); non stupirà quindi che Helen risponda alla lettera di Jake.

Come e perché ciò accade non è importante, e anzi il tentativo di Finney di dare una qualche spiegazione è the only weak part of the story and completely phony. The fact is that over the decades that separate them and always separated them, Helen and Jake are living or have lived a short yet durable - and intense - emotional relationship. A handful of letters, but remember that each Serber until his death. A very private love, unreal and surreal, yet deep and consistent.

controllatissima Finney shows a hand in writing and in handling a matter so at the risk of escape and turn into romance ran cheap. The great size undoubtedly helps him keep track of the story in a lot of anguish tinged with melancholy and nostalgia to overcome the risk of devaluation, but his prose is measured largely the result. Then an argument as time travel, so far as travel is sui generis, is resolved on a narrative tone that is best grouped under the pure fantasy, it is an irrelevant detail: science fiction will love this player The love letter for the emotions that has given him. :-)

The story can be read in English at this address:

http://homepage.mac.com/cssfan/jackfinney/sep590801016.htm

Round Robin Christmas Letter Template

Contemporaries - Priest, Bakery , liar, libertine, Red Mask, Black Mask, Gentleman, Murderess (Sinner, Baker, Fabulist, Priest, Red Mask, Black Mask, Gentleman, Beast - 2009) of Eugie Foster (n.1971)

The title is not the most manageable, so to speak. Adheres to the story, however, like a glove and somehow displaces the reader in advance, which will then be displaced in the penetrating story, and when deemed to have finally identified the narrative details, will probably remain displaced by the completion. So good choice to have maintained the sense in the Italian translation, which appeared on the file number 60 of Robot , last published at the time of writing.

Published originally on Interzone of January 2009, the story has gained with the author on the Nebula Award for best novelette of 2009.

The theme of masks and masking of identity and identity confusion recurs in science fiction (and beyond) is undoubtedly a topos that touches the live of our sensitivity, we forces us to ask questions that might not really want to meet, much less that someone else does for us. It 'also the subject that lends itself to perfection to baste plots complex, lively, glowing, to build Adventure with a capital letter. It is not easy to find something else to say on the subject, and above all make it fun and fascinating the reader. And forcing him to think.

Eugie Foster actually develop a plot and simple, but sporting skill and mastery of the craft by wrapping this core narrative in a web of influences, impressions, suggestions, subtle psychological suggestions that shape in the imagination of a reader ' intricate architecture well beyond the dryness of the story. Suggestions and stimuli, however, are far from simple coloring to lengthen or to impress: they represent the field before the tone of the story, and it is the tone in the sense dictate and modulate the pace of the narrative.

The tale is set in an unspecified future we imagine a long way off, but that might not be the our future. The people live day to day life is always the same and always different. Every day in the morning, unless they reach specific orders from the Queen, the choice of mask to wear for the day. It 's the only choice of the citizen, that according to that day it will be male or female, will be a lover, a merchant, a contafrottole or a contract. In short: Priest, Baker, Liar, Libertino, Maschera Rossa, Maschera Nera, Gentiluomo, Assassino. La maschera una volta indossata fornisce un’ anima e modella volontà e comportamenti. Quel giorno si morirà (e allora si “salta” il resto della giornata), si ucciderà, ci si annoierà o quant’altro. Sempre che, si diceva, attraverso i suoi gendarmi non ci siano disposizioni precise da parte della Regina. Magari una convocazione per servirla - e sì, principalmente il servizio da rendere è di natura sessuale (oppure lavoro coatto). L’incipit della novelletta racconta tutto questo con toni sospesi tra la fiaba orientale e la fantasy per adulti con ambizioni intellettuali, ma ancora una volta è principalmente una masking. The company that comes out of the quick sketch drawn forcefully reminds those of social insects are ants and bees, or the most primitive termites. Sexual desire is deterministically generated the same (or better guided and channeled) from a chemistry-based sex pheromones. Not even the end of the story will clarify if this company is a development of our remote or if Foster has told us of a timeless allegory to be understood, but it does not matter: what is really important is the disturbing echo of this story on our present reality and indeed on immutable characteristics that appear in human history. The disturbing è ciò che caratterizza la fantascienza più di ogni altra cosa. Più del sense of wonder stesso. Di primario rilievo, certo, ma esso è un tratto comune a tutta l’avventura esotica, il racconto di terre lontane e le gesta degli eroi più grandi della vita, seppure la sf ne fa un uso peculiare. La fantascienza per essere tale deve aggiungervi una dimensione destabilizzante, deve porci domande non rassicuranti. E fornire interpretazioni in linea.

Viene da chiedersi se siamo davvero irreggimentati come la società della Regina. Se ogni giorno indossiamo una maschera diversa (o magari sempre uguale) per nascondere la nostra identità, o ancor più per la paura di non averne una. O se invece la maschera che indossiamo non è che il riflesso pavloviano della nostra reazione a bisogni e motivazioni indottici dalla struttura economica della nostra società: l’imperio feromonico degli odori nella società descritta da Foster appare molto esplicito in questo senso. E da questa specifica angolazione il modello consumistico del nostro presente non è diverso dai modelli sociali ed economici del passato che imponevano necessità diverse ma non per questo meno spersonalizzanti e coattive.

Viene da chiedersi se le maschere che indossiamo non servano che a frenare pulsioni che altrimenti sarebbero incontrollabili; e a For whom or what should be restraining it.

The unknown hero of the tale will be pulled out of the routine da Pena, a woman who, after having carefully studied it will attract in a trap, or more precisely in a situation that seems to herald the development of classical many stories based on the reality of deeply dystopian society and the struggle to overthrow. But note: it seems. Again.

It 's time in which the player will receive (few) answers on the company's history and described how it has arisen.

Pena is part of an organization with all the evidence, rigidly structured in cells not communicating with each other, which aims to give citizens the freedom to choose their own identity and, ultimately, to know themselves: the citizens have no name because " And if I discover that my doctor and my murderess are the same person? . Admittedly, something more than regrettable formulate the thought that the nice doctor that takes care of our children can undermine. E 'deeply unsettling. We are very fortunate that our names do not designate more than a piece of personal data, if they were to reveal our true identity, our society would fall apart. Mind you, it is said that it would be a bad thing. From here on, the conclusion is obvious, especially after the penalty falls victim to the police of the Queen (in this case kill seriously, is not the "death" in a form that people often feel) and the die passes the torch of freedom to the unknown hero. But what is meant by freedom? What is freedom.

timid hearts go no further, because from here on I will write about how the tale ends.

Making someone the freedom means relying on him. Means leaving the emergence of a repressed personality. The mask that we wear as masks worn by the servants of the Queen, whose function is to prevent this event unconditional. The effects of freedom are unpredictable. Especially with no education in responsibility (okay, the responsibility is obviously another form). The fact is that the unknown protagonist returns from his lover (who is, before Pena drew him into a trap was his mistress in the fiction of that day) and kill it without making too many compliments. Perhaps it was expected noble battles to restore freedom to the oppressed people, but I fear it is the right of the unknown protagonist to state that: " Pena has also taught me to understand who they are. I am the chaos in this orderly society, the flaw in a carefully prepared plan. I am the storm in the eternal river of the queen. . Aesthetically it is a mocking and brutal conclusion, probably too honest, but there is all. Behind the mask there is an instinct, the "law" natural.

then decide whether each conclusion is a progressive, reactionary, conformist, or otherwise. To some extent I do not think a major issue. Fundamental questions seem to me that history's poses.

The tale is available as a podcast (in English) at:

http://escapepod.org/2009/09/03/ep214 /

Quotes To Show Sympathy

The ghetto inside the head

When the Old Master was the freedom we sent for him and said, "You are free, we do not have anything to do with you. Go away. " We watched him and the old lady did not speak. "Go away - I repeat - no longer belong, you're free." We went there, but we had nowhere to go and nothing to eat. They were terrible years. Many of us died. Each time we returned from the Old Master, he told us: "Go on. You are free. You have to look after yourself now. You are free. "

Unfortunately I can not find the source of this fable, attributed to a former slave freed as a result of the Thirteenth Amendment to the Constitution United States, I could not even say if not entirely apocryphal. The question is, however minor, what is most interesting is how the fable perfectly describes the devastating psychological effects of slavery. What has this to do with science fiction? Here, we say that the sad affair of the cuts to the novels published in Urania of which I wrote in my previous post has pointed out something very similar among the readers of science fiction. Not everyone, for heaven's sake (and luckily), but still too many: that at least one more than anyone.

Players who do not seem particularly unhappy about the "funny" political Uranian praticata alla chetichella. Se fossimo nel film di Frank Darabont Le ali della libertà ( The Shawshank redempion , 1994) Red, interpretato da Morgan Freeman ( nomen omen ) potrebbe dirci che questi lettori sono ormai “istituzionalizzati” – sono cioè stati psicologicamente plasmati dalla situazione che hanno vissuto (nel nostro caso l’imprinting uraniano fortissimo di tanti lettori). Che è poi esattamente la situazione psicologica che ebbero ad affrontare gli schiavi dell’apologo, che si ritrovarono improvvisamente emancipati, scoprendo che erano sì liberi, ma che proprio per questo non c’era più qualcuno che gli passasse un pasto (magari anche magro, magari anche schifoso) e un tetto (magari anche cadente). Qualcuno che pensava e si preoccupava al loro posto. Magari li bastonava, è ovvio, però intanto… però intanto li sollevava dalla responsabilità. Quegli schiavi scoprirono che la libertà ha un prezzo. Che la libertà comporta responsabilità; la necessità di pensare a sé stessi, a come procurarsi il cibo e il luogo ove poter vivere. Forse furono in molti, soprattutto i primi tempi, a pensare che in fondo il prezzo della propria dignità e libertà non fosse troppo iniquo in cambio di un pasto sicuro (ancorché magro e schifoso) e di un tetto certo (ancorché pericolante e un po’ insalubre). Quegli schiavi dovettero ricostruire la propria soul, their personality. They had to eradicate the slavery that was inside their heads.

But I would not take it too far with the metaphor, or bigger than what it is and deserves. The fact is, however, that by more than one commentator have read things frankly disheartening to adhere to the psychological subjection and passive acceptance of any practice offensive to readers (which would also be the guys who pay them the volumes of Urania, eh). Things also imaginative. That is to adhere to the practice of cutting gives you deep into their intellectual resources.

Meanwhile, it seems, Urania as it is cheap then it is understandable that cutting through the novels, if they make you pay a little at the bottom you can not even pretend that those books are decent (remember? a meal, maybe even disgusting ... a roof, maybe even shooting). Then, as the cuts are not "structural" (to the face, every hundred pages if they are out of fifteen, more than one every seven!) I almost have to thank the editorial staff because we do not read the length of many writers unable to write . That maybe they are really unable to write, but I want to be judging things without which you think someone else in my place. But it is wonderful that you think Mother Urania (remember? Take responsibility is hard, the owner will whip also, however, thinks for you: as you, feeds you, your real fear is that we are angry because they break my balls). And finally, better shut up and still have power - cut - some novels, because at least Urania takes them to Italy. Tap the idea of \u200b\u200bbeing required to be treated by readers - and customers - aware, is not exactly what instead. Once again it is the psychology of slavery to take root: the servant - a servant in the head - is content with what the owner's passing. In another metaphor, we could say that this would apply to the sf Gresham's Law: bad money drives out good money . In Thus, the supply of Urania it never gets better.

All we need is to sign the statement of the liquidator to report to the effect that those translations which were not integral would qualify as an unrealistic, anti-professional and, ultimately, anti-false seal quality only the mind could conceive of a fanatic . It is clear that Uranus is in full rights to publish novels also cut the half, but the integrity of data is a key criterion for deciding to purchase or not. Type: a novel less 15% of its content I do not think it's worth the purchase on the ground that cost little, since it is not the work originally published as far as I'm concerned its value is zero. My assessment, it is clear, but it is my right to be able to do on the basis of the information that the publisher gives of what it offers for sale. That the publisher has to give. Report when the work is not complete listing of professionalism that is the minimum we should expect from (and you should ask) a publisher. The minimum, not maximum.

In short, you're really happy to be slaves? Do not think that the "comfortable" slavery does not have a price, though.

Riguardatevi Vaal requires that the price in a memorable episode of Star Trek (the first TD, the one with Jim Kirk and Spock): The Apple .

How To Beat The Hunted House Poptropica

GHETTO!

http://blog.librimondadori.it/blogs/urania/2010/07/26/urania-1561-alla-fine-dellarcobaleno/ # comments

The time seems to past so vain. Ah, yes, the publication with large cuts of the great novel by Sheckley was passed to cut "non-structural" today. Up to 15%, not more, and that is only more than one page a week.

But frankly what is the despair of most corporate defense, Torque tube loose resentful of the curator. Readers complain that Caton-who was like for their treatment and the novel is a clear, unequivocal, proud of the practice of post-clearance cuts, condensed translations. Even indicate that the translation was not complete (ie to report a fact) would qualify as a unrealistic, anti-professional and, ultimately, liar anti-seal quality that only the mind could conceive of a fanatic .

And, yes, the sentence to the ghetto. Hard to imagine that the treatment would be dealt to novels that are considered by-products of pure literature. The justification that the necklace would not otherwise to publish certain works is quite laughable: it is much preferable to an honest acknowledgment - and honest communication to the public - that the market in Italy does not allow the publication of novels on sale beyond a certain size, and therefore certain works are not published, because it cut up to more than one page a week is now almost completely out of the question.