One Hundred Great Science Fiction, Short Stories
This anthology, edited by Isaac Asimov and others, features 100 great fantasy short-short stories. It promises brief excursions into the boundless world of the fantastic.
Let us begin with the editors named on the cover: Isaac Asimov, Terry Carr, and Martin H. Greenberg. The inclusion of Isaac Asimov immediately sets a particular expectation. Asimov, though primarily celebrated for his vast contributions to science fiction—from the logical consistency of his robot laws to the grand scope of his Foundation series—was a polymath with an extensive understanding and appreciation for literature across genres. His name on a fantasy anthology suggests that the stories within would likely possess a certain intellectual quality and structural integrity. Asimov's own writing is characterized by its lucidity, rational progression, and often, a clever twist or insightful concept at its core. One might infer that his editorial taste, even in fantasy, would favor stories that, despite their magical premises, are well-reasoned within their own fantastical frameworks. Terry Carr was a noted science fiction and fantasy author and editor, and Martin H. Greenberg was a remarkably prolific anthologist. This triumvirate of editors signals a curated collection that would be significant in the speculative fiction field, promising a selection of stories that are not only imaginative but also skillfully crafted.
The very descriptor Short Stories" is fundamental to understanding this anthology. This format dictates an extreme conciseness, demanding that a story convey its entire impact within a very limited word count. Unlike novels or even standard short stories, "short stories" typically eschew extensive character development, intricate subplots, or lengthy descriptive passages. Their power lies in their ability to quickly establish a premise, introduce a conflict, and deliver a punchy resolution or revealing insight. For the fantasy genre, this means the fantastical element—be it a magical artifact, a mythical creature, or a supernatural event—must be introduced almost immediately and serve as the central driver of the narrative. The genius of such a story often resides in its economy of words and its capacity to evoke a larger world or a deeper emotional truth through suggestion rather than explicit detail.
Considering the genre specified, "Fantasy," alongside Short Stories", allows for certain deductions. Fantasy, at its heart, explores worlds where magic, myth, and the supernatural are real. This contrasts with science fiction's typical focus on scientific possibility. However, both genres stem from the imaginative impulse. In a fantasy short-short, readers would anticipate being instantly transported to a setting where the extraordinary is commonplace, or suddenly intrudes upon the mundane. The "boundless world of the fantastic" mentioned on the cover suggests a wide variety of themes and concepts. This could range from traditional sword-and-sorcery vignettes to more subtle, psychological fantasy pieces, or even contemporary urban fantasy. Regardless of the specific sub-genre, the brevity of the format would necessitate a quick grasp of the fantastical premise, leading directly to the story's core event.
When pondering how a story from such an anthology might "build from" and "lead to," one must consider the constraints of the Short Stories format. A typical Short Stories fantasy would likely begin very close to the moment of revelation or conflict. There wouldn't be extensive setup; instead, the reader is plunged directly into a situation where a fantastical element is either present or about to manifest. The "building" of the story would, therefore, be a rapid exposition of the fantastical situation and its immediate implications for the character(s). It’s a quick ascent to a singular, pivotal moment. The story would then "lead to" a concise resolution or a sharp, often unexpected, conclusion. This ending frequently involves a twist that re-frames the entire narrative, a sudden moment of profound understanding, or a simple, elegant resolution to the magical problem. The true craft of these stories lies in their ability to achieve a significant emotional or intellectual impact with minimal narrative space, leaving the reader to contemplate the broader implications or the surprising ingenuity of the concept.
A review of this book, in the absence of its actual contents, must therefore focus on the overall promise and potential of the anthology. The concept of collecting "100 Great Fantasy Short Short Stories" implies a treasure trove of compact imagination. The stature of Isaac Asimov and his co-editors lends credibility, suggesting that the selected narratives would be well-written, engaging, and thoughtfully chosen. Readers would likely seek this collection for its sheer breadth of ideas, offering quick, satisfying reads that can be consumed individually or in rapid succession. The value proposition of such a book lies in its ability to deliver a diverse spectrum of fantastical ideas, each complete within its miniature framework, thereby providing both entertainment and intellectual stimulation. It serves as a testament to the enduring power of concise storytelling and the boundless creativity inherent in the fantasy genre, all presented with the signature clarity and logical arrangement that characterized much of Asimov's own distinguished career. This anthology, seen through its cover and the reputation of its editors, holds the promise of many succinct excursions into the imaginative unknown, each designed to leave a lasting impression.
