Theodore Sturgeon - My reviews and stuff

Wasn't aware of that one, no. Had I found out about it at a different period, I'd be on it within a few days. However, I'm currently 'WAY behind on my reading schedule, so I'm not sure when I'll get a chance for that. I'll be interested in hearing what anyone else has to say, though....
 
I've just started reading a collection of stories by Sturgeon called "The Worlds of Theodore Sturgeon" and it's the first I've read by this author. Pretty good so far. He does tackle some interesting concepts...
 
Case and the Dreamer - Theodore Sturgeon

“Ask the next question.”

This was Theodore Sturgeon's motto, and the driving force behind much of his work. It is also the meaning of the silver “Q” with an arrow through it that he wore on a necklace around his neck. He loved to ask questions, questions that, once asked, would reveal thought provoking and sometimes shocking answers. Each question asked unearths another layer, and each question answered reveals more questions.

In Case and the Dreamer, a collection of three short stories, Sturgeon asks questions about love. The first story, the title story, asks questions dealing with interspecies, alien love. The second story, If All Men Were Brothers, Would You Let One Marry Your Sister, the best story of the three, asks, “Is there a kind of love so heinous that it could turn an entire planet into a pariah?” And the final story, When You Care, When You Love, is asks a surprisingly timely question about love and the ability to clone a human being. When You Care, When You Love is easily the least interesting of these. To tell you the truth, I didn't get much out of it at all. For this reason, this review will solely focus on the first two stories.

Case and the Dreamer tells the story of a man and woman who find themselves marooned on a strange alien world. It is told in mainly in flashback, from the point of view of the man, Case, who died but is brought back to life by a holographic being. Case remembers his time with Janifer, the woman, and their tumultuous times on the alien planetoid. The two formed a powerful relationship, and yet he was never able to say the simple words that Jan wanted to hear: I love you. Their lives were plagued by a strange presence that haunted and tormented them, getting more violent and devious as time went on. In the present, Case learns the identity of this alien life, and discovers what it wanted all along. Case is an interesting name for such a character. A case is properly used when it is tightly closed to hold something inside. But to use a case's contents, it must be opened, and they must be exposed to the possible dangers of the world. Case, the character, was holding something inside, his emotions, and by not letting them out, by not truly confiding in his love, he inadvertently unleashed a vengeful force.

If All Men Were Brothers is by far the most interesting story of the three. It was originally written for Harlen Ellison's ground breaking anthology, Dangerous Visions. In his introduction, Ellison states that Ted Sturgeon saved his life - recently and literally. Ellison had entered into an extremely unhealthy, 45-day long marriage, and was barely clinging on to the last threads of his wits end. Sturgeon wrote Ellison a letter, a letter that saved Ellison's life. At one point in the letter, Sturgeon says, “There is no lack of love in the world, but there is a profound shortage in places to put it. I don't know why it is, but most people who, like yourself, have an inherent ability to claw their way up the sheerest rock faces around, have little of it or have so equipped themselves with spikes and steel hooks that you can't see it. When it shows up in such a man - like it does in you - when it lights him up, it should be revered and cared for.” And this, as Ellison puts it, “demonstrates the most obvious characteristic of Sturgeon's work - love.”

In this story, Sturgeon writes about a kind of love that, even today, continues to make people sick, disgusted and angry. A kind of love that is immoral and biologically apprehensible. He writes about incest, an entire planet where this heinous act is not only encouraged, it is simply the way of life. Sturgeon was an author who liked to push buttons, but he didn't do so be shocking or to lazily draw attention to himself. Sturgeon did so to get his readers to ask the next question. Why is incest so terrible? Let's agree that it is morally wrong. Okay, so incestuous sex leads to a shallowing of the genre pool, and offspring with birth defects and brain damage. Yes, it can. But aren't these problems also associated with children birthed from “normal” sexual intercourse? Don't we also force dogs and cattle into incestuous sexual relations to obtain desired physical traits? Why has incest become such a taboo subject, that people would rather turn those who did it into pariahs, even if these people possessed the cures for all cancer and lived in a truly Utopian existence? Are we so afraid of some things that we won't even take the time to try to understand them?

Here, Sturgeon is not condoning the act of incest, but he is asking us to examine the things that repulse us in a new way, to get to the heart of the matter. It is only now, in the 21st Century, that homosexuals are beginning to enjoy the same kinds of freedoms and privileges that heterosexuals have, well, forever. Only a few decades ago, homosexuality was labeled as a mental defect, a disease, something to be cured. A couple hundred years ago, Africans were treated as animals, a sub-human species. Woman weren't granted the right to vote until the 1960s! If no one ever asked the question, and then asked the next question, and continued to ask the questions until the right answers were revealed, where would we be today? Sturgeon was an author who always asked the next question, and I can see publishers sweating it out in apprehension. “This is supposed to be science fiction!” they might have said. And this is science fiction, in its purist and most perfect form. This is fiction that examines the essence of humanity, of life and of love, and does so in ways unbridled by the ability of a boundless imagination.
 
I've just started reading a collection of stories by Sturgeon called "The Worlds of Theodore Sturgeon" and it's the first I've read by this author. Pretty good so far. He does tackle some interesting concepts...


Cool. Let us know what you think. What stories are in this?
 
Can we not edit our posts here? Dangit.

I noticed some errors in my above review, and I wanted to correct them.

:eek:
 
Unfortunately (or fortunately, it is sometimes one, sometimes the other) the time limit to do so it about half-an-hour. The reasons for this being set up that way are valid, but a bit much to go into here....

Just go ahead and post the corrections you'd make, and not worry about it; that's the best way to handle such a thing....
 
Unfortunately (or fortunately, it is sometimes one, sometimes the other) the time limit to do so it about half-an-hour. The reasons for this being set up that way are valid, but a bit much to go into here....

Just go ahead and post the corrections you'd make, and not worry about it; that's the best way to handle such a thing....

Thanks mate!

I'll just repost the review, and, perhaps, one of you kind mods could delete the old post? Thanks!



Case and the Dreamer - Theodore Sturgeon
(Review 2.0)



“Ask the next question.”

This was Theodore Sturgeon's motto, and the driving force behind much of his work. It is also the meaning of the silver “Q” with an arrow through it that he wore on a necklace around his neck. He loved to ask questions, questions that, once asked, would reveal thought provoking and sometimes shocking answers. Each question asked unearths another layer, and each question answered reveals more questions.

In Case and the Dreamer, a collection of three short stories, Sturgeon asks questions about love. The first story, the title story, asks questions dealing with interspecies, alien love. The second story, If All Men Were Brothers, Would You Let One Marry Your Sister, the best story of the three, asks, “Is there a kind of love so heinous that it could turn an entire planet into a pariah?” And the final story, When You Care, When You Love, is a surprisingly timely story about love and human cloning. When You Care, When You Love is the least interesting of these. To tell you the truth, I didn't get much out of it at all. For this reason, this review will solely focus on the first two stories.

Case and the Dreamer tells the story of a man and woman who find themselves marooned on a strange alien world. It is told mainly in flashback, from the point of view of the man, Case, who died but is brought back to life by a holographic being. Case remembers his time with Janifer, the woman, and their tumultuous stay on the alien planetoid. The two formed a powerful relationship, and yet he was never able to say the simple words that Jan wanted to hear: I love you. Their lives were plagued by a strange presence that haunted and tormented them, getting more violent and devious as time went on. In the present, Case learns the identity of this alien entity, and discovers what it wanted all along. Case is an interesting name for such a character. A case is properly used when it is tightly closed to hold something inside. But to use the contents, it must be opened, and they must be exposed to the possible dangers of the world. Case, the character, was holding something inside, his emotions, and by not letting them out, by not truly confiding in his love, he inadvertently unleashes a vengeful force.

If All Men Were Brothers is by far the most interesting story of the three. It was originally written for Harlen Ellison's ground breaking anthology, Dangerous Visions. In his introduction, Ellison states that Ted Sturgeon saved his life - recently and literally. Ellison had entered into an extremely unhealthy, 45-day long marriage, and was barely clinging on to the last threads of his wits end. Sturgeon wrote Ellison a letter, a letter that saved Ellison's life. At one point in the letter, Sturgeon says, “There is no lack of love in the world, but there is a profound shortage in places to put it. I don't know why it is, but most people who, like yourself, have an inherent ability to claw their way up the sheerest rock faces around, have little of it or have so equipped themselves with spikes and steel hooks that you can't see it. When it shows up in such a man - like it does in you - when it lights him up, it should be revered and cared for.” And this, as Ellison puts it, “demonstrates the most obvious characteristic of Sturgeon's work - love.”

In this story, Sturgeon writes about a kind of "love" that, even today, continues to make people sick, disgusted and angry. A kind of "love" that is immoral and biologically apprehensible. He writes about incest; an entire planet where this heinous act is not only encouraged, it is simply the way of life. Sturgeon was an author who liked to push buttons, but he didn't do so just to shock or to lazily draw attention to himself. Sturgeon did so to get his readers to ask the next question. Why is incest so terrible? Let's agree that it is morally wrong. Okay, so incestuous sex leads to a shallowing of the genre pool, and offspring with birth defects and brain damage. Yes, it can. But aren't these problems also associated with children birthed from “normal” sexual intercourse? When incest is brought up, why do people always turn to child birth as a problem? Don't "normal" sexually active people have sex without the desire to procreate? Don't we also force dogs and cattle into incestuous sexual relations to obtain desired physical traits? Why has incest become such a taboo subject? What if such an existence was - gasp - beneficial? Are we so afraid of some things that we won't even take the time to try to evaluate them? I bet some of you reading this right now are feeling a little bothered that I am even mentioning these questions.

Here, Sturgeon is not condoning the act of incest, but he is asking us to examine in a deeper way the things that repulse us, to get to the true heart of the matter. It is only now, in the 21st Century, that homosexuals are beginning to enjoy the same kinds of freedoms and privileges that heterosexuals do. Only a few decades ago, homosexuality was labeled as a mental defect, a disease, something to be cured. A couple hundred years ago, Africans were treated as animals, a sub-human species. Woman weren't granted the right to vote until the 1960s! If no one ever asked the question, and then asked the next question, and continued to ask the questions until the right answers were revealed, where would we be today? Sturgeon was an author who always asked the next question, and I can see publishers sweating it out in apprehension. “This is supposed to be science fiction!” they might have said, meaning, "where are the spaceships and Martians?" And this is science fiction, in its purist and most perfect form. This is speculative fiction that examines the essence of humanity, of life and of love, and does so in ways unbridled by the power of a boundless imagination.
 
Just finished The [Widget], the [Wadget] and Boff. What an interesting story. It perfectly sums up what I perceive to be Sturgeon's two most important themes. The first examines his motto, "Ask the next question," and the second examines the human species acting as a single entity, as a collective mind, the homo gestalt, and perhaps moving closer to a destination defined by peace and love.

It could be read as Sturgeon's manifesto - The [Widget] and the [Wadget] are basically manifestations of Sturgeon. It's as if he puts himself into the story to test his own ideas and theories.

Once again, Sturgeon continues to amaze me. He worked on a remarkably different level than just about every other author I've read in the genre. Why must he be dead? To have met him would have truly been an amazing thing.

More thoughts to come...
 
I can't help but feel that the sci-fi elements of TW,tWaB actually lessen the impact of the book. They almost feel like they were added in as an afterthought in order to fit the requirements of the genre.

Imagine if in Daisy Miller, at the end of certain chapters, there were log entries written by Randolph, who was really an alien in disguise, in which he was examining Daisy's relationship with Winterbourne.

The sci-fi stuff in Sturgeon's book could easily be ripped out, and this would not hurt the novella at all. In fact, I think it would actually make the narrative more powerful because it would lessen the feelings of the infodump.
 
I'm not sure I agree with you there. In fact, I'd say they're essential to what Sturgeon was trying to do (or what it seems to me he was trying to do): to "look through alien eyes" at us, displacing our usual viewpoint and almost clinically examining that viewpoint, rather than the characters... who, in contrast, are presented as very lively, well-fleshed-out characters. I also think this is why he chose to open with the particular character he did, as he was the most alienated of the bunch; and it's through his reaching a crisis point that we have both the entrance to the entire scenario and, eventually, its culmination and resolution... both for the readers and for the experimenters... and for the experimentees. And, if you'll note, as the tale progresses, those "notes" (and, therefore, the aliens writing them) become ever more "human" in their own responses....
 
While I see your point, I think that Sturgeon could have reached a much bigger audience with this story had it not been "science fiction," and I think the theme could have remained in full force simply by not revealing the identity of the narrator.

He could have kept the real identities of Sam and Bitty more of a secret, while also narrating the tale through their eyes.

I don' think the whole "through the eyes of an alien life" think really added much to the story because Sturgeon is really pointing out an aspect of humanity. Had this story been about the contrast between human and alien life, then that convention would have more of a purpose, but because Sturgeon is driving home a point about us, the human species, I feel as if the alien presence is more of a crutch - it becomes the device through which the info is dumped.

Don't get me wrong - I like it a lot, and the sci-fi-ness is one of the reasons why I like it. I just can't help but wonder about the kind of impact Sturgeon could have had with this had it been more mainstream.
 
While I see your point, I think that Sturgeon could have reached a much bigger audience with this story had it not been "science fiction," and I think the theme could have remained in full force simply by not revealing the identity of the narrator.

He could have kept the real identities of Sam and Bitty more of a secret, while also narrating the tale through their eyes.

I don' think the whole "through the eyes of an alien life" think really added much to the story because Sturgeon is really pointing out an aspect of humanity. Had this story been about the contrast between human and alien life, then that convention would have more of a purpose, but because Sturgeon is driving home a point about us, the human species, I feel as if the alien presence is more of a crutch - it becomes the device through which the info is dumped.

Don't get me wrong - I like it a lot, and the sci-fi-ness is one of the reasons why I like it. I just can't help but wonder about the kind of impact Sturgeon could have had with this had it been more mainstream.

Again, I have to disagree with that. I don't think it would have had near the impact, because without the sf element, motivation for the crisis facing the characters would have been lacking, for one thing. For another, that "alien" view was exactly the mirror needed to reflect on the often cynical view taken of human beings in the abstract... and Sturgeon was pointing out something about human beings in general, not just about this group of individuals. Also, the very shift from the clinical to the exasperated to the humorous to the genuinely affectionate stance of the aliens is an important complement to the questioning of that cynical stance -- not to mention that it also allows the perspectives of two "outsiders": that of the alien and that of an child (and children certainly have a perspective alien to that of adults).

The fact of the matter is, without being completely didactic (something this tale borders on but does not quite lapse over into), I'm not sure the things Sturgeon is saying here could be said outside of science fiction or fantasy... most likely the former, as it allows for that clinical approach that both questions and reflects the alienation of, for instance, Halverson himself. A human narrator would not have quite the same distancing effect, therefore not allowing the broader view taken here. So, once again, I would argue that the sf elements are not only an important part, but vitally necessary to the many layers on which this story works....
 
Nice post. And again, I see your point. However, I do think that the story would have been more effective had the alien perspective, the lens through which the outsider's view is filtered, was left more ambiguous. Rather than have the reports at the end of the key chapters, and rather than explicitly state that Sam and Bitty were, in fact, otherworldly, had Sturgeon instead left this observation and conclusion up to the reader to figure out it would not have felt like a convention with which to infodump.

I think I worded my original argument wrong, which is leading to some confusion on my part - my bad. I think the sci-fi-ness is good, and necessary, as you said to show the relationship between the outsider and the insider. Sturgeon did need that "mirror" with which to reflect and contrast, however I think he could have executed it a bit more tactfully. Here I think is the key. I would have preferred it to be down played a little more. As you said, I don't think a human narrator would have had the necessary outsider's perspective, but I do think that Sturgeon sells the story a little short by presenting the genre conventions so implicitly and he doesn't fully trust his readers to get it.

So it is not that the story relies on its sci-fi conventions that troubles me, it is the way they are executed. It feels a little artificial to me, and I think Sturgeon could have handled it a bit better by leaving the identity of Sam and Bitty a bit more mysterious. Perhaps this could have been conveyed better through Robin's POV. As you said, a child's perspective is alien when compared to an adult's, and children are often times more apt to see things. A child's insight is often extraordinary. In this manner, Sturgeon could have also played more upon the idea of imagination versus reality.
 
Ah, yes, that clarifies things a bit. I would still argue that the use of the alien perspective along with Robin's is an important point, allowing for both the childish and a mature outsider's view (something done, to some degree, with Thomas Tryon's The Other, for example), so I don't think relying on Robin's view alone would have worked very well. But I can agree with you that Sturgeon was a little less sure in his handling of this technique here than he is elsewhere, for instance.

And, of course, the alien (as well as the unreliable narrator) are classic perspectives for this sort of use, and Sturgeon used them quite often; sometimes -- "The Chromium Helmet", for instance -- we largely see things through the eyes of a child (though there, as in Arthur Machen's "The White People", it is the conflict between the child's naïveté and the reader's knowledge that enhances the tension of the situation); but Sturgeon did improve on his use of this as time went on....
 
At least were in the same chapter now, if not on the same page. :)

Sturgeon was a didactic writer, and while this usually bothers me, it doesn't with his writing. He was definitely pushing an agenda with his stories, but I think it is one that deserved to be pushed. I get the feeling that his heart was just so full of compassion for humanity, and that writing was the only way for him to express this. He was a great optimist, and I share his vision for humankind. His stories and themes could have easily crossed the line into territories plagued with cynicism and disgust for humankind, but he maintained a wonderfully compassionate voice and tone throughout.
 
At least were in the same chapter now, if not on the same page. :)

Sturgeon was a didactic writer, and while this usually bothers me, it doesn't with his writing. He was definitely pushing an agenda with his stories, but I think it is one that deserved to be pushed. I get the feeling that his heart was just so full of compassion for humanity, and that writing was the only way for him to express this. He was a great optimist, and I share his vision for humankind. His stories and themes could have easily crossed the line into territories plagued with cynicism and disgust for humankind, but he maintained a wonderfully compassionate voice and tone throughout.

I recall that Ellison noted in Dangerous Visions that Sturgeon knew nearly everything there was to know about love, while Ellison himself knew nearly everything there was to know about hate. He later qualified that (rightly, I think, as each had some valuable thoughts on either) in either Partners in Wonder or Love Ain't Nothing But Sex Misspelled (at the moment, I can't recall which, and my copies aren't easily available to consult).

But yes, I'd say that Sturgeon is one of the great humanist writers in a genre that is largely humanist to begin with; and certainly for those who have never tried sf, or who have trouble with "nuts-'n'-bolts" sf (a la George O. Smith or Hal Clement), I'd strongly recommend Sturgeon, with his emphasis on human emotion and his deep compassion (strengthened by a hard-headed form of realistic optimism) as a good writer to tackle....
 
I recall that Ellison noted in Dangerous Visions that Sturgeon knew nearly everything there was to know about love, while Ellison himself knew nearly everything there was to know about hate.

Funny you should mention this. The other day, I was thinking about how Sturgeon might have written I Have No Mouth and I Must Scream. This would have been a fascinating experiment: have Sturgeon filter an Ellison story through his love and compassion, and then have Ellison filter a a Sturgeon story through his anger and hate, for lack of a better word. The Guido arc in To Marry Medusa reminded me a lot of Ellison.

I am glad that you see the sf genre as being a humanist one, I agree. I've always thought that this was one of sf's greatest strengths: the ability to examine humanity filtered through a fantastic lens that eliminates all impossibilities. It's too bad that those outside of the genre's influence tend to think of it more like Star Wars and Buck Rogers, and not like Sturgeon, Ballard, Bester, or Dick, among others.

Speaking of which, did Sturgeon ever tackle a more straightforward space opera?

I just can't help but think that with a little creative marketing and product placement, Sturgeon could be the ultimate Trojan horse of the genre. I really do feel that his stuff could make true believers out of those who have sworn the genre to the depths of literary hell.

In hindsight, I guess I should have called this thread, "D.D. and J.D. discuss Sturgeon."
 
LOL... well, you never know when others will join in, and then you'd be stuck with that title....;)

I don't actually recall Sturgeon doing such, no. But, as I said, there's a good bit of his work I've not read, too (though I still hope to at some point).

I assume you've read Partners in Wonder; if not, there's a collaboration in there between Ellison and Sturgeon: "Runesmith". It's not among the best for either of them, but it is a very interesting of the blending of the two writers who were so different in approach yet such close friends and colleagues.... Actually, the book as a whole is an interesting look at collaborations and the art of collaborating:

Ellison / Partners in Wonder

And I'd definitely add Ellison to that list of humanist writers. As I've said before, I think the keynote to his fiction -- sf, fantasy, and otherwise -- is what I would call "angry compassion": a firm conviction that we are capable of marvelous things and enormous depth of empathy and concern (coupled with constructive action), and a frustration and anger at how often we trip ourselves up and betray our better selves to settle for so much less....
 
Nice review, very thoughtful. I don't know if I agree that the confusion experienced by the characters is cause for tedium though. I mean, the narrative is detailing the very evolution of mankind, I would think that some confusion on part of those at the vanguard would be evident! I like that you picked up on the themes of love and acceptance in the first part. The Fabulous Idiot is my favorite of the three novellas -

SPOILERS


I really hate that Lone dies.


/SPOILERS

It is effective plotting, but I had grown to really like the guy.
 

Similar threads


Back
Top