The Science Fiction Hall of Fame: Volume II A (The Science Fiction Hall of Fame, #2A) by Ben Bova

The Science Fiction Hall of Fame: Volume II A (The Science Fiction Hall of Fame, #2A) Reviews

• 
  Stephen

  5.0 stars. I have not read all of the books in this collection but will comment on the ones I have:
  
  Call Me Joe (Poul Anderson)(1957): 6.0 Stars (One of my All Time Favorite Stories). Outstanding story about exploring and terraforming the surface of Jupiter through the use of bio-mechanical life forms whose consciousness is controlled via remote control with researchers above the planet. A story of identity and quality of life.
  
  The Marching Morons (C.M. Kornbluth)(1951): 5.0 to 5.5 Stars. Satirical look at a world in which the vast majority of the world's population are idiots who live carefree lives and the few "intelligent" people work endlessly to keep society going.
  
  Who Goes There? (John Campbell)(1938): 4.5 to 5.0 stars. Classic novella about a remote Antarctic research station dealing with a hostile alien that can assume the shape and memories of any living creature.
  
  With Folded Hands (Jack Williamson): 5.5 stars. A chilling look at the dangers of robots trying to keep mankind "safe" even from itself. A great ending (read February 28, 2010).
  
  The Ballad of Lost C'Mell (Cordwainer Smith): 4.5 stars. Short prequel Novella set a few years before Smith's classic novel
  Norstrilia in which Jestocost, a Lord of the Instrumentality, conspires with C'Mell, an underperson, to improve the lot of the underpeople. The best part of this story (as with many of Smith's stories) is the world he has created. (read June 6, 2010)
  
  Vintage season (Henry Kuttner & C.L. Moore): 4.0 stars. Classic novella about a landlord who receives some unusual house guests during a memorable month of May. (read June 6, 2010)
• 
  Shreyas Deshpande

  "Call Me Joe" by Poul Anderson 5 stars"'
  "Who Goes There?" by John W. Campbell, Jr. 4 stars"
  "Nerves" by Lester del Rey 4 stars"
  "Universe" by Robert A. Heinlein 4 stars"
  "The Marching Morons" by C. M. Kornbluth 4 stars"
  "Vintage Season" by Henry Kuttner and C. L. Moore 5 stars"
  ". . . And Then There Were None" by Eric Frank Russell 5 stars
  "The Ballad of Lost C'Mell" by Cordwainer Smith 4 stars"
  "Baby Is Three" by Theodore Sturgeon 4 STARS"
  "The Time Machine" by H. G. Wells 4 stars
  "With Folded Hands" by Jack Williamson 4 stars"
• 
  Jim

  This is the second time I’ve listened to The Science Fiction Hall of Fame v. 2A all the way through. I’ve also read many of these stories with my eyes, and even heard some of them in other audiobooks. In all, I’ve read some of these stories as many as five times. Some of them get better with every reading, and others are starting to wear out. My ratings are just my current emotional reaction.
  
  - “Call Me Joe” by Poul Anderson is a wonderful tale about surviving on Jupiter, a planet we seldom see explored in science fiction. I believe it’s a bit dated now because of its reliance on psychic powers, but it’s still a compelling story. 4-stars
  
  - “Who Goes There?” by John W. Campbell, Jr. is a classic 1930s SF tale about a shape-shifting alien discovered in the Antarctic. Known for being made into a movie three times. However, I’ve gotten a bit tired of it. 3-stars.
  
  - “Nerves” by Lester del Rey is a well-written drama about a disaster at a nuclear power planet written well before the public even heard about nuclear power. Unfortunately, it’s dated, and a tad too long. 3-stars.
  
  - “Universe” by Robert A. Heinlein is an early story about a generation ship, and just brilliant. One of the greats of short SF. 5-stars
  
  - “The Marching Morons” by C. M. Kornbluth is a cynical look at a society that feels especially relevant in 2020. However, I’ve grown to dislike this nasty look into the future. 2-stars.
  
  - “Vintage Season” by C. L. Moore and Henry Kuttner is a beautiful and haunting tale that I don’t want to spoil. One of my all-time favorite SF stories. 5-stars.
  
  - “… And Then There Was None” by Eric Frank Russell is a humorous look at an off-world contrarian society. The first time I read it decades ago it was merely good. I’ve read it four times now; at it’s become a 5-star story.
  
  - “The Ballad of Lost C’Mell” by Cordwainer Smith is stylish and very different in tone. It feels more like a fantasy, almost allegorical. 4-stars
  
  - “Baby Is Three” by Theodore Sturgeon is the middle story of his classic fix-up novel More Than Human. Listening to it makes you realize just how great a writer Sturgeon was at creating dramatic dialog. 5-stars.
  
  - “The Time Machine” by H. G. Wells is another one of my all-time favorite SF stories. I consider it the original template for speculative fiction, and not only did it inspire the time travel sub-genre, but it also encouraged many a Dying Earth story to be written. 5-stars.
  
  - “With Folded Hands” by Jack Williamson. Probably the first story where robots take over. This story is dated today, but still works, and covers many of the philosophical and ethical considerations about creating artificial intelligence. It was rewritten to become the novel, The Humanoids. 5-stars.
  
• 
  Cheryl

  I have to quibble: C'Mell is 20 pp, hardly a novella. This book didn't take long to read, as most stories were quite familiar to me from other anthologies. And some just don't hold up all that well. But as an introduction to some of the foundational & inspirational classics, it's quite good.
• 
  Simona B

  My comments on the novellas that I've read:
  
  - "Who Goes There?" by John Campbell (1938): I found Campbell's writing rather clumsy and hard to follow at times, although I can't put quite my finger on why it was so, technically. The story, needless to say, is a classic. The triumphant ending (not merely upbeat: triumphant) is completely and laughingly out-of-tune with everything that actually happens in the story, but that is Campbell for you: humanity always wins.
  
  - "With Folded Hands" by Jack Williamson (1947): I actually read this piece years ago; it's good and another great classic, a canonical example of the machine-takeover scenario, in its "kill them with kindness" version (as opposed to violent machine revolution). You might be interested to know that the Prime Directive is reminiscent of the First Law of Robotics.
• 
  Daniel

  11 short stories/novellas. I think I liked this one a little better than volume 1.
  
  Call Me Joe - 3/5 stars
  An interesting idea for a story, but not great as a story.
  
  Who Goes There? - 5/5 stars
  Great, creepy thriller story
  
  Nerves - 4/5 stars
  Surprisingly interesting and a good read given that it's basically just a disaster response story
  
  Universe - 3/5 stars
  Not Heinlein's best work, still kind of fun
  
  The Marching Morons - 2/5 stars
  Essentially the inspiration of the movie Idiocracy
  
  Vintage Season - 5/5 stars
  Absolutely fantastic story, probably my favorite of the collection. Whimsically creepy is how I'd describe it I think.
  
  ...And Then There Were None - 3/5 stars
  Okay story, but not amazing.
  
  The Ballad of Lost C'mell - 3/5 stars
  Space cat-girl romance apparently was a thing 50 years ago (that makes it sound weirder than it was lol)
  
  Baby is Three - 5/5 stars
  Really good story
  
  The Time Machine - 2/5 stars
  Not good
  
  With Folded Hands - 4/5 stars
  Creepy story with elements used by the movie I, Robot
• 
  Williwaw

  Okay, so I cheated a bit. I did not re-read "The Time Machine," by H.G. Wells. I think I've probably read that story twice before and I've probably seen the excellent and faithful George Pal movie (1960)a couple times, as well. It is a good story and was worthy of inclusion in this book.
  
  My favorite selection here is " . . . And Then There Were None," by Eric Frank Russell. This has got to be one of the most hilarious works of fiction that I have ever read. (If you love Vonnegut, my guess is that you will love this story.) It is about a diplomatic mission to check up on progress at various planets that were colonized by humans centuries before, and then left to their own devices. The story focuses on an exploratory mission to a planet inhabited by colonists who now call themselves "Ghandians." It turns out that they have developed a whole culture based on Ghandi's principles of civil disobedience. They are completely uninterested in the giant spaceship which has landed in their midst. Their most common response to any request is "I won't!" The whole culture is non-monetary, and is instead based upon a complicated barter structure of "obs" (obligations). Needless to say, this hyper-libertarian culture turns out to be very seductive to the diplomatic crew! I'm eager to read some more E.F. Russell now.
  
  Other stand-out stories include: "Who Goes There," by John W. Campbell; "Vintage Season," by C.L. Moore & Henry Kuttner; and "The Marching Morons," by C.M. Kornbluth.
  
  "Who Goes There" is about a deadly, shape-shifing alien who murders, and then assumes the identities of the members of a polar base. Campbell pulls it off beautifully for a very suspenseful read, as the scientists are picked off, one by one.
  
  "Vintage Season" is an ingenious story about time-traveling "tourists" from the future. The narrative assumes the perspective of a clueless couple, who rent a house to the tourists. The tourists have taken an oath of secrecy, but the male landlord gets romantically involved with one of the "tourists" and their secrets are inadvertently revealed to him, with tragic results.
  
  Moore & Kuttner were masters of characterization. Their stories are full of subtle touches and observations that make them memorable and vivid. I should mention that Moore & Kuttner (a married couple) were the dynamic duo of science fiction during the 1940's and '50's. Their story, "Mimsy Were the Borogoves," appeared in Volume I of this "Hall of Fame" series. It was also one of the best in that volume. Perhaps Moore and Kuttner are not so well remembered today because they focused their energies on short stories and novellas instead of novels. It's a shame, because they were truly brilliant and deserve a wider audience.
  
  "The Marching Morons" is, for all its merit, an odd story. I had to read it twice because I was not sure that I understood it the first time. It is essentially a story about overpopulation in the distant future, and the struggle of a secret intelligentsia to overcome it. The discovery of a solution hinges on something that I found preposterous: the revival of a cryogenically preserved swindler from the past, whose simple, but unscrupulous ideas are somehow beyond the ken of the intelligentsia of the future. But I don't think the story is meant to be taken seriously. Instead, this is dark humor at its best (as long as you aren't too troubled by some borrowing from Nazi Germany).
  
  The only stories that really let me down here were: "Nerves," by Lester del Rey (good on details, but too long and too slow); and "Call Me Joe," by Poul Anderson (too "far out" for my tastes).
  
  In closing, I should give honorable mention to "Baby is Three," by Theodore Sturgeon. It works reasonably well as a stand-alone story, but I felt that it worked to better effect as part of the novel, "More Than Human." I have written a separate review of the novel, so I won't repeat myself here.
• 
  Bruce

  So far:
  
  "Call Me Joe" by Poul Anderson -- excellent
  
  "Who's Out There?" by John W. Campbell -- Good page turner, interesting premise of a chameleon-like alien (the alien in Howard Hawks' classic horror film based on this story, The Thing, did not have this power), but a little too rushed and slapdash to be wholly convincing.
  
  "Nerves" by Lester del Rey -- There's a good story here, but, as told, is rather a mess -- verbose, unorganized, with the technical aspects of the story (involving a Chernobyl-like disaster) not very adroitly handled. The main characters are, however, well-developed, and I did want to know how it all came out. Del Rey edited it for book publication, so perhaps the later version is better.
  
  "Universe" by Robert A. Heinlein -- [spoiler alert] Intriguing story where the perceived good guys and bad guys are really the reverse. Heinlein's narrative voice is, as usual, very attractive, if somewhat too "pulpish" (i.e. redolent of pulp fiction).
  
  I notice that many science-fiction stories seem too tied to the trappings of the genre. Their value as literature would expand, I believe, if the authors wrote them as straight-forward literature, and took time to develop the serious themes often touched upon. An example of such a work is 1984. I recognize that 1) this was often probably not possible given that they were slated for science-fiction magazines, and 2) some elements of the genre that fans love would be lost. Heinlein's "Universe," for instance, has a very appealing off-the-cuff quality which does reflect the personalities of its characters. This quality might be stifled by ponderous reflections on the need for freedom and independence in a successful society. I would still hope, however, that such thematic concerns could be integrated into the fabric of the story without didacticism.
  
  "The Marching Morons" by C. M. Kornbluth -- Contains a good idea illustrated by a clever, but too far-fetched plot. Interestingly (apropos my comment above) Kornbluth makes sure the significance of his story hits home by stating the story's theme very succinctly and poetically at the end. It's the best thing in the story.
  
  "Vintage Season" by Lawrence O'Donnell -- [spoiler alert] Fascinating -- until it all tumbles into a welter of pessimistic determinism. I wish O'Donnell had seen the potential in his characters to jump off the track of their disastrous fate.
  
  "And Then There Were None . . ." by Eric Frank Russell -- My favorite in the collection so far, though a bit too leisurely and long-winded in the telling. Like Van Vogt's "The Weapons Shop," a paean to individualism and the natural benevolence of people.
  
  "The Time Machine" by H.G. Wells -- I read this in my huge tome of Wells' Seven Famous Novels, and am now determined to read the other six this year. Wells is a born story-teller, with the knack for a relaxed, smoothly flowing and utterly captivating narrative. I see his influence on C. S. Lewis. In his preface, Wells emphasizes the importance of the verisimilitude of small details for fantasy and science-fiction, and he is clearly a master at making the unbelievable believable. The fact that the story is unrelentingly pessimistic almost seems beside the point given the sheer virtuosity of the story.
• 
  Tracey

  Comments/Reviews of the novellas in this anthology:
  
  "Call Me Joe" - Poul Anderson. An artificial creature on the surface of Jupiter is psychically linked to a cripple in an orbiting spacestation. But who is controlling whom? Quite an enjoyable read.
  
  "Who Goes There?" John W. Campbell Jr (as Don A. Stuart). A polar expedition discovers an alien - what happens when it is thawed? Meh - interesting concept, I guess - but the writing didn't really move me.
  
  "Nerves" - Lester del Rey - A crisis at a nuclear power plant as seen through the eyes of the on-site doctor. I may be struck down for this - but another stoy that didn't do a lot for me. Perfect example of hard SF where the characters are subordinate to the technology.
  
  "Universe" - Robert Heinlein. A multi-generational spaceship where the residents have "regressed" to primitive technology - the protagonist is captured by the Muties and learns (some of) the truth. I'm a Heinlein fan, and I think this is a good, representational sample of his work.
  
  "The Marching Morons" - C.M. Kornbluth -- a man from our time is awakens in the far future where the lowest common denominator of society has overwhelmed the MENSA minority. Can the time-traveller help? A frighteningly prescient story , perhaps ...
  
  "Vintage Season" - Henry Kuttner & C.L. Moore (as Lawrence O'Donnell) .... three strange travellers rent a San Francisco home for the month of May. The owner observes more than he should. Another enjoyable read - also a good sample of their work.
  
  ". . . And Then There Were None" - Eric Frank Russell. An ambassadorial/military ship from Terra visits an abandoned colony - to find the colonists are doing just fine without them. I remember reading this some years ago & would have SWORN it was Heinlein - the sentiment fits.
  
  "The Ballad of Lost C'Mell" - Cordwainer Smith. A judge teams up with a catgirl to grant the underpeople freedom. One of several stories set in the same universe and very descriptive.
  
  Baby is Three" - Theodore Sturgeon. An almost creepy story - how psi powers could be used to create a new type of human - told through the eyes of a young man at a psychiatrist's office.
  
  " The Time Machine" - H.G. Wells - if you saw the most recent movie incarnation of this story (as I must admit I have :rolleyes:) -- go back & read the book. It's a bit heavy-handed at times, but required reading for any SF fan.
  
  " With Folded Hands" - Jack Williamson. An inventor creates robots designed to take care of our every need... and realizes how terribly wrong he was to do so.
  
  
• 
  R.a.

  4.0 stars
  
  Summary / Anthology Review:
  
  A much belated “Congratulations” to the Science Fiction Writers of America, (SFWA), and editor Ben Bova for presenting Volume II, (A), The Science Fiction Hall of Fame anthology—eleven of the “Greatest Science Fiction Novellas of All Time.”
  
  Every included work is enjoyable and affecting in its own way.
  
  Particularly laudable is the process with which the separate works were chosen as Bova explains in his introduction: the basic vote. Further discernment for selection included a limit of one narrative per author and the unfortunate inability to secure works from copyright holders.
  
  This anthology, then, becomes “classic” in its own right. A great collection.
  
  Individual Narrative Review, (Long):
  
  Note: Reviews are listed as read--in written / published order, (different from the anthology’s selected order):
  
  1. The Time Machine by H.G. Wells, 4.8 stars.
  
  H.G. Wells’ magnificent creation, The Time Machine, awaits a third film adaptation—one that may succeed in accurately relaying the author’s original vision.
  
  The first film version, with Rod Taylor, despite its limited budget and special effect technology, seems closer to Wells’ original narrative—at least with regard to the Morlocks. Perhaps only now, with all the digital CGI technology, can Wells’ conception of both Eloi and Morlock be recognized.
  
  Despite its modest length, formal 19th century diction, and conventional “tell-the- tale” frame, Wells narrative still captivates--simply because Wells’ original vision still captivates.
  
  A truly terrifying vision. The horror of the year 802,701 and beyond become terrifying to us simply because human beings, as human beings, cease to exist. Indeed, both
  the Eloi and the Morlocks represent an evolutionary progression, (or regression), as the Time Traveler speculates.
  
  Here lies the primary fault of the film adaptations: the artisans seem to want and need to make the Eloi human. Yet, Wells sets no such precedent. He lays out just the opposite, in fact.
  
  Although the Time Traveler feels attracted and compelled to the company of the Eloi, he feels disgusted, too. He feels as such for the Morlocks, as well. Though here, the co-mingled feelings are reversed. Disgust dominates while sympathy and pity follow.
  
  Both the end of the Time Traveler’s first sojourn, (wherein he advances even further into the future), and the end of the novel(la) itself satisfies. After all, given all of his observations made about humankind, Wells provides the perfectly logical conclusion.
  
  
  2. Who Goes There, by John W. Campbell, Jr., 4.6 stars.
  
  Barring myth, Ovid’s Metamorphosis, and Lovecraft’s other dimensional arthopodic creatures, Campbell’s novella Who Goes There appears to be the first in a line of narratives which employs a particular idea for a creature, ** – i.e., the shape-shifter). This line includes Dean Koontz’ Phantoms and Stephen King’s It, among others. **
  
  The horror element surrounding the creature, save its “contorted face” of “hatred,” and its “hate filled,” "red, three eyes,” Campbell plays down. Campbell rather plays up the horror surrounding the paranoia and hysteria within the Antarctic Research team.
  
  Telepathic ability becomes one element that Campbell includes in the original story—an element which heightens the suspense and paranoia. The “fear factor” rises, indeed, when the reader realizes that the team has been manipulated throughout, and possibly, from the beginning.
  
  Although three films have been made from this story, John Carpenter’s The Thing, (1982), stands out as closest to Campbell’s original vision. Indeed, many lines in the film come directly from the Campbell text. And so, script writer Bill Lancaster and director Carpenter deserve much credit for both a faithful adaptation as well as the extension and streamlining of story and character.
  
  With this story, Campbell seemingly begins another tradition as well, one influencing both the Koontz and King subsequent narratives—that of infusing the antagonist with hatred and viciousness so that it becomes equated with Hell and its occupants.
  
  Campbell’s matter-of- fact writing style both adds and “takes away” from the story. It adds to the mystery and the guesswork of “infection” but, along with some 1930s diction, takes away from maximizing suspense, at times. Campbell seems more interested with the scientific possibilities than with the horror, terror, and suspense aspects that such a creature necessarily invites.
  
  Lastly, given Campbell’s famous or infamous “outlook,” a reader cannot help but wonder if a politically / historically topical parallel existed—i.e., “the Thing” as a metaphor for events at the time. Consequently, was Campbell’s entity a correlative to:
  
  -the rising Facism in Europe,
  -Nietzchean herd mentality “taking over” the “individual” elite, or
  -the “selfish,” (a word Campbell uses), elitist(s) who destroyed the economy in 1929 and then, after suicides, etc., “blended back in” to the greater society—a masked monster “hiding within the general population,”only biding time, waiting “to strike” again.
  
  Unfortunately, even a “close” reading seems only to bring speculation. But, the possibilities are there.
  
  Decades old, this story, however, still attracts, scares, and provokes. If only Campbell extended his narrative to novel length, Who Goes There definitely would have moved from a “great” novella to a “classic” in every sense.
  
  
  3. Universe, by Robert Heinlein, 3.75 stars.
  
  “All right gang, let’s go.”
  
  The line. The diction. Both together seem the signature of science fiction writer Robert Heinlein.
  
  Hopeful. Adventurous.
  
  And, the novella Universe aligns with Heinlein’s almost corny yet hopeful view of the future.
  
  Universe begins in mystery—Heinlein holding back on details of a hapless ark moving through space toward some unknown destination—some "promised land" for the possibly last descendents of Earth. And here, Heinlein may very well have been first to have created the idea of a multi-generational voyage. Here too may be the first playing out of “mutants” or “muties” as an exiled caste.
  
  As usual with Heinlein, some of the scenes come off as “clunky,” the heroic plot-line predictable, and many of the characters as “stock.”
  
  The scenes, however, where Hugh comes “out of his ignorance” to see the universe for the first time are written very well—if only Heinlein suspended such moments and scenes just a little bit more.
  
  Ultimately, Universe becomes a story of a “lost,” ignorant human race struggling to learn of their purpose and their destination—a parallel to our “here and now,” (and indeed, our whole past as well)—whether living on a wayward spaceship or a wayward planet.
  
  
  4. Nerves, by Lester del Rey, 2.75 stars.
  
  A short story protracted to novella length, this cautionary tale of nuclear accident anticipated the Chernobyl and Three Mile Island disasters by thirty years.
  
  Yet, the Heinlein-like dialogue and convenient reversal towards the end contribute to a melodramatic feel, as does the numerous exclamation points.
  
  Published three years before the first atomic bomb was detonated over Japan, the novella has a ticking nuclear accident at the center of the narrative which genuinely scares.
  
  The story frustrates in another way. The commercial company is “National Atomic, Inc.,” Yet, nowhere in 70 pages is it communicated exactly why atomic reactions are being made. Is this a power plant, a government research facility? What? The reader has confirmation on part of this as s/he learns that Dr. Kokusai “will [get] his bomb.” Given the character’s name, the gross irony becomes clear.
  
  Also, despite paragraph after paragraph of good descriptive writing, the geography of the plant still remains unclear.
  
  The various discussions of various isotopes, half-lives, and reactions all combine to create a verisimilitude to the work and indeed contribute to the suspense and terror.
  
  Finally, though Nerves has many likable characters, the panic and emergency made in almost every episode seem to prevent the reader from connecting more fully with any character beyond a shallow level—to include Dr. Farrel.
  
  Given the subject matter, Nerves will continue to attract readers. The “science” part remains anchored and strong. The “fiction” part, however, remains weak.
  
  
  5. Vintage Season, by Henry Kuttner and C.L. Moore, 4.4
  
  Vintage Season has all the “good tale” elements that Edgar Allen Poe suggested.
  
  Beginning in mystery, the story unfolds as Oliver Wilson becomes curious about his short-term tenants.
  
  Given the title and the inclusion in the “Sci-Fi Greatest” anthology, “guessing” at the “sci-fi” solution to the mystery becomes predictable. Yet, this is not the joy or surprise of the tale.
  
  Adroitly, the authors leave clues, (in plain sight), for the climax. Yet, it is the depth beyond the plot which allows the climax to be so affecting.
  
  Because this novella is so enjoyable, direct spoilers are withheld here.
  
  Suffice it to say that: one, those “scars” do indicate an important event; two, Kleph’s mantra, despite “the rules,” is telling; and three, a mirror sometimes can cast quite an ugly reflection.
  
  Vintage Season intrigues, entertains, and provokes reflection.
  
  Wonderful.
  
  
  6. The Marching Morons, by C.M. Kornbluth, 4.0
  
  Years after Heller’s Catch-22 and Vonnegut’s Slaughterhouse 5, C.M. Kornbluth penned the horrifically absurd The March of the Morons with a laughably absurd future society that nevertheless has an Ayn Rand-esque horrific quality.
  
  “I’ll buy that for a dollar,” the repeated advertising mantra in Paul Verhoeven’s 1987 film, Robocop echoes back here to Kornbluth’s “I’ll buy that for a quarter.” Both serve to simultaneously connect the audience / reader to the futuristic culture while alienating them by withholding the social context with which the punchline works. And yet, the audience / reader still laughs—a laugh brought on, ultimately, by a grotesque.
  
  Kornbluth’s witty, scathing, and absurdly humorous satire follows “Honest John Barlow” as he returns from a grotesque suspended animation and extorts from the Morons, the underling elite class to the future society, ultimate power as dictator. Yes, he from the past knows the solution, (direct reference to the horrific “Final Solution”), to the population-of-herd problem: Extermination.
  
  Written in 1951, The Marching Morons begins with the character Efrem Hawkins, a potter, who obsesses with his clay, “black-glazed carafes and clay baking kilns,” and ends with whole populations “baking” in space. Needless to say, the atrocity of the Holocaust, of genocide, becomes central here—as does the manipulations of such dictators.
  
  Both plot and prose progress quickly. And, the plot “bubbles” and “yanks” the reader through various turns. And, on any one of those turns, the author cajoles, tickles, disorients, and horrifies.
  
  Consequently, The Marching Morons is a wonderful-horrible ride.
  
  “I’ll buy that for a quarter!”
  
  Unfortunately . . . many did.
  
  
  7. And Then There Were None, by Eric Frank Russell, 3.8
  
  Earth has become an Empire with many planets colonized under its control. So the reader learns as s/he progresses through Eric Frank Russell’s And Then There Were None.
  
  A delightful, (and hopeful), story that follows a battleship and its crew as it visits one of the colonial planets, Russell’s novella crackles with satiric wit. Human behavior, institutions, and happiness become the central exploration of this joyful narrative.
  
  Although some of the idiomatic expressions and diction date the story, (written in 1951), the story, its subject, its plot, and its satire still hold up.
  
  And, despite the Ambassador’s, the Colonel’s, and the Captain’s potential objections, the Gand colonists indeed might possess the “ultimate weapon.” That “F—I.W.” apparatus is quite powerful.
  
  Even though a reader can anticipate the ending, the story still entertains and delights because of the fundamental question the Gand colonists pose. Heinlein-esque with its central theme, And Then There Were None becomes a fun read.
  
  “Myob.”
  
  
  8. Baby is Three, by Theodore Sturgeon, 4.0
  
  Theodore Sturgeon’s Baby is Three begins innocently. And, after progressing through the first few sections, a reader may wonder where lies the “science fiction” in a seemingly straight-forward psychoanalytic session.
  
  But, quite a few science fiction elements do appear as the intentionally disorienting narrative progresses: telekinesis, teleportation, and telepathy.
  
  Gerry, in crisis, sees psychologist, Dr. Stern. From his session, the reader journeys back and forth through time, learning of his meeting with Lane, an elderly “simple” man and his adopted family. Gerry, himself, becomes a member of that family.
  
  The cause of Gerry’s “breakthrough” in therapy comes with Lone’s death and the opposition against Miss Kew—Lone’s designated successor. Oblique and direct scenarios of racial, sexual, and eugenic prejudice emerge. And, the "empathic" scene becomes quite affecting.
  
  Gerry’s realization, and the narrative’s climax, unite all the previous episodes and bring reasoning to the story’s disorienting quality.
  
  While Sturgeon suggests a happy and satisfying ending, he nevertheless leaves open the possibility for its opposite. Consequently, Baby is Three leaves the reader a bit unsettled—hence, a provocation and implication which grows after the reader has set the book down.
  
  Baby is Three then fits into that class of unassuming and modest stories that stay with you--Baby is Three then, becomes one of those “hidden gems.”
  
  
  9. With Folded Hands, by Jack Williamson, 4.5
  
  Hands folded over each other in front of the body can give an impression of praying. Hands folded otherwise can give a multitude of impressions and meanings.
  
  Jack Williamson’s With Folded Hands leaves the reader with a paradox, which, after reflection, melts away to a definite solution—one as horrific as Huxley’s Brave New World or Orwell’s 1984.
  
  Hapless Mr. Underhill, who sells androids for a living, learns of a new competitor and its new humanoid models which are flooding the market.
  
  Likewise, his wife “Eos,” his daughter, “Joy,” and his son, “Ernest,” also discover the new humanoids subsequently. And, upon this family and the human race everywhere, a “Dawn of Happy Truth” begins.
  
  Williamson’s humanoids, exceedingly horrifying in their kindness and logic, seem the genesis for those in the film I, Robot, though the film strays from Asimov’s anthology of the same name. The film’s humanoids seem to come directly from Williamson’s vision, here. And, Williamson brings such an eerily human quality to these “robots.” Additionally, Eando Binder’s earlier, Frankenstein-like story, “I, Robot,” seems in play as well since both present a motif of perfection.
  
  Through the protagonist, Mr. Underhill, and his new lodger, Mr. Sledge, the reader learns of the building of this “Brave New World.” And, with publication dates of 1947, then 1954, the idea of unrestrained progress in science becomes pervasive throughout.
  
  Mr. Sledge’s “tale within a tale” captivates and his plans to alter the coming inevitability provide the novella’s final suspense. And so, in concert with the humanoids’ “Prime Directive,” (there’s a familiar phrase), “how does utopia become dystopic?” And similarly, “how does a dystopia become utopic?”
  
  Both predecessors Huxley and Orwell suggest a very much embraced answer: “Why—with lies, of course.”
  
  “Let us pray.”
  
  
  10. Call Me Joe, by Poul Anderson, 3.75
  
  Poul Anderson brings his readers to Jupiter in his novella, Call Me Joe. And there, the reader experiences a mosaic of ideas from Ovid’s Metamorphosis, Shelley’s Frankenstein, and Hawthorne’s “Dr. Heidegger’s Experiment.”
  
  From Jupiter’s, (Zeus’, Gk), satellites, an earth team engages in research and experiment with “life” on the planet. Engaging yet frustrating, Call Me Joe has both blemishes and beauty in its story and telling.
  
  By far, the biggest blemish is the too general explanation of the team’s mission. Like the geography of the team’s station and orbit(s), short-hand interspersed exposition force the reader to re-read.
  
  Also, the carefully built suspense becomes thwarted as the reader can anticipate the denouement to the narrative’s climax—possible relationships between Edward and Joe are reduced to three--based on logic, in context of the story.
  
  Anderson’s technique and diction also detract from his narrative. The exclamation points throughout the last third as ascribed to three of the four characters bring confusion and, in some cases, foil the author’s intended effect. The jargon, too, distances as much as it explains.
  
  Yet, Anderson’s technique and diction support his narrative as well. The stream-of-consciousness sections and shuttling organization “hook” the reader easily and reflect well the action of the plot.
  
  Through character, the reader gains focus. After such disorientation, Anderson introduces Jan Cornelius, a newcomer, to the team. And, with him, the reader can organize previous plot points.
  
  Anderson’s descriptions of Jupiter’s surface and atmosphere, like his “hook,” are striking and provide vivid pictures.
  
  Finally, like With Folded Hands, the power of Call Me Joe comes from the implication(s) borne out by its conclusion. Wonderfully, a discovery is made. And, the reader, like the characters, initially understands the idea of one mission, one goal--and ends understanding another—a possibility—one that may attract . . . or repulse.
  
  Perhaps Saturn, (Cronus, Gk), was a more appropriate planet for a setting, after all.
  
  
  11. The Ballad of Lost C’Mell, by Cordwainer Smith, 3.75
  
  Quickly, author Cordwainer Smith entices with language play: rhyme, verse, witty humor, symbol, and allusion. The opening verse not only hooks the reader but acts as an essay to the story following.
  
  Unique as a science-fiction story, (it has the feel of a “tale”), The Ballad . . . maintains a focus on the relationship between its two main characters.
  
  Ultimately, Smith presents an allegory reflecting the social consciousness of a time: the Civil Rights Movement in the United States, with its attendant struggle against racism, (structural), prejudice, and bigotry. The “racism” in Smith’s far-distant future, however, is “morphism,” i.e., limits on freedom of the “sub-hominid” life forms, or “underpeople.”
  
  The “individual” and “eccentric” Jestocost, a privileged “Lord of the Instrumentality,” with his “thirst for justice,” becomes the fulcrum to a more positive future:
  
  “Justice mattered: the perpetual return of mankind to progress mattered.”
  
  And so, Jestocost aids C’Mell, a “cat-person” who works as a type of Geisha, a “girly-girl,” and revolutionary.
  
  Smith’s prose is tight and packed. The underground plot advances quickly and keeps the reader engaged.
  
  Yet, Smith’s “effect,” with regard to the love story and sacrifice, affects the reader less than perhaps intended. Simply, the brevity of the narrative limits the emotional connection of reader to character. Although Smith’s “effect” works, it catches the reader in the head more so than in the heart—the very place such a ballad affects us most.
  
  
  
• 
  Gary Beauregard Bottomley

  My wife and I would listen to this slightly before bed time each night.
  
  Each story would transport me to another plane of existence and transfer me out of myself into another world into the theater of imagination.
  
  The anachronisms inherent within the stories made the stories better. 'Baby is Three''s reliance on psychoanalysis as a real thing capable of releasing the hidden repressions in our unconsciousness belongs in Freud's book of magic tricks for teenagers as we secretly desire to exercise our manifest destiny.
  
  'Vintage Season' I had recognized as the inspiration for the 1992 movie 'Timescape', available on youtube for free and we re-watched it after having read the novella it was based on.
  
  Incredibly satisfying selection of worth while sci-fi that motivates me to find other worthwhile sci-fi from the past because the modern science fiction is mostly fantasy and doesn't appeal to me.
• 
  Steven Peterson

  This is a treasure trove of older science fiction classic novellas. Authors here include such worthies as Poul Anderson, John Campbell, Jr., Lester del Rey, Robert Heinlein, C. M. Kornbluth, Henry Kuttner and C. L. Moore, Eric Frank Russell, Cordwainer Smith, Theodore Sturgeon (progenitor of Sturgeon's Law, "90% of everything is crud," if I recall accurately), H. G. Wells, and Jack Williamson. This volume was published originally in 1973 (the version, in fact, that I have).
  
  Let's look at a couple examples. Kornbluth's work is a lugubrious application of eugenics to humans. With the reduction in accidents, war, illness, fewer ungifted people were "weeded out." The end result? As a character says, "The average IQ is now 45." Why not just let the ungifted die out through stupidity? One of the "gifted" who were around to keep the world going on mentioned that they had--but the "marching morons" were too dense to know that anything was wrong, as they began to die by large numbers. So, the gifted continue to keep the species alive. When I read this, I have mixed emotions indeed! I am not a fan of eugenics, but the novella lays out an interesting scenario.
  
  Another favorite is Russell's "And Then There Were None." A sort of libertarian work, in which residents of a planet had seen their society evolve in a very different path from a galactic state. The central government decided to reassert authority over "The Gands" (residents of the planet, followers of the ideas of Gandhi). The society of the Gands is libertarian, with people having no right to define the duties of another. The ship's crew, when interacting with the Gands, decide they like their way of life better. Many desertions follow, before the officers and some crewmen lift off, to escape the society.
  
  H. G. Wells' "The T8ime Machine" is here. So, too, Campbell's "Who Goes There?", the source for two different versions of a movie known to us as "The Thing." As other reviewers note, the novella is appropriately creepy.
  
  Anyhow, if you don't like the style of classic science fiction, this may be unsatisfying. But for those of us who grew up with these authors, the book is a glorious reminder of our experiencing sci-fi in our younger days!
  
• 
  Rasheed

  Call Me Joe (1957) by Poul Anderson 5/5
  Who Goes There? (1938) John W. Campbell 5/5
  Nerves (1942) by Lester del Rey 5/5
  Universe (1941) by Robert A. Heinlein 5/5 1st part of
  Orphans of the Sky - 2nd part equally enjoyable
  The Marching Morons (1951) by C. M. Kornbluth 3/5
  Vintage Season (1946) by Henry Kuttner & C.L. Moore 3/5
  ...And Then There Were None (1951) by Eric Frank Russell 4/5
  The Ballad of Lost C'Mell (1962) by Cordwainer Smith 3/5
  Baby Is Three (1952) by Theodore Sturgeon 5/5
  The Time Machine (1895) novel by H. G. Wells 5/5
  With Folded Hands (1947) by Jack Williamson 5/5
• 
  Gavin Otteson

  An anthology of epic proportions in both concept and literary execution. Volumes IIA and IIB are comprised of novellas instead of short stories like Vol. I which is why it is split into two sub-volumes. However it packs a serious punch and sits near the top of my recommendation list for anyone interested in fiction.
• 
  Craig

  This is another collection of true classics. H.G. Wells, one of Heinlein's best, one of Eric Frank Russell's best, terrific stories from Cordwainer Smith and Poul Anderson, the Campbell story that became famous films, stories by Lester Del Rey and Jack Williamson that were better than their longer novel versions... Classic stuff!
• 
  Taylor

  Stories too long to be in Vol 1. This is for both 2a and 2b
  
  My favorites:
  2A:
  Heinlein's "Universe"
  Eric Frank Russel "... And then there were none"
  Sturgeon "Baby is Three"
  
  2B:
  Asimov "The martian way"
  Blish "Earthman Come Home"
  Vance "The Moon Moth"
• 
  Charles

  These are mostly of novella length rather than short stories, including "Who Goes There," the story that was filmed as "The Thing."
  
  Great collection.
• 
  Michael

  ??? childhood: ‘vintage season’ by kuttner and moore... an original favourite... good others too...
• 
  Susanna - Censored by GoodReads

  Some stories are better than others; but as a whole, a strong collection. My favorites include "The Ballad of Lost C'Mell," by Cordwainer Smith, and "Baby is Three," by Ted Sturgeon.
• 
  Tony

  A very good collection that, along with the other two volumes, makes a great introduction to classic science fiction.
  
  Call Me Joe • (1957) • novelette by Poul Anderson **** Fun and creative, bears some interesting similarities to the film Avatar (which came out over half a century later)
  
  Who Goes There? • [Who Goes There?] • (1946) • novella by John W. Campbell, Jr. [as by Don A. Stuart] ***** I’ve read this one several times and each time I am again pleasantly surprised by how well it holds up
  
  Nerves • (1942) • novella by Lester del Rey *** very well thought out, but conceptually I didn’t find it as interesting as most of the other works
  
  Universe • (1941) • novelette by Robert A. Heinlein **** a very good story that only suffers from being so influential that many of the concepts it originated have now become very familiar tropes. I found the ending slightly anti-climactic, but I did enjoy the commentary on promoting science in a religious environment
  
  The Marching Morons • (1951) • novelette by C. M. Kornbluth **** considering its reputation as a comedic story, and again with similarities to a much later made film (Idiocracy), I was surprised by how dark and kind of horrifying ultimately was
  
  Vintage Season • (1946) • novelette by Henry Kuttner and C. L. Moore ***** a beautiful and haunting story, probably my favorite in the collection
  
  ... And Then There Were None • (1951) • novella by Eric Frank Russell **** I actually found this to be the funniest story in the collection. The narrator who read it for the audiobook did an especially good job too.
  
  The Ballad of Lost C'mell • [The Instrumentality of Mankind] • (1962) • novelette by Cordwainer Smith **** great world building. I definitely want to explore more works in the series this story lead to. I would probably rate it higher, but it has some elements of male fantasy that are rather awkward
  
  Baby Is Three • (1952) • novella by Theodore Sturgeon ***** I felt this was the most intense and emotional work in the collection. This was later expanded into a full novel, which I now look forward to reading (More than Human)
  
  The Time Machine • [H. G. Wells' Time Machine Universe] • (1895) • novel by H. G. Wells ***** I was originally going to skip this, since I’ve read it a couple times before, but it drew me in again. It’s a classic for a reason
  
  With Folded Hands • [Humanoids] • (1948) • novelette by Jack Williamson ****1/2 well this is a frightening scenario, would be curious to read the expanded novel version of this one as well
• 
  Katrina

  A college friend gave this to me years and years ago, and of course it took me this long to get around to reading it.
  
  As a historical collection, it's definitely interesting; we have 11 stories (most of them novellas) selected as "the best" sci-fi by the 1970s membership of The Science Fiction Writers of America. At that point, I suspect all of the members were probably male, and the selection of the stories really shows that.
  
  There is one story by a woman, writing under a male pen name - C.L. Moore, who frequently partnered with her husband (in this case, as "Lawrence O'Donnell). Perhaps unsurprisingly, that story ("Vintage Season") ended up being one of my favorites. It has all the gritty sci-fi elements - time travel and dystopian futures - but with a lushness of language and descriptions that made it much more readable.
  
  A lot of the others in this collection lean so heavily on pseudo-science that it gets pretty tough to slog through at points. The worst offenders on this count were "With Folded Hands," by Jack Williamson (1954), which closed out the volume with an unbearably bleak outlook on a machine-controlled future, and "Nerves," by Lester del Rey (1942), which was fairly well-written but had some ridiculously terrible views on atomic power. For instance, spoilers: the ultimate solution to an exploding nuclear power plant is to dump all the atomic waste into a nearby river, which they'd bought up to keep the neighbors from complaining about the pollution. Oof. And one wonders how our world got to the point it's at now, 80 years later.
  
  The absolute worst story in this collection is also the shortest: "The Ballad of Lost C'Mell" by Cordwainer Smith (1962). What a deeply sexist, barely readable story - with zero plot and no character development whatsoever.
  
  Like I said, there's some historical value to this collection, and at points, I can see why the stories would appeal to the imagination of the masses (and the members who voted these the best-of-the-best).
  
  The only one I'd previously read was, of course, "The Time Machine" by H.G. Wells (1934). While there was a lot more not terribly subtle racism than I'd remembered from reading this as a child, Wells really is an exceptional storyteller. It's obvious, setting his novella against the others grouped here, why his name is synonymous with the genre, and why his works have been beloved for so long. His writing is intelligent but easy to follow - although there's a bit of "science explaining" in the story's opening, he doesn't get too bogged down in those details, and instead lays out an inventive, engrossing science fiction adventure story.
  
  Truth is, though, this was never my favorite of his novels -
  The War of the Worlds took that prize for me. I suppose I'll need to reread that one to see if he falls into that same "civilized (white) man" superiority - something that I feel throughout many of these stories, even if it's not always expressed outright.
  
  "Baby is Three" by Theodore Sturgeon (1952) is another one that I initially found quite interesting, but the ending really fell apart for me. Apparently this was later expanded into a full novel, which seems to have been the case for several of the stories collected here. From reading some descriptions, it sounds like the novel made the parts I'd disliked significantly worse, and there's something really uncomfortable about how he uses and twists his characters' disabilities. I did like, I think (?) that he was trying to push boundaries a little, by showing and decrying the racism against three Black characters, but the depictions of Down's Syndrome and (I think?) autism were just...uncomfortable. I found the magical powers and the found family element interesting, but it crept into some weird and distressing territory, and I ended up losing my sympathy for pretty much everyone by the end.
  
  Sci-fi doesn't have to be dark and disturbing and miserable, but so much of it (or at least what's popular or acclaimed) tends to be, and I think that's why I actually...don't really like sci-fi all that much. Fantasy's my area - darkness tends to be sprinkled with a bit more joy, and we don't always have to follow the same inevitable doomsday path of figuring out that mankind will eventually destroy the planet. Even if that's true, I don't particularly need to read about it in my fiction.
  
  "...And Then There Were None" by Eric Frank Russell (1951) was a pleasant exception. While there's a certain amount that's simply unreasonable - a society like the one he described isn't possible to maintain on a planet-wide scale - it was such an enjoyable reading experience that I didn't really care. He has such an easy, humorous writing style and a way of quickly giving personality and depth to his characters - something that was lacking in most of the other stories collected here. A breath of fresh air, and perhaps the only one that made me see science fiction as a way to dream of new and possibly better futures.
  
  "Who Goes There?" by John W. Campbell, Jr. (1938) certainly didn't fall into the "hopeful" camp, but I did find it a creepily fascinating read, with decently developed characters. The funny part is that when I finished it, I wrote in my notes: "I wonder if this has ever been made into a movie? It seems perfectly suited for that." Then I looked it up and found out it's "The Thing." AKA one of the most well-known and popular horror films of all time. That just goes to show how much I do not watch or engage with the horror genre - something that's so often mixed up with sci-fi and which I think should be considered a separate category.
  
  This collection definitely isn't a keeper for me, but I'm glad I read it before removing it from my collection. It's interesting to get a bit of a cross-section of sci-fi history. I wonder what a similar collection would look like now, and if I'd enjoy it more...or if it'd still be chock full of horror and dismal views of our collective future.
• 
  Ryan

  Call Me Joe by Poul Anderson - 4.5/5 - Great story about terraforming Jupiter with a race of beasts that humans have created that we can shift our consciousness into. I wouldn’t be surprised if James Cameron got some of his ideas from Avatar from this story (the tech/science not the environmentalism bits)
  
  Who Goes There? by John W. Campbell Jr. - 5/5 - The story that The Thing was based on. Much like the movie the novella is wonderful
  
  Nerves by Lester del Rey - 2.5/5 - Feels old fashioned and I could never get into it. The fact it has a medical setting is the most unique aspect as that seems fairly rare in science fiction
  
  Universe by Robert A. Heinlein - 4/5 - Actually is the first part of the novel "Orphans of the Sky." It intrigued me enough that I will be finishing the novel pretty soon
  
  The Marching Morons - C.M. Kornbluth - 5/5 - Man finds himself transported to a future where the majority of people are supremely stupid. Funny satire
  
  Vintage Season - Henry Kuttner & C.L. Moore - 5/5 - Damn, this story is what I read science fiction for. Don't want to spoil anything as it's a bit of a slow burn reveal but it's a very fresh take on a standard science fiction theme while also exploring the way humans view history in an emotionally detached way
  
  ...And Then There Were None - Eric Frank Russell - 4/5 - Humorous story comparing hierarchical capitalism vs co-op socialism. A bit far-fetched but fun nonetheless
  
  The Ballad of Lost C'Mell - Cordwainer Smith - 4/5 - My first story in Smith's extended universe. It was unusual and fun and it makes me want to read more of his work
  
  Baby is Three - Theodore Sturgeon - 3.5/5 - This story was expanded upon to make the novel More Than Human. I want to read that novel now because while I really liked a lot of the ideas in this novella they did come off a little half baked
  
  The Time Machine - H.G. Wells - 4.5/5 - Easily my favorite of Wells' Big 4. You do have to work your way through some dated material but that's inevitable for a story written in the 30s that fathered a relatively popular genre of science fiction
  
  With Folded Hands - Jack Williamson - 4.5/5 - Very cool dystopia novella about androids. Another in the collection that was later made into a novel that I want to read. This is becoming a problem!
• 
  Debbi

  A nice collection of SF story. I only skipped one story. Most had a timeless message. I especially enjoyed "With Folded Hands" by Williamson and "Universe" by Heinlein.
• 
  K.A.

  An excellent collection of short stories and classic novelettes in Science Fiction. I liked almost all of them and was happy to finally get the chance to read The Time Machine.
• 
  Aiyana

  Solid collection, if a little short on author variety. Russell's "And Then There Were None" was my favorite.
• 
  Nihal Vrana

  I have enjoyed the first volume more, but this was a treat too. Except 2-3 weak stories, it is masterpiece after masterpiece.
  Call Me Joe · Poul Anderson : A better version of Rogue Moon and an expansion of the "running video" in Strange Days.
  
  Who Goes There? [as by Don A. Stuart] · John W. Campbell, Jr.: the second most famous story in the collection after Time machine and the inspiration for the famous "The Thing" movie which I should watch sometime. It has some plotholes, but the atmosphere and the writing makes up for that.
  
  Nerves · Lester del Rey: I don't like Del Rey's style, he gets lost in technical details so much. And the technology he imagined was rather unimaginative so his stories aged quite badly; the weakest story in the collection.
  
  Universe [Hugh Hoyland] · Robert A. Heinlein: this was my favourite story in the collection; it is a bit like diluted Nightfall but very enjoyable nevertheless.
  
  The Marching Morons · C. M. Kornbluth: another kinda weak story although the intelligent servants of a moronic society has a ring of truth to it now unfortunately.
  
  Vintage Season [as by Lawrence O’Donnell] · Henry Kuttner & C. L. Moore : Very stylish time travelling tale only suffers from holding onto its punch for too long.
  
  And Then There Were None · Eric Frank Russell: This has one of the best confrontational dialogues I have ever read; my second favourite in the collection.
  
  The Ballad of Lost C’Mell · Cordwainer Smith: Great idea, weak execution.
  
  Baby Is Three · Theodore Sturgeon: One of the original X-Men stories of Sturgeon; it only suffers from packing too many things (psychology, racism, free-flow narrative) into a short story.
  
  The Time Machine [Time Machine] · H. G. Wells : Timeless classic, it was a joy to read it again.
  
  With Folded Hands... [Humanoids] · Jack Williamson: Suffers from being the last story honestly, I rushed through it. But it is an okay tale.
  
• 
  Michael Tildsley

  This is another mixed bag of sorts. There are some really wonderful novellas in this collection, but also a fair share of clinkers. Some were clinkers for me personally because I first experienced them in a more entertaining media, such as "Who Goes There?" (which John Carpenter handled very well in his remake of The Thing) and "The Time Machine" (which I personally feel was handled better in both movie adaptations, because the time-traveler has more to gain or lose in his travels).
  
  My favorites and the ones I consider "five-star" tales include:
  
  "Universe"
  "The Marching Morons"
  "Vintage Season"
  "...And Then There Were None" (favorite)
  "With Folded Hands"
• 
  Brian

  A mixed bag of science fiction stories, published during the "golden age" of sci-fi (1929 to 1964). Some stories such as "With Folded Hands" still hold up to modern standards and were a delight to read, while others such as "Nerves" were less-than-great, and made me wonder why it would be included in the Hall of Fame.
  
  Here are my brief reviews of each story, along with a rating from 1 to 5.
  
  Call me Joe (1957) - Poul Anderson - 3.5
  An intriguing story, first published in 1957. One of the first to use the dynamic of remote mind control, and asking the question: when entering and controlling another's mind, how much of that individual's mind will end up influencing the controller? The story was famously used as inspiration for the movie Avatar. Suffered from some pacing and prose issues but still very readable and engaging.
  
  Who Goes There (1938) - John W Campbell Jr - 4.0
  An eerie and vivid depiction of an inhuman being that was frozen in the arctic, being unfrozen and then transforming into any living thing it devoured. Even those transformed by it still believed they were the same as always. But they weren’t. Creepy psychological horror that was made into a movie multiple times, most recently The Thing (1982).
  
  Nerves (1956) - Lester Del Rey - 1.5
  Shocked that this is considered for SF hall of fame. The only redeeming quality for this story was a roughly prescient prediction of how messy a nuclear meltdown would be (before Chernobyl). Everything else about this was god awful: stilted prose, bad pacing, irrelevant details, unrealistic dialogue, etc.
  
  Universe (1941) - Robert A Heinlein - 2.5
  Was only partially paying attention to this one, as I found myself not entirely captivated with the plot line involving a multi-generational trip to Andromeda, mutants, and where the confines of the ship is considered the entire universe. The story seemed to suddenly end without much resolution, which was unsatisfying. Dialogue was generally well written but plot seemed meandering and uninteresting to me, which was surprising because Heinlein's best stories are among my favorites in Sci-Fi.
  
  The Marching Morons (1951) - C.M. Kornbluth - 3.5
  The original inspiration for Idiocracy, where the stupid outbreed the smart and the future is mostly populated by morons of 45 IQ on avg. The intelligent elite are “forced” to work extra hard to support the morons. Eventually the elite come up with a plan to try and reverse that and gain power. Very clever idea and generally well written. The ending seemed to peter off though.
  
  Vintage Season (1946) - Henry Kuttner -3.5
  The writing/prose itself was overall very good, better than previous stories in the Sci Fi hall of fame book 2A. But the old gimmick of time travel ran into the same problems and paradoxes that almost all time travel stories run into, and there lacked a good resolution for those paradoxes, imo. One thing that the story did do well (in addition to the prose) was highlight the questionable ethics of wealthy and powerful people going on sightseeing tours of poor and troubled areas, yet doing nothing to help. Overall a pretty entertaining and readable story.
  
  And Then There Were None (1951) - Eric Frank Russell - 3.0
  A decently written story, but it seemed to be a thinly veiled excuse to write about a fictional economic system based on "obs" (obligations). They talked in so much detail about the economic system, and how somehow just saying "I won't" will magically stop people in power from getting what they want was laughable. If that economy were real, it would take roughly 1 week before thugs and criminals controlled everything. Not to mention the fact that "obs" / IOU's end up being effectively the same as currency, the exact thing that they are trying to replace! The overwhelming amount of discussion about the economic system distracted from and drowned out the plot, to the extent where the I can't recall any significant details of the plot.
  
  The Ballad of Lost C'Mell (1962) - Cordwainer Smith - 2.0
  A sappy love story with a half interesting plot of improving the rights for a sub-human species of cat people. It’s not just that the main character of the story C’mell is 2 dimensional and a trite, lusty object of male affection, but the plot isn’t very interesting and the love story painfully banal. I’m very confused why others liked this story so much. Nostalgia?
  
  Baby Is Three (1952) - Theodore Sturgeon - 4.0
  After a slow start, this story quickly built up into a fascinating psychological sci fi journey. The protagonist is exploring a traumatic event hidden in his subconscious, and after a dynamic back and forth with a psychiatrist eventually finds it. And then comes the reveal... Not only well written, but a thought provoking sci fi conceit as well.
  
  The Time Machine (1895) - H.G. Wells - 4.5
  I somehow never read this H.G. Wells story, and I can see why he is considered a giant of the genre. Such clarity of writing, interesting and nuanced characters, combined with a deep understanding of real science and physics. The time traveler went on various adventures through different times throughout Earth's past and potential future. Spending a considerable time trapped in a future class-based world, where underground former humans called Morlocks are the lowly working class and have stolen his Time Machine. He treats the Morlocks with murderous rage and gets his ship back, only to travel to another time for another adventure in another time. Closing out the story, the time traveler is describing his adventures to a skeptical group of professionals in modern times. Overall it was extremely well written, mostly adhered to known laws of physics, and sparks the imagination as all good sci fi should.
  
  With Folded Hands (1947) - Jack Williamson - 4.5
  What a pleasure to read, and so prescient to recent developments in robotics and AI. Robots have been developed to help humankind, and a new model is released on the market, far superior to previous models. It is so efficient at helping and protecting humans, that all previous models become obsolete, and humans rely more and more on the new robots. The prime directive of the robots is to keep humans protected from harm, and over time they take the directive to new extremes. A prescient tale for the coming age where AI and robots are on the rise, and could even be considered a scathing critique of religions/philosophies that avoid pain at all costs such as Buddhism.