This is a reissue of two previously sets of Ellison's short
stories: Paingod and Other
Delusions and I Have No Mouth
and I Must Scream. These are some of Ellison's earliest
stories, and by his own admission, widely thought to be some of his
best. They range from mildly science fiction to an introspective
piece set "now", centering mostly in a vague future. These are
not what is typically meant by "science fiction"; they are about
various manifestations of pain, mostly of mental or emotional, not
physical pain, and the stories grow increasingly dark and
hopeless. Unlike much of science fiction, the stories are almost
entirely about the people in them, rarely in an idea. In fact,
the setting is usually fairly vague, in contrast to the clarity of the
characters.
Paingod:
An alien
appointed by the gods to dispense pain briefly inhabits a man and
discovers that without pain there is no contrast to show what happiness
is.
"Repent, Harlequin!" said the
Ticktockman: A mechanical and highly ordered society,
represented by the Ticktockman, has no use for a Harlequin who is
appalled by the blandness of life without surprises.
The Crackpots: A Kyben
Watcher discovers that the crackpots he is recording every motion of
are really brilliant innovators who arranged to have a flexible
society, but who transmit their discoveries back to Kyba via the
Watchers.
Sleeping Dogs: A
scorched-earth-type general of the human fleet forty years after the
beginning of the Kyban War determines to take a planet at all costs,
firing upon impenetrable, ancient, unknown fortresses, awakening an
ancient power because of his recklessness, despite the best efforts of
the Amicus (a woman), who actually has authority (but not over local
events), to stop him.
Bright Eyes: The last of
an ancient race which committed suicide to give the Earth to the humans
is awakened by the self-immolation of the humans, to bury the ancient
skulls, realizing that, with the annihilation of the humans, his race's
death was in vain.
The Discarded: Horribly
disfigured and misshappen people from a virus on Earth are exiled on a
spaceship between the Earth and moon. The de facto leader refuses to
cooperate with a delegation requesting blood for a cure for a new
variation of the disease, in return for being allowed to live on a
piece of the Earth because he does not believe the promise will be
kept. His fellow exiles are eager to return to society, shoot
him, and happily give the samples. A year later the cure has been
effected and a ship returns not to carry them back but to dump off the
people disfigured before the cure. The new leader (who shot the
old one), realizing his folly and unchangeable fate, leaves to blow
himself out the airlock.
Wanted in Surgery: A
doctor can't cope with doctors being barred from surgery because new
robots do the job more reliably. During his "helping" during
surgery a patient wakes up too soon, sees the robot, and dies because
the patient, unlike a human doctor cannot gently reassure and tell him
to go back to anesthetic sleep. He disobeys the command not to
practice medicine upon the beseeching of a poor women, is tried,
requests a (fallible) jury, tells of the death he saw to eloquently
convince them that robots cannot replace humans, causing a rethinking
of society's reliance on machines.
Deeper Than the Darkeness:
A Mindee who can cause intense (but uncontrolled) fire is sent by the
government to make the star of an opposing race in the current war go
nova. He discovers that he is immune to the Baster Mindee,
escapes, and, a freak whose life is of no use to his race except as a
weapon,
peaceably wanders around the galaxy as a minstrel for the rest of his
life.
I Have No Mouth and I Must Scream:
AM, the self-aware collection of computers created to conduct the
humans' last war, has destroyed all humans except for five, whom it
saves, preserves, and tortures to satisfy its (programmed) hatred of
people. Because AM will not let them die, the protagonist siezes
an opportunity to kill three, the fourth kills herself, and AM
transforms the protagonist, who was able to save all but himself, into
a ball of flesh (with no mouth) to be tortured until the end of time.
Big Sam Was My Friend: A
teleport (person with ability to teleport himself or other things)
named Sam travels with the a circus until his faux pas of saving a virgin from a
sacrifice demands his life, which he willingly gives (despite his
ability to teleport away) in payment for the guilt of the death of his
girlfriend from long ago who ran into a truck in surprise the first
time he used his ability.
Eyes of Dust: A culture
where only the beautiful is acceptible is repulsed by a disfigured
offspring and in killing the last ugly thing on the planet somehow
kills the beauty on the planet.
World of the Myth: Two
men and one women from a surveyship become stranded on a planet with a
collective-conscience being comprised of ants, which reflects the
observers thoughts. One man and the woman have a love-hate
relationship: she flirts with him, he goes too far and (once and
almost again) rapes her. The other man, who is a decided third
wheel rescues her the second time. After the incident the first
man goes to the ants and dies after they show him the evil that he
embodies. The woman knows that the same fate eventually awaits
her, and the last man suspects that he will be unable to resist, and
despite his lack of guilt, is still too evil to survive being shown who
he really is.
Lonelyache: A story
written as therapy for Ellison's own feelings after his second
divorce. The protagonist has just been divorced, tries to assuage
his loneliness with sex, sex, sex, but it builds up in the corner where
it eventually becomes a lurking thing to him; he eventually
realizes what it is and shoots himself. (Fortunately the story
was a successful therapy for Ellison and he did not follow the same
fate.)
Delusion for a Dragon Slayer:
A non-descript financial salaryman dies in a freak accident and is
given the chance to achieve Heaven--the land of his dreams--in a
god-like Norse body. Overconfidence in steering between the rocks
of worldly temptations loses him his ship and crew, but he makes his
way to shore, finding the woman of his dreams guarded by a great
creature. He is afraid to kill it, whereupon it becomes a man an
copulates with the woman of his dreams. At this point he stabs it
in the back, and is denounced by the being and the woman, for lacking
What It Took, and is crushed in the jaws of the keeper of Heaven, a
great dragon.
Pretty Maggie Moneyeyes:
A gorgeous girl born to poverty becomes a successful prostitute in
order to escape the poverty that she desperately wants to permanently
escape from. After a argument with her latest sugar-daddy in Las
Vegas, she plays the silver dollar slot machine ("Chief"), desiring the
money in him so badly that she dies and her soul goes into the
machine. Some time later a down-and-out bum, whose wife left him,
spends his last dollar in a wild gamble; Maggie, the soul of the
machine, gives him win after win on the big jackpot. After
repeated checks of the machine (and for cheating), the house eventually
requests that he take a rest for the night, which he, realizing
management's undercurrent, acquiesces to. Maggie comes to him in
a dream, says she wants to be his forever; he trusts her,
expresses his desire to love her, and gives himself to her. The
next day, he goes to the machine and just as the machine lands another
jackpot, Maggie sucks his soul into the machine, freeing hers.
"Heaven
or Hell, it doesn't matter! Free!"
Much of the earlier stories are a diatribe on the poverty of a uniform,
bland, often mechanized culture whose only goal is efficiency.
This seems to be a common complaint with writers of the early twentieth
century; while not the main theme, Huxley's Brave New
World has an undercurrent of distaste with the uniformity of
mechanization. The objection, at least for Ellison, seems to be
to the pressure to conform to a bland uniformity; "Repent, Harlequin," Said the Ticktockman
evidences this theme prominently, while The Crackpots is more of a
recognition that creative people dislike conformity. Whatever the
merits (and this author has decried the blandness of suburbs, strip
malls, and prefab corporate architecture), too many distopian stories
does get a little old.
The rest of the stories are mostly about pain itself, in its various
incarnations. Some of them, like Big Sam Was My Friend and Deeper Than Darkness are sort of
typical almost-science-fiction with a dour note. The element of
pain becomes most notable in Lonelyache
and almost as pronounced in I Have
No Mouth and I Must Screem, where it is pretty much
inescapable. However well-crafted, several hundred pages of
hopeless, unending pain is a little tiresome. If this is truly
how the world is, then it makes sense to write about it (but then, if
pain is truly inescapeable, why keep living?), but as a Christian I
cannot agree that the situation is hopeless. I have been
struggling with the pain of living, too, so I appreciate depths of his
feeling, but a session of Ellison invariably left me feeling that he
took Larry Crabb's advice in Inside Out to examine his
disappointment with the world without discovering Crabb's hope in
God. (Which is not to say that being a Christian will result in a
cure to pain--far from it)
Besides being willing to discuss the pain that we all have, if we are
willing to admit it, Ellison's attraction as a writer is the strength
of his characters. The focus of each story is the character, who
invariably changes dramatically. Bright Eyes progresses from
blind obedience to a realization that his race's death was for
nought. The pain-god transforms from an impartial
administrator of pain to an eager administrator who knows he is helping
the universe. The guilt of Big Sam gradually becomes
apparent. The three people in World
of the Myth, from an initial (and normal) lack of thought,
become aware of their horribly evil nature. But by far the most
real is Maggie Moneyeyes, described in what is probably the best story
of the book, well written, with a gradual revealing of the desires and
motivations which reveals the chilling plot. Maggie is obsessive
about escaping poverty and willing to go to any lengths, including
trickery, to achieve her aims, with a tragic end to her and her
victim. We all know people sold out to money in various degrees,
and since surely none of us are immune to the pull, we can see pieces
of ourselves in her. Likewise, we have all been lonely and
longing for love, just like the unhappy bum. The characters are
simply ourselves, magnified to the extremes. And this is the
strength of Ellison's characters--we all can identify with at least
some of their struggles, for his characters reflect the feelings that
we all have but usually try to ignore.
This is a collection of consistently compelling stories. They are
rather depressing if read in large batches, and more sexual than I care
for, but compelling nonetheless. The science fiction part is more
of a watercolor background than a main theme, but the characters make
up for it, and each story has a genuinely interesting idea (which is
more than can be said for a lot of science fiction). Ellison is
someone who, if his stories were set in the present and written less
colloquially, could be write Literature. It shows. Some of
these stories, hopefully at least "Repent,
Harlequin," Said the Ticktockman and Pretty Maggie Moneyeyes will be
among his lasting legacy. Definitely a recommended read.
Review: 9.5
At least some of these stories will be
around in a hundred years, I suspect. The introductory author
decries Ellison's lack of grammar and refinement, but I was
hard-pressed to notice; there is more to a quality story than
mechanical grammar. My only complaint is that the sexual content
is a bit too explict; I think the message could have been
achieved with less of it (although perhaps the stories would have been
less salable to Knight).
Some of the stories aren't quite as good, so, that, coupled with the
sexual content, bring the overall score down.
Literary Notes
- The introductory notes to the stories were interesting, and
sometimes I thought they added a bit to the story. Pretty Maggie Moneyeyes is even
more compelling knowing that Maggie was triggered by meeting someone he
had unsuccessfully tried to get to bed with and upon being given his
opportunity, having one of those sudden character insights.
- The stories are not really satisfying from a science-fiction
standpoint, but the emphasis on character development makes each story
memorable. I suspect that the science fiction background could be
easily fleshed out more while keeping the same sharpness of
character. (In fact World of
the Myth does this to a large extent)
- Each character either changes significantly or the reader's
perception of them does.
- Each character has well-defined values, and therefore
motivation. The growth in character comes about from following
these values.
- Ellison seems to generate the future several ways: by
imagining how he thinks people might develop (telepaths), superluminary
travel (inverspace), and extensions of a cultural value (cardioplates)
or useful property (invulnerable steel for battle, easily created by
pinching)
Items and society
cardioplate
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A plate keyed to each
person. Every time they are late, or cause disruption to the
system, that amount of time is subtracted from their life, and when
they have no time left, the Ticktockman turns them off.
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inverspace
|
A wildly colored
proto-hyperspace that allows for faster (although hardly instantaneous)
travel. In some stories navigation through inverspace requires
special telepathic ability.
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Pinching steel
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Technique of changing the
molecular structure so that it becomes harder than anything, or
completely crumbling it to dust.
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nasty virus
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This particular virus changes
how people look, altering their genetic structure so that they might
have extra limbs, or fewer limbs, or their mouth in the wrong place.
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Amicus
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An Earth position. Appears
to try to argue for the enemy. Stationed on military ships,
presumably as an advisor to the commanding officer. Outranks the
commanding officer, but indirectly, through the political, not military
command chain; does not control immediate actions.
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black, impenetrable fortresses
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Created by some race a long time
ago, who seems to have a very laissez-faire,
or even uncaring attitude about who occupies the planet, as long as
they don't bother the fortresses. Cannot be destroyed or
even damaged by earth's weapons. Can turn an opposing laser
cannon against itself.
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event-triggered holographic
message
|
Type of pre-recorded message
whose purpose was to wake and inform Bright-Eyes of his mission.
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phymech
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A robot that can make infallible
diagnosis (and surgical repair) of anything organic.
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psioid
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Human that can manipulate nature
by thought. The specific incarnations are limited to Deeper Than the Darkness, as the
nature of mental abilities changes in each story. However,
generally there are different mental abilities, whether they be named
psioids or teeps.
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Mindee
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Psioid who can control and/or
suggest to other minds
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Blaster
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Psioid capable of destroying
other minds
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Mallaport
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Psioid who can manipulate atoms
of flesh.
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Driver
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Psioid who can steer through
inverspace.
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AM
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Originally "Allied
Mastercomputer". "Aggressive Menace" after the nations' AMs
linked up and developed sentience. Because it was responsible for
guiding war, it effectively was programmed to hate humans. Has
the power to create visions that are real for as long as AM wants them
to be (like the D&D "solipsism" spell). Can alter physical
and biological reality; radically changes the body of the
protagonist, keeps its prey immortal (even if they do not eat).
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teleport
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Human that can mentally teleport
objects and living beings, including himself.
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ant collective conscience
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Collective conscience composed
of individual ant-like beings with no sentience at all. The
sentience is a result of the combined network. Not
aggressive; defends itself (and, indeed, appears to relate to all
things) by reflecting the attacker's nature.
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Heaven
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This is a personally tailored
utopia made of the dreams of beauty by the person. One can
achieve this heaven only by having strong character. The
protagonist must defeat the guardian, but must do so in a noble
fashion; stabbing from the back is not noble and loses him heaven.
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"Chief"
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One of the few remaining
silver-dollar slots (apparently during a time when silver dollars were
still in circulation). Possessed by the spirit of Maggie.
When playing the Chief, if the player is consumed by a desire for what
is inside it, the player dies and their soul lives in the machine,
freeing any soul that happens to already be there.
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Copyright ©
2005 by Geoffrey Prewett