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4.05 AVERAGE
4.05 AVERAGE
I don’t remember what prompted me to check this book out of my local library. I must have read a reference to Matheson’s short stories and went looking for it. The only thing I had read of Matheson’s before this is the first volume of his collection of Twilight Zone scripts, which I thoroughly enjoyed. I’ve enjoyed many movies adapted from his writing, but never his prose fiction directly.
This 400 page collection of 33 short stories is an interesting and fun read. Matheson writes in a loose, relaxed prose style that feels simultaneously common and elevated. He has several great turns of phrases and surprising descriptions that signals his great command of the English language. Here’s a quick sample from his opening paragraphs of the “Witch War”: “Seven pretty little girls sitting in a row. Outside, night, pouring rain—war weather. . . . Sky clearing its throat with thunder, picking and dropping lint lightning from immeasurable shoulders.” Those poetic phrasings are sparsely made, but each one gives a great punch. Otherwise, the stories consist of simple description and plenty of dialogue. It is typical mid-20th-century American literature in its presentation—one of my favorite periods for literature.
Many of the stories themselves have a taste of the supernatural, some leaning toward horror, others leaning toward science fiction, but all of them interesting page-turners. I was surprised by how many stories were familiar to me, either because they were adapted for film or TV (such as “Prey,” “Death Ship,” “Nightmare at 20,000 Feet,” “Third from the Sun,” “Duel,” and “Button Button”), or because they seemed to be part of the zeitgeist of the 50s and 60s literature. Most of the stories have a gimmick or a surprise ending, which you can feel from the start of the story. An interesting situation or premise is introduced, and then you wait to have it explained to you, speculating along the way (or searching your memory if the story feels vaguely familiar). The weakest stories have little more than resolution or explanation you are waiting for, such as “Third from the Sun.” The best stories have a conflict rooted in human needs and emotions, such as “Button, Button,” “Dance of the Dead,” “Dying Room Only,” and “Duel.”
The other thing on display in this collection is Matheson’s ability to pace a story, to create movement and acts even within a seemingly straightforward story. It does not surprise me that his stories are often picked up for film and television. Not only is he a visual and sensory writer, but he has a gift for building tension through slowly escalating actions by the protagonist. There is a lot to learn here about the way a short story is constructed.
As I read the collection, I kept comparing it to the collection of Roald Dahl stories I have (also called The Best of . . .). The two share a lot of storytelling techniques and tastes. Both are wonderful and dialogue, both are masters of pacing, and both construct sentences that appear effortlessly written. I kept trying to pinpoint what it was about Dahl’s writing that I favored, and in the end I decided that it had little to do with the writing itself and everything to do with the type of stories he was interested in telling. In Dahl’s short stories, the conflicts and tensions are rooted in two or more characters talking to each other, attempting to navigate the difficult terrain to get what they want. In the end, Matheson’s characters’ interactions, while interesting, seldom make a difference to the story. Take “Dance of the Dead,” for example, probably my favorite in the collection. The kids pressuring our young heroine makes for great tension. I worried for her for the whole length of the story. But in the end, my worry was a red herring. The story wasn’t interested in her treatment or mistreatment, only in an interesting way to tell the story of the LUPs. The characters are props, parts of the scenery in the end. The stories are still cool; they just don’t hang at the places I find most interesting as a reader.
I recommend this collection, because it is an enjoyable read throughout. I’ll now be going back to read (and watch) Matheson’s Twilight Zone stories. But will I go pick up one of his novels? I’m not sure at this point.
This 400 page collection of 33 short stories is an interesting and fun read. Matheson writes in a loose, relaxed prose style that feels simultaneously common and elevated. He has several great turns of phrases and surprising descriptions that signals his great command of the English language. Here’s a quick sample from his opening paragraphs of the “Witch War”: “Seven pretty little girls sitting in a row. Outside, night, pouring rain—war weather. . . . Sky clearing its throat with thunder, picking and dropping lint lightning from immeasurable shoulders.” Those poetic phrasings are sparsely made, but each one gives a great punch. Otherwise, the stories consist of simple description and plenty of dialogue. It is typical mid-20th-century American literature in its presentation—one of my favorite periods for literature.
Many of the stories themselves have a taste of the supernatural, some leaning toward horror, others leaning toward science fiction, but all of them interesting page-turners. I was surprised by how many stories were familiar to me, either because they were adapted for film or TV (such as “Prey,” “Death Ship,” “Nightmare at 20,000 Feet,” “Third from the Sun,” “Duel,” and “Button Button”), or because they seemed to be part of the zeitgeist of the 50s and 60s literature. Most of the stories have a gimmick or a surprise ending, which you can feel from the start of the story. An interesting situation or premise is introduced, and then you wait to have it explained to you, speculating along the way (or searching your memory if the story feels vaguely familiar). The weakest stories have little more than resolution or explanation you are waiting for, such as “Third from the Sun.” The best stories have a conflict rooted in human needs and emotions, such as “Button, Button,” “Dance of the Dead,” “Dying Room Only,” and “Duel.”
The other thing on display in this collection is Matheson’s ability to pace a story, to create movement and acts even within a seemingly straightforward story. It does not surprise me that his stories are often picked up for film and television. Not only is he a visual and sensory writer, but he has a gift for building tension through slowly escalating actions by the protagonist. There is a lot to learn here about the way a short story is constructed.
As I read the collection, I kept comparing it to the collection of Roald Dahl stories I have (also called The Best of . . .). The two share a lot of storytelling techniques and tastes. Both are wonderful and dialogue, both are masters of pacing, and both construct sentences that appear effortlessly written. I kept trying to pinpoint what it was about Dahl’s writing that I favored, and in the end I decided that it had little to do with the writing itself and everything to do with the type of stories he was interested in telling. In Dahl’s short stories, the conflicts and tensions are rooted in two or more characters talking to each other, attempting to navigate the difficult terrain to get what they want. In the end, Matheson’s characters’ interactions, while interesting, seldom make a difference to the story. Take “Dance of the Dead,” for example, probably my favorite in the collection. The kids pressuring our young heroine makes for great tension. I worried for her for the whole length of the story. But in the end, my worry was a red herring. The story wasn’t interested in her treatment or mistreatment, only in an interesting way to tell the story of the LUPs. The characters are props, parts of the scenery in the end. The stories are still cool; they just don’t hang at the places I find most interesting as a reader.
I recommend this collection, because it is an enjoyable read throughout. I’ll now be going back to read (and watch) Matheson’s Twilight Zone stories. But will I go pick up one of his novels? I’m not sure at this point.
adventurous
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
dark
mysterious
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
N/A
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
adventurous
dark
emotional
funny
hopeful
inspiring
lighthearted
mysterious
reflective
sad
tense
medium-paced
A short story collection. Includes his classic Twilight Zone stories. Also, stories I have never read before, some pedestrian, some absolutely chilling. Dance of Death and Born of Man and Woman are not for the faint of heart.
adventurous
dark
mysterious
reflective
tense
medium-paced
Some fantastic stories. I don't know how I hadn't heard of Matheson sooner, but his writings certainly helped pave the way for "suburban" horror in ways I feel can be seen in modern pieces.
Some of my favorites: "Prey," "Shipshape Home," "Blood Son," "Dying Room Only," "Duel," "Nightmare at 20,000 Feet," "Deus ex Machina," and "No Such Thing as a Vampire."
I can't overstate how much I enjoyed these stories, their premises, and the overall tone Matheson conveys in his writing. My biggest critique is that some of the more exciting stories end somewhat abruptly. Like this review
Some of my favorites: "Prey," "Shipshape Home," "Blood Son," "Dying Room Only," "Duel," "Nightmare at 20,000 Feet," "Deus ex Machina," and "No Such Thing as a Vampire."
I can't overstate how much I enjoyed these stories, their premises, and the overall tone Matheson conveys in his writing. My biggest critique is that some of the more exciting stories end somewhat abruptly. Like this review
adventurous
dark
emotional
funny
mysterious
reflective
sad
tense
medium-paced
Plot or Character Driven:
N/A
Strong character development:
N/A
Loveable characters:
N/A
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
very good collection
Same review on Audible :D
3.5*
STORY ***
This is not the best of Matheson: some of the stories are relatively sub-standard, for him. That's why three stars for content.
This said, it is Richard Matheson we are talking about: even the most disappointing stories contain fascinating and disturbing elements. The unspeakable horror of normal life twisted into its grinning, deformed twin sibling is constantly hanging over our heads. Sometimes it makes itself manifest, sometimes it keeps lingering after an apparently soothing or, at least, rational ending.
Some stories, anyway, are real masterpieces. "Mute" broke my heart, as all stories in which a human being is trapped between potential and waste, and they are aware of it. It is a bitter-sweet one, though. There is humanity in Matheson, and humanity makes him great. Looking at "Witch War" or other cruel (and genial) fantasies you wouldn't say, but then you find it shining through the ending of stories like "The last day" and "Mute", and there is explained the difference between a mediocre and a great writer of sci-fi and horror.
One last word of caution: if you are very sensitive to misogyny, I'd advice against reading Matheson for leisure. Some female characters are decently nuanced, but mostly femininity is seen as a menacing force when it is not bridled in married tameness. Much has been written about "Witch war" in this sense, and, as much as I love this story (one of the most horrifying I have EVER read!), it does indeed contain some disturbing symbolism. I keep enjoying Matheson and I don't like witch hunts, but, you know, buyers beware.
PERFORMANCE ****
Multiple readers, nearly all definitely good. a couple of narrators overdid it a bit in terms of pathos, but the resulting "Twilight zone" vibe is not out of place.
A couple of them are afflicted by the infamous "breathy female voice syndrome", as I call it. You know what I am talking about. This takes a star out of an otherwise sleek choral performance.
3.5*
STORY ***
This is not the best of Matheson: some of the stories are relatively sub-standard, for him. That's why three stars for content.
This said, it is Richard Matheson we are talking about: even the most disappointing stories contain fascinating and disturbing elements. The unspeakable horror of normal life twisted into its grinning, deformed twin sibling is constantly hanging over our heads. Sometimes it makes itself manifest, sometimes it keeps lingering after an apparently soothing or, at least, rational ending.
Some stories, anyway, are real masterpieces. "Mute" broke my heart, as all stories in which a human being is trapped between potential and waste, and they are aware of it. It is a bitter-sweet one, though. There is humanity in Matheson, and humanity makes him great. Looking at "Witch War" or other cruel (and genial) fantasies you wouldn't say, but then you find it shining through the ending of stories like "The last day" and "Mute", and there is explained the difference between a mediocre and a great writer of sci-fi and horror.
One last word of caution: if you are very sensitive to misogyny, I'd advice against reading Matheson for leisure. Some female characters are decently nuanced, but mostly femininity is seen as a menacing force when it is not bridled in married tameness. Much has been written about "Witch war" in this sense, and, as much as I love this story (one of the most horrifying I have EVER read!), it does indeed contain some disturbing symbolism. I keep enjoying Matheson and I don't like witch hunts, but, you know, buyers beware.
PERFORMANCE ****
Multiple readers, nearly all definitely good. a couple of narrators overdid it a bit in terms of pathos, but the resulting "Twilight zone" vibe is not out of place.
A couple of them are afflicted by the infamous "breathy female voice syndrome", as I call it. You know what I am talking about. This takes a star out of an otherwise sleek choral performance.
This might have been even better if I hadn't already seen some of the tv and film adaptations. I recognized more of them than I thought I would. Some of these were straight-up psychological dramas, and those are not my personal favorites. His real gift is in springing those surprise and often thought-provoking endings.
These descriptions might contain spoilers.
Born of Man and Woman
***** What if your child was a monster. The narration was spot on.
Prey
**** One of the scariest shorts ever adapted for television.
Witch War
**** It's a mans world even when women have awesome power.
Shipshape Home
**** You get what you pay for.
Blood Son
**** The spooky kid turns out to be right.
Where There's a Will
**** You can't go home again, even if you're super rich.
Dying Room Only
*** Small towns aren't so friendly after all.
Counterfeit Bills
**** A stab at humor, the entire story is a setup for the punchline.
Death Ship
**** This was some seriously potent self delusion.
Dance of the Dead
**** Your friends can get you into some loopy trouble.
Man with a Club
*** The last line made this story, a nod to Planet of the Apes.
Button, Button
***** Do you ever truly know anyone.
Duel
*** You're minding your own business and then you meet a psychopath.
Day of Reckoning
*** A tragic whodunit.
The Prisoner
*** Some people have to die twice before it takes.
Dress of White Silk
**** First person revelation.
Haircut
*** This is why cremation is better than burial, ha!
Nightmare at 20,000 Feet
**** Would you know if you lost your mind?
The Funeral
*** Another funny one. Don't lose your nerve when opportunity knocks.
Third from the Sun
**** Hmmm, so that's how we got here. History repeats itself.
The Last Day
***** A powerful look at how things might end.
Long Distance Call
**** I sure don't miss land lines. This would never happen with a cell phone.
Deus Ex Machina
***** We could come to regret learning the secrets of the universe.
One for the Books
*** I guess it's a relief to think that brain harvesting might be survivable.
Now Die In It
*** Another mystery husband.
The Conqueror
*** When you don't know who you are, you can just pretend to be someone else.
The Holiday Man
**** I wouldn't want this guy's job.
No Such Thing as a Vampire
**** It was going all Dracula, until it wasn't.
Big Surprise
*** Grab the marshmallows, this one would make a great campfire story.
A Visit to Santa Claus
*** This is why most people shouldn't get married.
Finger Prints
*** A brush with desperation and loneliness.
Mute
**** Ruminations on the value of meditation. Sort of. I might have read into that a bit.
Shock Wave
**** A story for those who refuse to go quietly.
These descriptions might contain spoilers.
Born of Man and Woman
***** What if your child was a monster. The narration was spot on.
Prey
**** One of the scariest shorts ever adapted for television.
Witch War
**** It's a mans world even when women have awesome power.
Shipshape Home
**** You get what you pay for.
Blood Son
**** The spooky kid turns out to be right.
Where There's a Will
**** You can't go home again, even if you're super rich.
Dying Room Only
*** Small towns aren't so friendly after all.
Counterfeit Bills
**** A stab at humor, the entire story is a setup for the punchline.
Death Ship
**** This was some seriously potent self delusion.
Dance of the Dead
**** Your friends can get you into some loopy trouble.
Man with a Club
*** The last line made this story, a nod to Planet of the Apes.
Button, Button
***** Do you ever truly know anyone.
Duel
*** You're minding your own business and then you meet a psychopath.
Day of Reckoning
*** A tragic whodunit.
The Prisoner
*** Some people have to die twice before it takes.
Dress of White Silk
**** First person revelation.
Haircut
*** This is why cremation is better than burial, ha!
Nightmare at 20,000 Feet
**** Would you know if you lost your mind?
The Funeral
*** Another funny one. Don't lose your nerve when opportunity knocks.
Third from the Sun
**** Hmmm, so that's how we got here. History repeats itself.
The Last Day
***** A powerful look at how things might end.
Long Distance Call
**** I sure don't miss land lines. This would never happen with a cell phone.
Deus Ex Machina
***** We could come to regret learning the secrets of the universe.
One for the Books
*** I guess it's a relief to think that brain harvesting might be survivable.
Now Die In It
*** Another mystery husband.
The Conqueror
*** When you don't know who you are, you can just pretend to be someone else.
The Holiday Man
**** I wouldn't want this guy's job.
No Such Thing as a Vampire
**** It was going all Dracula, until it wasn't.
Big Surprise
*** Grab the marshmallows, this one would make a great campfire story.
A Visit to Santa Claus
*** This is why most people shouldn't get married.
Finger Prints
*** A brush with desperation and loneliness.
Mute
**** Ruminations on the value of meditation. Sort of. I might have read into that a bit.
Shock Wave
**** A story for those who refuse to go quietly.