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If it is true that the test of a first-rate mind is its ability to hold two contradictory ideas at the same time, then we live in a century when it takes a first-rate mind just to get through the day. We have unprecedented access to information; cognitive dissonance is a banner headline in our morning papers and radiates silently from our computer screens. Slipstream, poised between literature and popular culture, embraces the dissonance. These ambitious stories of visionary strangeness defy the conventions of science fiction. Tales by Michael Chabon, Karen Joy Fowler, Jonathan Lethem, Carol Emshwiller, George Saunders, and others pull the reader into a vivid dreamspace and embrace the knowledge that life today is increasingly surreal.… (altro)
This anthology isn't really a cohesive whole, and that's a good thing. The stories contained within are supposedly from a newish genre called slipstream. According to Bruce Sterling, slipstream's unifying force is cognitive dissonance. What this anthology demonstrated is that Slipstream isn't a genre at all, and that's there nothing new about it. It is, in fact, anti-genre, and a demonstration of how some our great young writers don't give a damn about genre boundaries. Much of the fiction here felt influenced by Borges and Kafka, with a hint of Calvino.
I was familiar with many of the stories here, but it was nice to see such a broad variety of stories in one Anthology. There are other names for the type of fiction contained in this book: interstitial arts seems to be the latest term. Don't be fooled: these stories are fiction without genre, and it works best when the authors aren't trying too hard. Highly recommended. ( )
This is a solid anthology that invites critical discussion. I've actually seen several of these stories before, in various collections. It's interesting to see them in this editorial context, and to think about what they may (or may not) have in common. ( )
If it is true that the test of a first-rate mind is its ability to hold two contradictory ideas at the same time, then we live in a century when it takes a first-rate mind just to get through the day. We have unprecedented access to information; cognitive dissonance is a banner headline in our morning papers and radiates silently from our computer screens. Slipstream, poised between literature and popular culture, embraces the dissonance. These ambitious stories of visionary strangeness defy the conventions of science fiction. Tales by Michael Chabon, Karen Joy Fowler, Jonathan Lethem, Carol Emshwiller, George Saunders, and others pull the reader into a vivid dreamspace and embrace the knowledge that life today is increasingly surreal.
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(3.6)
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I was familiar with many of the stories here, but it was nice to see such a broad variety of stories in one Anthology. There are other names for the type of fiction contained in this book: interstitial arts seems to be the latest term. Don't be fooled: these stories are fiction without genre, and it works best when the authors aren't trying too hard. Highly recommended. (