The Illustrated Man (Anglais) Poche – 17 avril 2012
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“Ray Bradbury has accomplished what very few artists do. With his visions of possible futures and edgy presents . . . he has changed us.” —The Boston Globe
“His stories and novels are part of the American language.” —The Washington Post
“Deftly plotted, beautifully written, characterized by protagonists who are intensely real . . . there is no writer quite like Ray Bradbury.” —The New York Times
“A master... Bradbury has a style all his own, much imitated but never matched.” —Portland Oregonian
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A man is encountered who has skin Illustrations all over his body. Each illustration represents a tale from the future. The illustrations come to life and tell a tale of doom or impending doom. In this way ray Bradbury can tell related but different tales in this book. Its Bradbury's writing style and dialogue that holds you as much as the storyline.
At first they are intriguing and fresh. Later they don't as much repeat but are similar in form and function.
One of the best "The Veldt" is first. Of course everyone will have a different favorite.
I suggest that you make your cats leave the room if you read aloud.
The Veldt (Classics Stories of Ray Bradbury)
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And, oh, what stories are told. As a science fiction writer, it is no surprise that the majority of Bradbury's stories have to do with space and the future (heck, all of space was in the future when these stories were written in the early 50s). Additionally, the majority of the tales are pretty bleak, dealing with dark themes of revenge, futile searches for paradise, and Armageddon. However, save for their near-universal excellence, thought-provocation, and prescience, the similarities end there.
Among them: Mars is colonized by black people who have left Earth's prejudices, and await with apprehension the arrival of a white-piloted rocket ship from their former homeland; another planet's soldiers attack Earth and are surprised at the warm welcome they receive, only to learn that they can be conquered by Earth's lousy diet, sedentary ways, and shallow culture as easily as by the planet's military; an assembly of priests travels to Mars to learn about Martian sins, so as to spread God's word and earn converts of the Red plant; an entire city is built with the concept of vengeance in mind, by its citizens who were to perish before being able to exact that revenge themselves; the authors of classic tales of horror, whose works are banned on Earth, are themselves exiled to Mars and only kept alive by the few remaining copies not burned for censorship.
There are a couple of lame ducks herein, but even those are salvaged by the beauty of Bradbury's writing. His metaphors and descriptive devices flow from the pages and grant a macabre beauty to even the most desolate of landscapes.
Bradbury's classic examinations of the dark and melancholy side of humanity are well represented here as always, with his trademark poetic writing style and underlying sense of creeping dread. The classic virtual reality tale "The Veldt" is found here, with the typical misuse-of-technology theme presented in an unexpectedly haunting fashion. More evidence that the stock sci-fi themes are merely a thin backdrop can be seen in "The Other Foot," a chilling examination of race relations; or "The Rocket," which deals with the yearning of regular people to reach beyond the confines of Earth. Other winning stories include "Kaleidoscope" and "The Long Rain" which are haunting tales of how human nature can still undermine the greatest achievements of cold technology. So don't concern yourself with the typical sci-fi backdrop, and get in tune with what Ray Bradbury is really talking about.
The tattooed wandering man is a terrifying canvas of brillant skin art and darkened dreams. A hated circus performer "condemmed to be free" as a morbid living gallery- each tatoo moves and glows animately; this anthology treats us to the best of the pulp Bradbury of the fifties. As Rod Serling told us in his TWILIGHT ZONE introduction we are transported from the depth of our fears to the heights of our imagination. Rocketing from the past to the future to the subconscious we are invited to a world where...
A holographic Africa is so consuming that it...well... consumes.
Time travellers from the totalitarian future must travel to 1938 for vacation only to find that they can never escape the future.
An explosion rocks a spaceship... disgorging astronauts- making its crew satellites left to face their personal angst and collective end.
An artifical sun provides respite from the grey rain world of Venus, but only if the spacewreck survivors are willing to pay a price finding it.
A used rocket never travels to space but reveals the heart of a poor kind father,not the solar system,to his long suffering wife.
A man heals and performs miracles in world after world, yet can only be met through faith not a rocket trip.
A playground becomes a portal to the hell of childhood.
A couple go to sleep on the last night of the world and forget to set the alarm clock.
A man's robot duplicate has ideas of his own on where to vacation next.
Poe gets revenge against future thought police from a die hard fan who manages to make others die.
Long oppressed blacks find out that their former oppressors have nothing left to oppress.
A psycho find respite in the void of space...and meaning as well in a sci-fi replay of Sartre.
A city lives beyong the lives of its former inhabitants to exact revenge.
A highway in Mexico becomes a river of life at the death of the civilization to its north.
Are childhood imaginary friends always imagined? The earth finds a new nemesis in a suburban front yard.
This book is a rocket simmering in the red martian sun. A rocket that darts wildly between the height of man's imagination and the depths of his fears as we were warned by Rod Serling in his TWILIGHT ZONE monologue. A rocket which darts with zen efficiency between the inner life of the soul and the outer space of the future.
In the end the tattoo canvas moves...
Bradbury isn't for everyone, and several of his stories aren't for the squeamish. This collection of short stories is mostly tame, and as uneven in quality as most short-story collections. "The Veldt" and "Zero Hour" are brilliantly-stirred blends of sci-fi and gothic horror, while "The Man" and "The Fire Balloons" are dull and meandering improvisations on religious themes. Among Bradbury's most intriguing stories are the psychological dramas of "Kaleidoscope" and "The Last Night of the World," balanced by the tedious moralizing of "The Other Foot" (a story which probably had much greater punch in the years before desegregation).
"The Illustrated Man" is a product of its time, and is streaked through with the dialogue, assumptions, fears, and expectations of the mid-20th century. Some of the themes Bradbury explores still resonate, but he never rises to the timeless transcendence of a Dickens, a Hugo, or an Austen. However, as one of the most popular and devilishly clever American novelists of the 20th century, his short stories here collected deserve a look. But don't look too closely...the picture may begin to move, and you may see yourself...