Bradbury stories 100 of his most celebrated tales

Ray Bradbury, 1920-2012

Book - 2003

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SCIENCE FICTION/Bradbury, Ray
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1st Floor SCIENCE FICTION/Bradbury, Ray Due Oct 4, 2024
Subjects
Published
New York : William Morrow 2003.
Language
English
Main Author
Ray Bradbury, 1920-2012 (-)
Edition
1st ed
Item Description
"With an introduction by the author"--Cover.
Physical Description
893 p.
ISBN
9780060542429
  • Introduction
  • The Whole Town's Sleeping
  • The Rocket
  • Season of Disbelief
  • And the Rock Cried Out
  • The Drummer Boy of Shiloh
  • The Beggar on O'Connell Bridge
  • The Flying Machine
  • Heavy-Set
  • The First Night of Lent
  • Lafayette, Farewell
  • Remember Sascha?
  • Junior
  • That Woman on the Lawn
  • February 1999: Ylla
  • Banshee
  • One for His Lordship, and One for the Road!
  • The Laurel and Hardy Love Affair
  • Unterderseaboat Doktor
  • Another Fine Mess
  • The Dwarf
  • A Wild Night in Galway
  • The Wind
  • No News, or What Killed the Dog?
  • A Little Journey
  • Any Friend of Nicholas Nickleby's Is a Friend of Mine
  • The Garbage Collector
  • The Visitor
  • The Man
  • Henry the Ninth
  • The Messiah
  • Bang! You're Dead!
  • Darling Adolf
  • The Beautiful Shave
  • Colonel Stonesteel's Genuine Home-made Truly Egyptian Mummy
  • I See You Never
  • The Exiles
  • At Midnight, in the Month of June
  • The Witch Door
  • The Watchers
  • 2004-05: The Naming of Names
  • Hopscotch
  • The Illustrated Man
  • The Dead Man
  • June 2001: And the Moon Be Still as Bright
  • The Burning Man
  • G.B.S.--Mark V
  • A Blade of Grass
  • The Sound of Summer Running
  • And the Sailor, Home from the Sea
  • The Lonely Ones
  • The Finnegan
  • On the Orient, North
  • The Smiling People
  • The Fruit at the Bottom of the Bowl
  • Bug
  • Downwind from Gettysburg
  • Time in Thy Flight
  • Changeling
  • The Dragon
  • Let's Play "Poison"
  • The Cold Wind and the Warm
  • The Meadow
  • The Kilimanjaro Device
  • The Man in the Rorschach Shirt
  • Bless Me, Father, for I Have Sinned
  • The Pedestrian
  • Trapdoor
  • The Swan
  • The Sea Shell
  • Once More, Legato
  • June 2003: Way in the Middle of the Air
  • The Wonderful Death of Dudley Stone
  • By the Numbers!
  • April 2005: Usher II
  • The Square Pegs
  • The Trolley
  • The Smile
  • The Miracles of Jamie
  • A Far-away Guitar
  • The Cistern
  • The Machineries of Joy
  • Bright Phoenix
  • The Wish
  • The Lifework of Juan Diaz
  • Time Intervening/Interim
  • Almost the End of the World
  • The Great Collision of Monday Last
  • The Poems
  • April 2026: The Long Years
  • Icarus Montgolfier Wright
  • Death and the Maiden
  • Zero Hour
  • The Toynbee Convector
  • Forever and the Earth
  • The Handler
  • Getting Through Sunday Somehow
  • The Pumpernickel
  • Last Rites
  • The Watchful Poker Chip of H. Matisse
  • All on a Summer's Night
Review by Booklist Review

Perhaps Ray Bradbury is the latter-day O. Henry. He is most famous for his short stories--and short they are, rarely more than 15 pages. He attracts nonliterary readers in droves, and he has a raconteur's magnetic style. Those are O. Henry's virtues, making it quite possible to read him pleasurably today, even if you read only The Gift of the Magi and The Ransom of Red Chief. Since Bradbury is 50 to 100 years closer to us, just about every one of his stories is a gas, and his selection of 100 of them is something like a lifetime supply of nitrous oxide. No matter how calculated its surprises or how sentimental its denouement, a Bradbury story typically evokes a smile and a tip o' the hat. He acknowledges in the introduction here that he is in love with writing, and it is obvious there and in every story that, what's more, he is in love with life, so that even his eeriest, most mordant stories leave one feeling wonder, not bleakness: case in point, The Illustrated Man. Even more to that point are his Irish stories, most of them set in and around Heber Finn's pub. Characteristically Celtic compoundings of grue and glee, these are read-aloud, memorize-and-recite gems of pure gab (especially A Wild Night in Galway ). --Ray Olson Copyright 2003 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Library Journal Review

This massive retrospective of self-selected Bradbury stories offers a compendium of his eccentrics, misfits, losers, and small-town dreamers, who typically inhabit an uncanny setting or confront a strange, unsettling situation. Often, it is as if Sherwood Anderson's grotesques suddenly materialized in an Edgar Allan Poe short story. The anthology includes many of Bradbury's Irish anecdotes, village Gothic tales, ironic horror stories, and droll, minimalist sf narratives, frequently set on board his heuristic but obviously inauthentic spaceships or on Mars. While this anthology oddly excludes some of this reviewer's favorites-e.g., "There Will Come Soft Rains" and "The Veldt"-it still represents a generous sampling from his entire career, with several tales taken from his most prized collections, The Martian Chronicles and The Illustrated Man. At times, after one has read tale after tale, Bradbury's raconteur style cloys; the writing can seem stiff with affectation, as if the author were determined to carry through almost any plot idea, however weak or quaint. At other times, he is gently mesmerizing, the story at hand offering a real treat. Recommended for all public libraries and academic libraries where interest warrants.-Roger A. Berger, Everett Community Coll., WA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

Ray Bradbury, now 83, selects 100 of his most celebrated tales from a lifetime in print twice the length of Poe's. This will quite likely go down as grandmaster Bradbury's magnum opus in lieu of an acid-free trove by Library of America. Many wonder-bearing pages, awash in rural nostalgia, sentiment and charm, are redeemed by a sprightly motion forward in the storytelling, which comes as naturally to Bradbury as breathing. Are these his best work? Well, in the short form, yes. But his best ever may remain in novel-length (the flawed but morally forceful Fahrenheit 451, 1953) and the memoir Green Shadows, White Whale (1992), about his scripting Moby Dick with John Huston in Ireland while finding the Irish much like his own fantasy figures and monsters. In Bradbury, the fantastic weaves through the banality of everyday life while the supernatural is infected with the same stuff you and I face in kitchen and living room, though not the bedroom. His linked stories transporting Middle America to Mars in The Martian Chronicles (1950) gave him his biggest boost to fame, and though these shady-porch tales today may have a cheesecloth quality to their poetry, they remain his bubbling first masterpiece, with the present volume their bookend. Copyright ©Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Bradbury Stories 100 of His Most Celebrated Tales The Whole Town's Sleeping He was trying to drive me insane. It was the only reason I could think of for why he treated me the way he did: one day all beery and friendly, him and Isaac working together on fixing up my room, letting me sit and listen in on their jam session; then the next morning a maniac again, telling me hands off the stereo and his stupid tools, assigning me chapters in some prehistoric cowboy book I'd never heard of, like I'd landed in remedial reading in summer school. I should have just stayed in Dallas and taken my chances. I should have sat down in the middle of the driveway and refused to get in the car with Ma. Nothing could be worse than this. Except, maybe, one thing; now, all of a sudden, Lucy was in on it, too. When she snatched that Pop-Tart out of my hand I just about died. I know she was just trying to keep me from asking about stuff that was none of my business, but still. I felt stabbed, like she'd all of a sudden switched sides and lined herself up with the devil. I ran out the door with Dad hollering my name, but he didn't keep it up or come after me, which only proved my point, that he cared more about exerting his brand-new parental supremacy than he did about the actual welfare of me, his daughter. I kept on going, across the road and into the woods, the dogs at my heels. When I was sure no one was following me, I sat down on a stump and listened. I realized I was close enough to the house to hear what was going on. Sure enough, not two minutes after I left, Dad's truck started up and drove away, and about ten minutes later Lucy's Buick did the same. It was the first time I'd been alone since I'd landed in Mooney, almost a whole week before. I got a little chill of excitement. I could do whatever I wanted. I had no money, no car; to tell the truth, I didn't know how to drive. But I was on my own. It was nice there, in the woods. I slipped off my headphones and put my Walkman in the pocket of my sweatshirt. High over my head the trees made a canopy of sweet-smelling green, and the ground under my feet was soft with crushed pine needles, and after awhile I could make out the sounds of three or four different birds. The dogs had gotten on the scent of something and started running in circles, then all of a sudden dashed deeper into the woods. I decided to go after them. I lost sight of them pretty quick, but I could hear them moving around in the underbrush, and I kept going until I came out in a little clearing. I poked around and found the remains of an old building: crumbling steps, a couple of blackened cornerstones, the charred-out hulk of a pot-bellied stove. Everything else, it looked like, the woods had reclaimed. Then, just beyond the ruined foundation, I discovered an old graveyard. It wasn't much more, really, than a patch of ground, set off by a border of broad, flat stones, but the space inside had been neatly cleared, and the markers, though they looked ancient, were upright and mostly legible. I walked slowly among the stones and read the names and the dates out loud. Eustice Washington had died in 1927, at the age of a hundred and two. Alvin Getty, born 1912, had only lived four days. The most recent stone was 1943, two whole generations ago. There was no question it was a place for spirits, but I felt welcome there. They probably didn't get that many visitors; I figured they were glad to see me. I sat down on the stone border and looked around. It was a pretty place, with a slash of blue sky overhead and the clean scent of pine all around, and I listened to the dogs and the birds and the wind in the trees until I realized that my heart had stopped pounding and I didn't feel like I needed to cry anymore. Part of my brain, the sensible part, was telling me to go back to the empty house and throw my stuff into my duffel bag and just get the hell away. But I was less than two months from my fifteenth birthday; my heart, most of the time, felt too small for all the things it was trying to hold. The fact was, I was a little bit in love with East Texas, and with my father and Lucy, too. As confused and sad as I felt, this had in some ways been one of the best weeks of my life. I had been in a honky-tonk, a guitar store, a garden full of Buddhist trinkets, a Baptist church, an old country cemetery. I'd gotten my first lipstick-Chanel, to boot -- and learned to two-step. I'd eaten more fried chicken in a week than I had the whole rest of my life. My father had turned out to be a better musician than I could have hoped for. There was more music, I knew, where that came from; somewhere were the songs he'd written for me as a colicky baby. Wasn't that proof, no matter how shabby, that he'd loved me once? How could I leave until I had that in my hand? The dogs came crashing back through the woods into the clearing, looking depressed. Actually, just Booker looked depressed; Steve Cropper wasn't smart enough, I don't think, to realize they'd been after anything, he'd only been along for the ride ... Bradbury Stories 100 of His Most Celebrated Tales . Copyright © by Ray Bradbury. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from Bradbury Stories: 100 of His Most Celebrated Tales by Ray Bradbury All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.