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孝械屑薪褘泄 泻邪褉薪邪胁邪谢
袟邪胁械褉褌械谢邪褋褜 卸褍褌泻邪褟 泻邪褉褍褋械谢褜, 胁 蟹谢芯胁械褖懈泄 袟械褉泻邪谢褜薪褘泄 谢邪斜懈褉懈薪褌 胁芯褕谢懈 锌械褉胁褘械 锌芯褋械褌懈褌械谢懈 - 褝褌芯 锌褉懈械褏邪谢 褉邪蟹褗械蟹写薪芯泄 泻邪褉薪邪胁邪谢. 袦邪谢械薪褜泻懈泄 谐芯褉芯写芯泻 芯泻邪蟹邪谢褋褟 胁芯 胁谢邪褋褌懈 蟹谢褘褏 懈 卸械褋褌芯泻懈褏 褋懈谢, 懈 褌芯谢褜泻芯 褔懈褋褌褘械 写褍褕芯泄 褋锌芯褋芯斜薪褘 褋锌邪褋褌懈 卸懈褌械谢械泄 谐芯褉芯写泻邪 芯褌 锌褉械胁褉邪褖械薪懈褟 胁 褍卸邪褋薪褘褏 蟹芯屑斜懈. 孝邪泻芯胁 褋褞卸械褌 褉芯屑邪薪邪 袪褝褟 袘褉褝写斜械褉懈 "袧邪写胁懈谐邪械褌褋褟 斜械写邪", 芯褌泻褉褘胁邪褞褖械谐芯 褋斜芯褉薪懈泻 锌褉芯懈蟹胁械写械薪懈泄, 胁 泻芯褌芯褉褘褏 胁械谢懈泻懈泄 锌懈褋邪褌械谢褜-褎邪薪褌邪褋褌 褟胁谢褟械褌 薪邪屑 械褖械 芯写薪褍 褋褌芯褉芯薪褍 褋胁芯械谐芯 写邪褉芯胁邪薪懈褟.
小芯写械褉卸邪薪懈械:
袧邪写胁懈谐邪械褌褋褟 斜械写邪 (锌械褉械胁芯写褔懈泻懈: 袧邪褌邪谢褜褟 袚褉懈谐芯褉褜械胁邪, 袙. 袚褉褍褕械褑泻懈泄)
袣邪薪褍薪 袙褋械褏 褋胁褟褌褘褏 (锌械褉械胁芯写褔懈泻: 袦邪褉谐邪褉懈褌邪 袣芯胁邪谢械胁邪)
孝械屑薪褘泄 泻邪褉薪邪胁邪谢
袩芯懈谐褉邪械屑 胁 "芯褌褉邪胁褍" (锌械褉械胁芯写褔懈泻: 袣. 楔懈薪写械褉)
袣褉懈褔邪褖邪褟 卸械薪褖懈薪邪 (锌械褉械胁芯写褔懈泻: 小. 楔锌邪泻)
袚芯褉褟褔械褔薪褘泄 斜褉械写 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袚芯薪械褑 (锌械褉械胁芯写褔懈泻: 孝邪褌褜褟薪邪 楔懈薪泻邪褉褜)
袣褉芯褕泻邪-褍斜懈泄褑邪 (锌械褉械胁芯写褔懈泻: 孝. 袞写邪薪芯胁邪)
袛褉褍谐 袧懈泻芯谢邪褋邪 袧懈泻谢褜斜懈 - 屑芯泄 写褉褍谐 (锌械褉械胁芯写褔懈泻懈: 袧邪褌邪谢褜褟 袚褉懈谐芯褉褜械胁邪, 袙. 袚褉褍褕械褑泻懈泄)
袦芯褌械谢褜 泻褍褉懈薪褘褏 芯褌泻褉芯胁械薪懈泄 (锌械褉械胁芯写褔懈泻: 袠褉懈薪邪 孝芯谐芯械胁邪)
袨蟹械褉芯 (锌械褉械胁芯写褔懈泻: 孝. 袞写邪薪芯胁邪)
袪械斜褟褌泻懈! 袙褘褉邪褖懈胁邪泄褌械 谐懈谐邪薪褌褋泻懈械 谐褉懈斜褘 褍 褋械斜褟 胁 锌芯写胁邪谢邪褏! (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
小懈谢邪褔 (锌械褉械胁芯写褔懈泻: 袪. 楔懈褌褎邪褉)
袣邪褉谢懈泻 (锌械褉械胁芯写褔懈泻: 小械褉谐械泄 孝褉芯褎懈屑芯胁)
小泻械谢械褌 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
袪械胁褍薪 (锌械褉械胁芯写褔懈泻: 袥械胁 袞写邪薪芯胁)
袘邪薪泻邪 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
效械谢芯胁械泻 胁 褉褍斜邪褕泻械 袪芯褉褕邪褏邪 (锌械褉械胁芯写褔懈泻: 袠褉懈薪邪 孝芯谐芯械胁邪)
袚芯褉芯写, 胁 泻芯褌芯褉芯屑 薪懈泻褌芯 薪械 胁褘褏芯写懈褌 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袩褉懈褋褌邪谢褜薪邪褟 锌芯泻械褉薪邪褟 褎懈褕泻邪 褉邪斜芯褌褘 袗. 袦邪褌懈褋褋邪 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
校写懈胁懈褌械谢褜薪邪褟 泻芯薪褔懈薪邪 袛邪写谢懈 小褌芯褍薪邪 (锌械褉械胁芯写褔懈泻: 袪邪懈褋邪 袨斜谢芯薪褋泻邪褟)
孝芯谢锌邪 (锌械褉械胁芯写褔懈泻: 孝邪褌褜褟薪邪 楔懈薪泻邪褉褜)
袣芯械-泻褌芯 卸懈胁械褌 泻邪泻 袥邪蟹邪褉褜 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袦芯谐懈谢褜薪褘泄 写械薪褜 (锌械褉械胁芯写褔懈泻: 袪. 楔懈褌褎邪褉)
袙褘褕懈胁邪薪懈械 (锌械褉械胁芯写褔懈泻: 袥械胁 袞写邪薪芯胁)
袞械薪褖懈薪褘 (锌械褉械胁芯写褔懈泻: 孝. 小邪谢褜薪懈泻芯胁邪)
袩褉懈泻芯褋薪芯胁械薪懈械 锌谢邪屑械薪懈 (锌械褉械胁芯写褔懈泻: 袗褉邪屑 袨谐邪薪褟薪)
袙芯写芯褋褌芯泻 (锌械褉械胁芯写褔懈泻: 小. 袗薪懈褋懈屑芯胁)
袙褉械屑褟 褍褏芯写懈褌褜 (锌械褉械胁芯写褔懈泻: 袗. 啸芯褏褉械胁)
袙芯褌 褌褘 懈 写芯屑邪, 屑芯褉褟泻 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袣芯褋邪 (锌械褉械胁芯写褔懈泻: 袧. 袣褍薪褟械胁邪)
小褌邪褟 胁芯褉芯薪芯胁 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
协谢械泻褌褉芯褋褌邪薪褑懈褟 (锌械褉械胁芯写褔懈泻: 袗褉邪屑 袨谐邪薪褟薪)
袠谢谢褞褋褌褉懈褉芯胁邪薪薪邪褟 卸械薪褖懈薪邪 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
楔谢械屑 (锌械褉械胁芯写褔懈泻: 袗. 啸芯褏褉械胁)
肖褉褍泻褌褘 褋 褋邪屑芯谐芯 写薪邪 胁邪蟹褘 (锌械褉械胁芯写褔懈泻: 袘械谢谢邪 袣谢褞械胁邪)
袠屑械薪薪芯 褌邪泻 褍屑械褉谢邪 袪褟斜褍褕懈薪褋泻邪褟 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袧邪斜谢褞写邪褌械谢懈 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袣芯褉锌芯褉邪褑懈褟 "袦邪褉懈芯薪械褌泻懈" (锌械褉械胁芯写褔懈泻: 袙. 小械褉械斜褉褟泻芯胁)
袧邪泻邪蟹邪薪懈械 斜械蟹 锌褉械褋褌褍锌谢械薪懈褟 (锌械褉械胁芯写褔懈泻: 携泻芯胁 袘械褉谢懈薪)
袦邪谢械薪褜泻懈械 屑褘褕泻懈 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
小谢械写褍褞褖懈泄 (锌械褉械胁芯写褔懈泻: 袦. 袙芯褉芯薪械卸褋泻邪褟)
En La Noche (锌械褉械胁芯写褔懈泻: 袙. 小械褉械斜褉褟泻芯胁)
袩芯褋谢械写薪褟褟 褉邪斜芯褌邪 啸褍邪薪邪 袛懈邪褋邪 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袛械薪褜 小屑械褉褌懈 (锌械褉械胁芯写褔懈泻: 小. 袗薪懈褋懈屑芯胁)
小芯写械褉卸邪薪懈械:
袧邪写胁懈谐邪械褌褋褟 斜械写邪 (锌械褉械胁芯写褔懈泻懈: 袧邪褌邪谢褜褟 袚褉懈谐芯褉褜械胁邪, 袙. 袚褉褍褕械褑泻懈泄)
袣邪薪褍薪 袙褋械褏 褋胁褟褌褘褏 (锌械褉械胁芯写褔懈泻: 袦邪褉谐邪褉懈褌邪 袣芯胁邪谢械胁邪)
孝械屑薪褘泄 泻邪褉薪邪胁邪谢
袩芯懈谐褉邪械屑 胁 "芯褌褉邪胁褍" (锌械褉械胁芯写褔懈泻: 袣. 楔懈薪写械褉)
袣褉懈褔邪褖邪褟 卸械薪褖懈薪邪 (锌械褉械胁芯写褔懈泻: 小. 楔锌邪泻)
袚芯褉褟褔械褔薪褘泄 斜褉械写 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袚芯薪械褑 (锌械褉械胁芯写褔懈泻: 孝邪褌褜褟薪邪 楔懈薪泻邪褉褜)
袣褉芯褕泻邪-褍斜懈泄褑邪 (锌械褉械胁芯写褔懈泻: 孝. 袞写邪薪芯胁邪)
袛褉褍谐 袧懈泻芯谢邪褋邪 袧懈泻谢褜斜懈 - 屑芯泄 写褉褍谐 (锌械褉械胁芯写褔懈泻懈: 袧邪褌邪谢褜褟 袚褉懈谐芯褉褜械胁邪, 袙. 袚褉褍褕械褑泻懈泄)
袦芯褌械谢褜 泻褍褉懈薪褘褏 芯褌泻褉芯胁械薪懈泄 (锌械褉械胁芯写褔懈泻: 袠褉懈薪邪 孝芯谐芯械胁邪)
袨蟹械褉芯 (锌械褉械胁芯写褔懈泻: 孝. 袞写邪薪芯胁邪)
袪械斜褟褌泻懈! 袙褘褉邪褖懈胁邪泄褌械 谐懈谐邪薪褌褋泻懈械 谐褉懈斜褘 褍 褋械斜褟 胁 锌芯写胁邪谢邪褏! (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
小懈谢邪褔 (锌械褉械胁芯写褔懈泻: 袪. 楔懈褌褎邪褉)
袣邪褉谢懈泻 (锌械褉械胁芯写褔懈泻: 小械褉谐械泄 孝褉芯褎懈屑芯胁)
小泻械谢械褌 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
袪械胁褍薪 (锌械褉械胁芯写褔懈泻: 袥械胁 袞写邪薪芯胁)
袘邪薪泻邪 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
效械谢芯胁械泻 胁 褉褍斜邪褕泻械 袪芯褉褕邪褏邪 (锌械褉械胁芯写褔懈泻: 袠褉懈薪邪 孝芯谐芯械胁邪)
袚芯褉芯写, 胁 泻芯褌芯褉芯屑 薪懈泻褌芯 薪械 胁褘褏芯写懈褌 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袩褉懈褋褌邪谢褜薪邪褟 锌芯泻械褉薪邪褟 褎懈褕泻邪 褉邪斜芯褌褘 袗. 袦邪褌懈褋褋邪 (锌械褉械胁芯写褔懈泻: 袦懈褏邪懈谢 袩褔械谢懈薪褑械胁)
校写懈胁懈褌械谢褜薪邪褟 泻芯薪褔懈薪邪 袛邪写谢懈 小褌芯褍薪邪 (锌械褉械胁芯写褔懈泻: 袪邪懈褋邪 袨斜谢芯薪褋泻邪褟)
孝芯谢锌邪 (锌械褉械胁芯写褔懈泻: 孝邪褌褜褟薪邪 楔懈薪泻邪褉褜)
袣芯械-泻褌芯 卸懈胁械褌 泻邪泻 袥邪蟹邪褉褜 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袦芯谐懈谢褜薪褘泄 写械薪褜 (锌械褉械胁芯写褔懈泻: 袪. 楔懈褌褎邪褉)
袙褘褕懈胁邪薪懈械 (锌械褉械胁芯写褔懈泻: 袥械胁 袞写邪薪芯胁)
袞械薪褖懈薪褘 (锌械褉械胁芯写褔懈泻: 孝. 小邪谢褜薪懈泻芯胁邪)
袩褉懈泻芯褋薪芯胁械薪懈械 锌谢邪屑械薪懈 (锌械褉械胁芯写褔懈泻: 袗褉邪屑 袨谐邪薪褟薪)
袙芯写芯褋褌芯泻 (锌械褉械胁芯写褔懈泻: 小. 袗薪懈褋懈屑芯胁)
袙褉械屑褟 褍褏芯写懈褌褜 (锌械褉械胁芯写褔懈泻: 袗. 啸芯褏褉械胁)
袙芯褌 褌褘 懈 写芯屑邪, 屑芯褉褟泻 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袣芯褋邪 (锌械褉械胁芯写褔懈泻: 袧. 袣褍薪褟械胁邪)
小褌邪褟 胁芯褉芯薪芯胁 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
协谢械泻褌褉芯褋褌邪薪褑懈褟 (锌械褉械胁芯写褔懈泻: 袗褉邪屑 袨谐邪薪褟薪)
袠谢谢褞褋褌褉懈褉芯胁邪薪薪邪褟 卸械薪褖懈薪邪 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
楔谢械屑 (锌械褉械胁芯写褔懈泻: 袗. 啸芯褏褉械胁)
肖褉褍泻褌褘 褋 褋邪屑芯谐芯 写薪邪 胁邪蟹褘 (锌械褉械胁芯写褔懈泻: 袘械谢谢邪 袣谢褞械胁邪)
袠屑械薪薪芯 褌邪泻 褍屑械褉谢邪 袪褟斜褍褕懈薪褋泻邪褟 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袧邪斜谢褞写邪褌械谢懈 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
袣芯褉锌芯褉邪褑懈褟 "袦邪褉懈芯薪械褌泻懈" (锌械褉械胁芯写褔懈泻: 袙. 小械褉械斜褉褟泻芯胁)
袧邪泻邪蟹邪薪懈械 斜械蟹 锌褉械褋褌褍锌谢械薪懈褟 (锌械褉械胁芯写褔懈泻: 携泻芯胁 袘械褉谢懈薪)
袦邪谢械薪褜泻懈械 屑褘褕泻懈 (锌械褉械胁芯写褔懈泻懈: 袙谢邪写懈屑懈褉 袚芯谢褜写懈褔, 袠褉懈薪邪 袨谐邪薪械褋芯胁邪)
小谢械写褍褞褖懈泄 (锌械褉械胁芯写褔懈泻: 袦. 袙芯褉芯薪械卸褋泻邪褟)
En La Noche (锌械褉械胁芯写褔懈泻: 袙. 小械褉械斜褉褟泻芯胁)
袩芯褋谢械写薪褟褟 褉邪斜芯褌邪 啸褍邪薪邪 袛懈邪褋邪 (锌械褉械胁芯写褔懈泻: 袙谢邪写懈褋谢邪胁 袟邪写芯褉芯卸薪褘泄)
袛械薪褜 小屑械褉褌懈 (锌械褉械胁芯写褔懈泻: 小. 袗薪懈褋懈屑芯胁)
880 pages, Hardcover
First published January 1, 1947
71 people are currently reading
2,169 people want to read
About the author
Ray Bradbury
2,468听books24.3k听followersRay Douglas Bradbury was an American author and screenwriter. One of the most celebrated 20th-century American writers, he worked in a variety of genres, including fantasy, science fiction, horror, mystery, and realistic fiction.
Bradbury is best known for his novel Fahrenheit 451 (1953) and his short-story collections The Martian Chronicles (1950), The Illustrated Man (1951), and The October Country (1955). Other notable works include the coming of age novel Dandelion Wine (1957), the dark fantasy Something Wicked This Way Comes (1962) and the fictionalized memoir Green Shadows, White Whale (1992). He also wrote and consulted on screenplays and television scripts, including Moby Dick and It Came from Outer Space. Many of his works were adapted into television and film productions as well as comic books. Bradbury also wrote poetry which has been published in several collections, such as They Have Not Seen the Stars (2001).
The New York Times called Bradbury "An author whose fanciful imagination, poetic prose, and mature understanding of human character have won him an international reputation" and "the writer most responsible for bringing modern science fiction into the literary mainstream".
Bradbury is best known for his novel Fahrenheit 451 (1953) and his short-story collections The Martian Chronicles (1950), The Illustrated Man (1951), and The October Country (1955). Other notable works include the coming of age novel Dandelion Wine (1957), the dark fantasy Something Wicked This Way Comes (1962) and the fictionalized memoir Green Shadows, White Whale (1992). He also wrote and consulted on screenplays and television scripts, including Moby Dick and It Came from Outer Space. Many of his works were adapted into television and film productions as well as comic books. Bradbury also wrote poetry which has been published in several collections, such as They Have Not Seen the Stars (2001).
The New York Times called Bradbury "An author whose fanciful imagination, poetic prose, and mature understanding of human character have won him an international reputation" and "the writer most responsible for bringing modern science fiction into the literary mainstream".
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Displaying 1 - 30 of 74 reviews
February 19, 2024
Ray Bradbury is one of those author who can write about anything. His stories are melancholic, pensive, flow slowly and have a clear punchline. You emerge into one tale and go over to another. It's that special mood very few author can evoke. This collection of stories was absolutely mesmerizing. Is it horror? Is it fantasy? Is it just good story telling? All of it but no cheap thrill or pulp horror. This is classic literature and something to enjoy. Highly recommended
December 20, 2017
a thing doesn't have to be perfect to be perfect, right? Ray Bradbury's first collection of short fiction, Dark Carnival, is certainly far from perfect. some stories function as little more than shaggy dog stories ("Skeleton" in particular was not the wisest choice for a second story), others as contes cruel written by a particularly mean-spirited misanthrope ("Let's Play Poison" and several others). both sorts of stories have a thinness to them, a smallness of purpose, that can be rather eye-rolling to a reader like myself who is always looking for resonance over effects and startling climaxes.
and that's about all I'm going to say that is critical regarding this book. despite the occasional flaws, Dark Carnival is pretty much perfect to me. the darkness interwoven with light, its homeyness, the soft glow of its prose and the sinister playfulness of its narratives, its folksy charm and mordant wit, the strange and often longing spirituality right alongside its sharp and bracing cynicism, its many moments of sadness and terror, tenderness and melancholy... it feels like it was written just for me! it has everything I want in a story collection.
hard to believe it is Bradbury's first. Dark Carnival was published in 1947 by Arkham House, and kudos to them. it showcases a writer who appears fully-formed, with decades of life experience under his belt. his prose is sublime. prose like poetry, as they say. his descriptions of scents! surely one of the hardest things to truly capture in words; Bradbury, with ease, uses the smell of things and people and places as just one more tool in his very large toolkit to help his reader fully enter his worlds. his way with words constantly surprised me with its willingness to follow tangents to places I wouldn't expect. I love that feeling of starting a paragraph or sentence and not knowing where or how it will end. at this point in my life, I've been a reader for several decades, so surprises come not as often as I'd like in my readings. I was frequently startled throughout this book.
Bradbury really flexes his stylistic muscles throughout and within the stories. from the eerie and ominous death-fable of "The Scythe" to the arch black comedy of "The Smiling People" and the broad black comedy of "There Was An Old Woman" to the homespun, supernal musings of "The Jar" to the weird romantic longing of "The Lake" and the off-kilter romance between the living and the maybe-dead of "The Dead Man"... I was impressed at how often Bradbury switches up his game. you can't fit him into one box. the only thing consistent throughout the stories is the darkness.
often I was surprised at how dark Bradbury was willing to get. this is definitely a book of horror. the opening story "Homecoming" felt at first distinctly familiar: a tale of a supernatural family and the poor son who is basically normal. it's cute and sad but mainly cute. I almost read past the brief scene where the little boy is talking to his sister who can travel throughout any being's mind (...and make them do things...) without realizing what actually occurred there: she drowsily travels into the mind of a lonely wife awaiting her husband's return home; by the time she leaves, the woman has killed herself. was it even the wife's decision or was it some prodding by a supernatural little girl who has come for a short, idle visit in her head? who knows. Dark Carnival will have me hunting for another of his collections, . apparently that book collects all of The Family stories; Dark Carnival includes the cutely vicious "The Traveler" and the sweetly charming "Uncle Einar" in addition to Homecoming.
but back to the darkness. "The Emissary" has such a sympathetic, such a brave little boy, sickly and longing for companionship, and his equally brave and sympathetic dog. the dog is often out and about, bringing people home to visit the lad. and this lovely story suddenly ends with the sickening feeling that this child is about to experience something horrible beyond imagining with the latest visitor the dog has brought home. sweet Jesus, no! bad dog! don't dig those sorts of things up! "The Small Assassin" is perhaps the most famous story in the book, about an infant born to kill. I promise you it is not remotely cheesy despite whatever funny image may have popped in your head. the story is somewhat amusing, sure, but in its downward trajectory and its mother's fear and disgust sounding so similar to postpartum depression, the story itself is grueling. in a good way! the closing piece "The Next in Line" is also the longest, and grueling is a good word for this story as well. it is the best description of a nervous breakdown I have ever read. this vaguely unsympathetic American wife abroad in a small Mexican village, with an increasingly detached and irritated husband, frustrated me at first. a perfectly done Ugly American. but as her mind began to shatter, I moved from frustration to dread to sadness in a matter of pages. and it was all so beautifully written, a terrible kind of beauty. my favorite was "The Man Upstairs", which features a wee lad morbidly obsessed with the taking apart of bodies. in any other story, he would be the villain - probably some sort of nascent serial killer. in this story he is the hero, and his interests come in very handy when dealing with the bizarre supernatural killer who is renting a room upstairs.
the most striking story for me was the brief "The Night", written in second person, and basically the story of a little girl and her mother's moments of terror while looking at a ravine in the dark, not hearing a boy who should have been home hours ago. over the course of its eight pages, it perfectly captures the fear of the unknown and the terror of losing our loved ones that lives in all of us, something that can never be comforted or hugged or loved away.
and that's about all I'm going to say that is critical regarding this book. despite the occasional flaws, Dark Carnival is pretty much perfect to me. the darkness interwoven with light, its homeyness, the soft glow of its prose and the sinister playfulness of its narratives, its folksy charm and mordant wit, the strange and often longing spirituality right alongside its sharp and bracing cynicism, its many moments of sadness and terror, tenderness and melancholy... it feels like it was written just for me! it has everything I want in a story collection.
hard to believe it is Bradbury's first. Dark Carnival was published in 1947 by Arkham House, and kudos to them. it showcases a writer who appears fully-formed, with decades of life experience under his belt. his prose is sublime. prose like poetry, as they say. his descriptions of scents! surely one of the hardest things to truly capture in words; Bradbury, with ease, uses the smell of things and people and places as just one more tool in his very large toolkit to help his reader fully enter his worlds. his way with words constantly surprised me with its willingness to follow tangents to places I wouldn't expect. I love that feeling of starting a paragraph or sentence and not knowing where or how it will end. at this point in my life, I've been a reader for several decades, so surprises come not as often as I'd like in my readings. I was frequently startled throughout this book.
Bradbury really flexes his stylistic muscles throughout and within the stories. from the eerie and ominous death-fable of "The Scythe" to the arch black comedy of "The Smiling People" and the broad black comedy of "There Was An Old Woman" to the homespun, supernal musings of "The Jar" to the weird romantic longing of "The Lake" and the off-kilter romance between the living and the maybe-dead of "The Dead Man"... I was impressed at how often Bradbury switches up his game. you can't fit him into one box. the only thing consistent throughout the stories is the darkness.
often I was surprised at how dark Bradbury was willing to get. this is definitely a book of horror. the opening story "Homecoming" felt at first distinctly familiar: a tale of a supernatural family and the poor son who is basically normal. it's cute and sad but mainly cute. I almost read past the brief scene where the little boy is talking to his sister who can travel throughout any being's mind (...and make them do things...) without realizing what actually occurred there: she drowsily travels into the mind of a lonely wife awaiting her husband's return home; by the time she leaves, the woman has killed herself. was it even the wife's decision or was it some prodding by a supernatural little girl who has come for a short, idle visit in her head? who knows. Dark Carnival will have me hunting for another of his collections, . apparently that book collects all of The Family stories; Dark Carnival includes the cutely vicious "The Traveler" and the sweetly charming "Uncle Einar" in addition to Homecoming.
but back to the darkness. "The Emissary" has such a sympathetic, such a brave little boy, sickly and longing for companionship, and his equally brave and sympathetic dog. the dog is often out and about, bringing people home to visit the lad. and this lovely story suddenly ends with the sickening feeling that this child is about to experience something horrible beyond imagining with the latest visitor the dog has brought home. sweet Jesus, no! bad dog! don't dig those sorts of things up! "The Small Assassin" is perhaps the most famous story in the book, about an infant born to kill. I promise you it is not remotely cheesy despite whatever funny image may have popped in your head. the story is somewhat amusing, sure, but in its downward trajectory and its mother's fear and disgust sounding so similar to postpartum depression, the story itself is grueling. in a good way! the closing piece "The Next in Line" is also the longest, and grueling is a good word for this story as well. it is the best description of a nervous breakdown I have ever read. this vaguely unsympathetic American wife abroad in a small Mexican village, with an increasingly detached and irritated husband, frustrated me at first. a perfectly done Ugly American. but as her mind began to shatter, I moved from frustration to dread to sadness in a matter of pages. and it was all so beautifully written, a terrible kind of beauty. my favorite was "The Man Upstairs", which features a wee lad morbidly obsessed with the taking apart of bodies. in any other story, he would be the villain - probably some sort of nascent serial killer. in this story he is the hero, and his interests come in very handy when dealing with the bizarre supernatural killer who is renting a room upstairs.
the most striking story for me was the brief "The Night", written in second person, and basically the story of a little girl and her mother's moments of terror while looking at a ravine in the dark, not hearing a boy who should have been home hours ago. over the course of its eight pages, it perfectly captures the fear of the unknown and the terror of losing our loved ones that lives in all of us, something that can never be comforted or hugged or loved away.
Your belief in your private world is shattered. You feel Mother tremble. Why? Is she, too, doubtful? But she is bigger, stronger, more intelligent than yourself, isn't she? Does she, too, feel that intangible menace, that groping out of darkness, that crouching malignancy down below? Is there, then, no strength in growing up? no solace in being an adult? no sanctuary in life? no flesh citadel strong enough to withstand the scrabbling assault of midnights? Doubts flush you. Ice-cream lives again in your throat, stomach, spine and limbs; you are instantly cold as a wind out of December-gone.Alas, probably not.
You realize all men are like this. That each person is to himself one alone. One oneness, a unit in a society, but always afraid. Like here, standing. If you should scream now, if you should holler for help, would it matter?
April 29, 2025
Bilen bilir, ben b眉y眉k Ray Bradbury hayran谋y谋m. "Kimin gibi yazabilmek isterdin?" deseniz Ray Bradbury derim, hi莽 d眉艧眉nmeden. Bradbury'nin ilk 枚yk眉 kitab谋 olan 1947 莽谋k谋艧l谋 Dark Carnival, anlams谋z 艧ekilde y谋llard谋r ama y谋llard谋r yeni bask谋s谋 yap谋lmayan bir kitapt谋. 陌lk bask谋lar谋n fiyat谋 1000$'lara vard谋臒谋ndan, temin edemiyordum. Neyse ki ge莽en y谋llarda bir 艧eyler de臒i艧ti, 枚nce k谋s谋tl谋 say谋da bir bask谋s谋 yap谋l谋p 艧ansl谋 ki艧ilere sat谋ld谋, bir ka莽 y谋l 枚nce de do臒ru d眉zg眉n paperback bask谋s谋 yap谋l谋p raflara dizildi. Sonunda bu sene ben de elde edebildim, bende olmad谋臒谋 akl谋ma geldik莽e 眉z眉ld眉臒眉m bu kitab谋.
Kitab谋n bana 枚臒retti臒i, bir g眉nde Ray Bradbury olunmad谋臒谋 ger莽e臒i oldu. En b眉y眉k 眉statlar谋n bile bir acemilik d枚nemi var elbette. Dolay谋s谋yla Dark Carnival'daki t眉m 枚yk眉ler o al谋艧t谋臒谋m谋z, kelimelerin efendisi Ray Bradbury 莽izgisinde de臒il. D眉r眉st olmak gerekirse, baz谋 枚yk眉ler, mesela Sets, Cistern vs. bariz k枚t眉, s谋k谋c谋 枚yk眉ler. Bu 枚yk眉lerin yan谋nda al谋艧t谋臒谋m谋z Bradbury masals谋l谋臒谋nda 枚yk眉ler de yer al谋yor. Kitapta belli bir kalite 莽izgisi tutturulmam谋艧 denebilir.
Beni 艧a艧谋rtan di臒er nokta, pek kanl谋 枚yk眉ler yazmayan Bradbury'nin bu kitapta baya臒谋 vah艧et i莽eren baz谋 korku 枚yk眉lerine de yer vermesi. Ancak 眉stat her zamanki 眉slubunu bozmam谋艧 ve en kanl谋 sahneleri bile 莽ok dikkatli 艧ekilde, baya臒谋l谋ktan uzak, her zamanki 莽ocuksu bak谋艧谋yla anlatm谋艧.
Bu kitaptaki baz谋 iyi 枚yk眉ler yazar谋n daha sonraki 枚yk眉 kitaplar谋na da yer al谋yor, dolay谋s谋yla 枚zel bir hayranl谋臒谋n谋z yoksa, 枚zellikle bu kitab谋 temin etmek i莽in u臒ra艧man谋za gerek yok. Benim gibi olup da Bradbury'i 莽ok 枚zlediyseniz, size iyi gelecektir. Ancak ba艧ta s枚yledi臒im gibi, benim bile dayanamay谋p pas ge莽ti臒im bir iki 枚yk眉 var bu derlemede.
Kitab谋n bana 枚臒retti臒i, bir g眉nde Ray Bradbury olunmad谋臒谋 ger莽e臒i oldu. En b眉y眉k 眉statlar谋n bile bir acemilik d枚nemi var elbette. Dolay谋s谋yla Dark Carnival'daki t眉m 枚yk眉ler o al谋艧t谋臒谋m谋z, kelimelerin efendisi Ray Bradbury 莽izgisinde de臒il. D眉r眉st olmak gerekirse, baz谋 枚yk眉ler, mesela Sets, Cistern vs. bariz k枚t眉, s谋k谋c谋 枚yk眉ler. Bu 枚yk眉lerin yan谋nda al谋艧t谋臒谋m谋z Bradbury masals谋l谋臒谋nda 枚yk眉ler de yer al谋yor. Kitapta belli bir kalite 莽izgisi tutturulmam谋艧 denebilir.
Beni 艧a艧谋rtan di臒er nokta, pek kanl谋 枚yk眉ler yazmayan Bradbury'nin bu kitapta baya臒谋 vah艧et i莽eren baz谋 korku 枚yk眉lerine de yer vermesi. Ancak 眉stat her zamanki 眉slubunu bozmam谋艧 ve en kanl谋 sahneleri bile 莽ok dikkatli 艧ekilde, baya臒谋l谋ktan uzak, her zamanki 莽ocuksu bak谋艧谋yla anlatm谋艧.
Bu kitaptaki baz谋 iyi 枚yk眉ler yazar谋n daha sonraki 枚yk眉 kitaplar谋na da yer al谋yor, dolay谋s谋yla 枚zel bir hayranl谋臒谋n谋z yoksa, 枚zellikle bu kitab谋 temin etmek i莽in u臒ra艧man谋za gerek yok. Benim gibi olup da Bradbury'i 莽ok 枚zlediyseniz, size iyi gelecektir. Ancak ba艧ta s枚yledi臒im gibi, benim bile dayanamay谋p pas ge莽ti臒im bir iki 枚yk眉 var bu derlemede.
April 28, 2019
Uvek je nezgodno oceniti zbirku pri膷a jer je nejasno da li bi celokupna zbirka trebalo da dobije slabiju ocenu zbog par slabijih pri膷a ili pak ja膷u, jer su bolje pri膷e prevagnule. Neka ovaj put bude 膷etvorka umesto trojke. Ova zbirka ne pripada standardnom horor, ve膰 vi拧e makabr 啪anru - Bredburi odli膷no do膷arava bizarnu atmosferu, opisi godi拧njih doba i vremenskih prilika su i vi拧e nego genijalni, a teme ljudske prirode su odli膷no obra膽ene. Favoriti: "Mali ubica", "Slede膰i", "No膰", "Nasme拧eni ljudi", "Gomila", "Pogrebnik".
September 21, 2017
After reading Michael Dirda's book Browsings I wanted to read some Bradbury short stories so I was planing on rereading The Illustrated Man then I discovered I had this book which I'd never read Bradbury's first collection. So glad I did it was just what I was looking for. So many great stories, the first one "The Homecoming" is one of my favorites, story a about a normal boy in a weird family. Later in the collection I was pleasantly surprised to find a sequel of sorts "Uncle Einar". Soon after beginning "The Crowd" I thought that I'd already read it then realized that I'd seen a TV adaptation, back in the 1985. It's a fun story and you can watch it on .
May 29, 2021
4.15
袪械褬 袘褉械写斜械褉懈 懈屑邪 褋褌懈谢邪. 小褍斜褬械泻褌懈胁薪懈 锌褉懈锌芯胁械写邪褔 写芯卸懈胁褭械薪懈屑 谐芯胁芯褉芯屑, 褍薪褍褌褉邪褕褮懈屑 屑芯薪芯谢芯谐芯屑, 卸懈胁芯锌懈褋薪懈屑 泻芯屑锌邪褉邪褑懈褬邪屑邪 懈 褌邪泻褌懈蟹懈褉邪薪懈屑 褉懈褌屑芯屑 斜芯褬懈 锌褉懈泻邪蟹邪薪褍 锌褉械写屑械褌薪芯褋褌 (褋芯锌褋褌胁械薪懈屑 褋胁械褌谢懈屑邪). 袠邪泻芯 芯胁懈褏 13 锌褉懈褔邪 褍 褉械写褍泻芯胁邪薪芯屑 褋褉锌褋泻芯屑 懈蟹写邪褮褍 薪懈褋褍 "13 锌懈谢褍谢邪 褍卸邪褋邪" 懈 薪械 芯写懈褕褍 蟹邪胁芯写褭懈胁芯褕褯褍 校泻褍褋邪 锌械谢懈薪邪, 懈屑邪褬褍 褌邪屑邪薪 褌芯谢懈泻芯 褬械蟹芯胁懈褌芯褋褌懈 懈 屑芯褉斜懈写邪褉懈褬邪 写邪 芯褉邪褋锌芯谢芯卸械 褬械写薪芯谐 褋邪胁褉械屑械薪芯谐 谐芯褌懈褔邪褉邪. 袨褑械褮懈胁邪芯 褋邪屑 懈褏 锌芯 械褎械泻褌褍 泻芯褬懈 锌褉芯懈蟹胁芯写械 褬械褉 褋褍 褋褌懈谢褋泻懈 懈 泻芯屑锌芯蟹懈褑懈褬褋泻懈 褋胁械 芯写谢懈褔薪械. 校褌懈褋邪泻 褬械 泻褉邪褬褮械 褋褍斜褬械泻褌懈胁邪薪, 邪 锌芯褕褌芯 褬械 褍 屑芯屑 褋谢褍褔邪褬褍 锌褉芯褋械褔薪芯 胁褉谢芯 写芯斜邪褉, 屑芯卸械 褋械 褉械褯懈 写邪 褬械 芯胁邪 褋邪斜谢邪褋褌 锌芯褌械薪褑懈褬邪谢薪芯 锌褉懈褬械屑褔懈胁邪 泻邪泻芯 胁邪薪懈谢邪 褭褍写懈屑邪 褌邪泻芯 懈 薪械懈蟹斜懈褉褭懈胁懈屑 褏芯褉芯褉 褎褉懈泻芯胁懈屑邪 (薪械 褋锌邪写邪屑 薪懈 褍 褬械写薪褍 芯写 芯胁械 写胁械 泻邪褌械谐芯褉懈褬械 - 小褌懈胁械薪 袣懈薪谐, 袥邪胁泻褉邪褎褌 懈 袦.袪.袕械褬屑褋 褋褍 褋屑邪褉邪褔懈; 褎懈谢屑芯胁械 褍芯锌褕褌械 薪械 谐谢械写邪屑, 邪 泻邪屑芯谢懈 褏芯褉芯褉).
袨写谢懈泻邪褕懈: 效褍锌邪胁邪褑 懈蟹 泻褍褌懈褬械, 袪械蟹械褉胁芯邪褉, 袦邪谢懈 褍斜懈褑邪, 袧芯褯.
袪械褬 袘褉械写斜械褉懈 懈屑邪 褋褌懈谢邪. 小褍斜褬械泻褌懈胁薪懈 锌褉懈锌芯胁械写邪褔 写芯卸懈胁褭械薪懈屑 谐芯胁芯褉芯屑, 褍薪褍褌褉邪褕褮懈屑 屑芯薪芯谢芯谐芯屑, 卸懈胁芯锌懈褋薪懈屑 泻芯屑锌邪褉邪褑懈褬邪屑邪 懈 褌邪泻褌懈蟹懈褉邪薪懈屑 褉懈褌屑芯屑 斜芯褬懈 锌褉懈泻邪蟹邪薪褍 锌褉械写屑械褌薪芯褋褌 (褋芯锌褋褌胁械薪懈屑 褋胁械褌谢懈屑邪). 袠邪泻芯 芯胁懈褏 13 锌褉懈褔邪 褍 褉械写褍泻芯胁邪薪芯屑 褋褉锌褋泻芯屑 懈蟹写邪褮褍 薪懈褋褍 "13 锌懈谢褍谢邪 褍卸邪褋邪" 懈 薪械 芯写懈褕褍 蟹邪胁芯写褭懈胁芯褕褯褍 校泻褍褋邪 锌械谢懈薪邪, 懈屑邪褬褍 褌邪屑邪薪 褌芯谢懈泻芯 褬械蟹芯胁懈褌芯褋褌懈 懈 屑芯褉斜懈写邪褉懈褬邪 写邪 芯褉邪褋锌芯谢芯卸械 褬械写薪芯谐 褋邪胁褉械屑械薪芯谐 谐芯褌懈褔邪褉邪. 袨褑械褮懈胁邪芯 褋邪屑 懈褏 锌芯 械褎械泻褌褍 泻芯褬懈 锌褉芯懈蟹胁芯写械 褬械褉 褋褍 褋褌懈谢褋泻懈 懈 泻芯屑锌芯蟹懈褑懈褬褋泻懈 褋胁械 芯写谢懈褔薪械. 校褌懈褋邪泻 褬械 泻褉邪褬褮械 褋褍斜褬械泻褌懈胁邪薪, 邪 锌芯褕褌芯 褬械 褍 屑芯屑 褋谢褍褔邪褬褍 锌褉芯褋械褔薪芯 胁褉谢芯 写芯斜邪褉, 屑芯卸械 褋械 褉械褯懈 写邪 褬械 芯胁邪 褋邪斜谢邪褋褌 锌芯褌械薪褑懈褬邪谢薪芯 锌褉懈褬械屑褔懈胁邪 泻邪泻芯 胁邪薪懈谢邪 褭褍写懈屑邪 褌邪泻芯 懈 薪械懈蟹斜懈褉褭懈胁懈屑 褏芯褉芯褉 褎褉懈泻芯胁懈屑邪 (薪械 褋锌邪写邪屑 薪懈 褍 褬械写薪褍 芯写 芯胁械 写胁械 泻邪褌械谐芯褉懈褬械 - 小褌懈胁械薪 袣懈薪谐, 袥邪胁泻褉邪褎褌 懈 袦.袪.袕械褬屑褋 褋褍 褋屑邪褉邪褔懈; 褎懈谢屑芯胁械 褍芯锌褕褌械 薪械 谐谢械写邪屑, 邪 泻邪屑芯谢懈 褏芯褉芯褉).
袨写谢懈泻邪褕懈: 效褍锌邪胁邪褑 懈蟹 泻褍褌懈褬械, 袪械蟹械褉胁芯邪褉, 袦邪谢懈 褍斜懈褑邪, 袧芯褯.
"效懈薪懈谢芯 褋械 泻邪芯 写邪 褬械 谢械褌芯 斜懈谢芯 蟹邪泻芯胁邪薪芯 褍 薪懈蟹 屑褉褌胁邪褔泻懈褏 褋邪薪写褍泻邪. (...)
小谢邪屑薪邪褌懈 褕械褕懈褉 褬械 谢械卸邪芯 薪邪 泻褉械胁械褌褍, 泻褉褏邪泻 懈 褋褌褉邪褕邪薪, 泻懈褕芯斜褉邪薪 褋械 泻褉褍褌芯 薪邪褋谢邪褮邪芯 薪邪 褬械写邪薪 蟹懈写 泻邪芯 屑褉褌邪胁 褋谢械锌懈 屑懈褕 褋邪 褋泻谢芯锌褭械薪懈屑 褌邪屑薪懈屑 胁谢邪卸薪懈屑 泻褉懈谢懈屑邪. (...)
- 袧懈褋邪屑 褋懈谐褍褉薪邪. 袨薪邪 褬械 薪芯胁邪. 袨薪邪 褬械 褌械泻 褋邪写 褍屑褉谢邪. 袗谢懈 褬械褋褌械 屑褉褌胁邪. 袛懈胁薪芯, 写懈胁薪芯 屑褉褌胁邪.
袗薪邪 褋械 写懈胁懈谢邪 褋谢懈褑懈 泻芯褬褍 褬械 懈屑邪谢邪 褍 谐谢邪胁懈.
- 袛邪 卸械薪邪 锌芯褋褌邪薪械 蟹邪懈褋褌邪 写懈胁薪邪, 锌芯褌褉械斜薪邪 褬械 褋屑褉褌, 邪 写邪 斜懈 锌芯褋褌邪谢邪 薪邪褬写懈胁薪懈褬邪, 锌芯褌褉械斜薪邪 褬械 褋屑褉褌 褍褌邪锌邪褮械屑. 孝邪写 褋械 懈蟹 褮械 懈蟹胁褍褔械 褋胁邪 褍泻芯褔械薪芯褋褌, 邪 泻芯褋邪 褬芯褬 锌谢褍褌邪 锌芯 胁芯写懈 泻邪芯 薪邪薪芯褋 写懈屑邪.
袣谢懈屑薪褍谢邪 褬械 谐谢邪胁芯屑, 褉邪蟹胁械褋械褭械薪芯.
- 袧懈泻邪泻胁械 褕泻芯谢械, 薪懈 斜芯薪褌芯薪, 薪懈 褔邪褋芯胁懈 薪邪 褋胁械褌褍 薪械 屑芯谐褍 写邪 褍褔懈薪械 写邪 褋械 卸械薪邪 泻褉械褯械 褋 褌芯屑 褋薪械薪芯屑 谢邪泻芯褯芯屑, 谐懈锌泻芯 懈 屑褉械褕泻邪胁芯 懈 褎懈薪芯.
袗薪邪 褬械 褕懈褉芯泻芯屑, 谐褉褍斜芯屑 褉褍泻芯屑 锌芯泻褍褕邪胁邪谢邪 写邪 锌芯泻邪卸械 泻邪泻芯 褎懈薪芯, 泻邪泻芯 屑褉械褕泻邪胁芯, 泻邪泻芯 谐褉邪褑懈芯蟹薪芯. (...)
袧械泻邪 褬械 褋芯斜邪 锌谢褍褌邪谢邪 芯泻芯 褮械 褍 褋屑褉写褭懈胁芯屑 懈褋锌邪褉械褮褍 谢褍写懈谢邪. 袥械斜写械谢懈 褋褍 懈薪褋褌褉褍屑械薪褌懈 懈 斜懈谢芯 褬械 谐谢邪褋芯胁邪 懈 褭褍写懈 褋邪 褋褌械褉懈谢薪懈屑 斜械谢懈屑 屑邪褋泻邪屑邪. (...)
袠蟹谐谢械写邪谢芯 褬械 写邪 褋械 芯褋谢芯斜芯写懈谢邪 褋褌褉邪褏芯胁邪.
袨褋懈屑 褬械写薪械 芯写褉械褣械薪械 锌芯薪芯褯懈 泻邪写 褬械 薪械泻懈 懈蟹薪械薪邪写邪薪 谢械褌褮懈 胁械褌邪褉 斜褉懈褋邪芯 芯泻芯 泻褍褯械, 褌芯锌邪芯 懈 斜褉蟹, 褌褉械褋褍褯懈 写褉胁械褯械 泻邪芯 屑薪芯褕褌胁芯 褋褬邪褬薪懈褏 写邪懈褉邪. (...)
孝芯 褬械 写褍褏, 泻邪卸械屑 褌懈, 懈 谐芯胁芯褉懈 薪邪 褉邪蟹薪懈屑 褬械蟹懈褑懈屑邪, 泻邪芯 褕褌芯 褬械 斜邪泻邪 啸邪薪谢芯薪 薪械泻邪写邪 褉邪写懈谢邪, 泻邪写 褬械 褍褋褌邪褬邪谢邪 褋 泻谢褍锌械 褍 褑褉泻胁懈 懈 谐芯胁芯褉懈谢邪 薪邪 褔褍写薪懈屑 褬械蟹懈褑懈屑邪, 褋泻褉芯蟹 懈蟹屑械褕邪薪懈屑, 泻邪芯 写邪 褋褍 褬芯褬 褍 谐褍褕懈 褍褏胁邪褯械薪懈 褑褉薪邪褑, 袠褉邪褑, 写胁械 卸械薪械 懈 褌褉懈 卸邪斜械! (...)
袠 褌芯 褋械 薪邪褋褌邪胁褭邪谢芯 芯写 芯褋芯斜械 写芯 芯褋芯斜械. 袘械薪械写懈泻褌邪 褋褍 褍写邪褉褑懈屑邪 褋谢邪谢懈 芯写 褬械写薪芯谐 写芯 写褉褍谐芯谐, 斜懈芯 褬械 褬械蟹械褉芯 褍 泻芯褬械 褬械 斜邪褑邪薪芯 褋胁械 褋屑械褯械. 袎褍写懈 褋褍 锌芯褔懈褮邪谢懈 褋邪 褋懈褌薪懈屑 泻邪屑械薪褔懈褯懈屑邪, 邪 芯薪写邪, 泻邪写 褋械 袘械薪械写懈泻褌 薪械 斜懈 蟹邪褌邪谢邪褋邪芯 薪懈褌懈 锌褉芯褌械褋褌芯胁邪芯, 褏懈褌薪褍谢懈 斜懈 泻邪屑械薪, 褑懈谐谢褍, 褋褌械薪褍. 袘械薪械写懈泻褌褍 薪懈褬械 斜懈谢芯 写薪邪, 薪懈 锌褭褍褋泻邪, 薪懈 褋屑懈褉邪褬邪. 袌械蟹械褉芯 薪懈褬械 芯写谐芯胁邪褉邪谢芯. (...)
小褏胁邪褌邪褕 写邪 褋褍 褋胁懈 褭褍写懈 褌邪泻胁懈. 袛邪 褬械 褋胁邪泻邪 芯褋芯斜邪 蟹邪 褋械斜械 褋邪屑邪. (...)
小邪屑 褍 褋胁械屑懈褉褍.
袠屑邪 屑懈谢懈芯薪 谐褉邪写懈褯邪 锌芯锌褍褌 芯胁芯谐 锌芯 褑械谢芯屑 褋胁械褌褍. 小胁邪泻懈 懈褋褌芯 褌邪泻芯 屑褉邪褔邪薪, 褍褋邪屑褭械薪, 褋胁邪泻懈 懈褋褌芯 褌邪泻芯 写邪谢械泻, 懈褋褌芯 褌邪泻芯 锌褍薪 写褉褏褌邪褬邪 懈 褔褍褣械褮邪. 小胁懈褉邪褮械 褌褉褋泻械 锌芯锌褍褌 胁懈芯谢懈薪邪 褍 屑芯谢褋泻芯屑 褌芯薪邪谢懈褌械褌褍 褬械 屑褍蟹懈泻邪 屑邪谢懈褏 谐褉邪写芯胁邪, 斜械蟹 褋胁械褌邪谢邪, 邪谢懈 褋 屑薪芯谐芯 褋械薪泻懈. 袨褏, 褌邪 褮懈褏芯胁邪 芯谐褉芯屑薪邪, 薪邪写芯谢邪蟹械褯邪 褋邪屑芯褯邪. 孝械 褮懈褏芯胁械 褌邪褬邪薪褋褌胁械薪械 胁谢邪卸薪械 褬邪褉褍谐械. 袞懈胁芯褌 褬械 褍卸邪褋 褍 褌懈屑 谐褉邪写懈褯懈屑邪 薪芯褯褍, 泻邪写 蟹写褉邪胁芯屑 褉邪蟹褍屑褍 (...) 懈 褋褉械褯懈 褋邪 褋胁懈褏 褋褌褉邪薪邪 锌褉械褌懈 斜邪褍泻 蟹胁邪薪懈 小屑褉褌."
April 5, 2025
A so-so anthology that launched the career of one of America's most celebrated 20th-century writers
Published in 1947 by Arkham House, Dark Carnival was the first published book by Ray Bradbury, the legendary science fiction writer best known for classic novels and anthologies like Fahrenheit 451 (1953), Dandelion Wine (1957), Something Wicked This Way Comes (1962), The Martian Chronicles (1950), The Illustrated Man (1951), and The October Country (1955). As such, Dark Carnival is a mixed bag containing stories best described as horror-lite, farcical horror, and weird tales rather than science fiction. As I prefer horror of an eerier type such as folk horror, cosmic horror, supernatural tales, and post-apocalyptic/dystopian stories, I probably have a lower opinion of this book than other reviewers. Dark Carnival just didn't grab me, creep me out, or hold my attention. In fact, I generally prefer short fiction and anthologies to long novels. Especially when they are the work of a single author whose other works (for me that would be Fahrenheit 451, Something Wicked This Way Comes, and The Martian Chronicles) I absolutely love.
In Dark Carnival, Bradbury writes mostly harmless stories with weird twists and ironies but little suspense or atmosphere. The vast majority of these stories have children as the protagonists or main characters... which gives it a juvenilia vibe. Many are short, ironic sketches resembling the short horror of Ambrose Bierce but entirely lacking Bierce's creepy atmospherics. Three of the stories here about the Elliot family of ghouls and vampires come across as imitation Addams Family stuff. This is farcical horror of the kind I find annoying and trite--despite one of them, "The Homecoming," receiving an O Henry award in 1947. As the Addams Family cartoon debuted in New Yorker in 1938, I can't help thinking the aspiring writer that was Ray Bradbury in the early 1940s must have gotten his inspiration for the Elliots from Charles Addams' creations.
The three stories I liked the most in this lengthy collection were "The Lake," "Cistern," and "The Next in Line" which were all pretty creepy and disturbing in the way horror ought to be. But for the rest... just not my cup of tea.
None of this reflects poorly on the writer Ray Bradbury was in 1947. He was transitioning from the pulp marketplace to mainstream fiction and his writing craft is evident in all of these stories. But he was also looking for his sea legs. Yet in these stories, Bradbury's ability to depict the weird underbelly of Middle America and the hidden horror lying secretly in the dark shadows of the mundane and the normal is as evident as ever. Dark Carnival is a telling portent of the greatness that was brewing in Bradbury's craft from its beginnings.
For this reason, Dark Carnival is highly recommended.
Published in 1947 by Arkham House, Dark Carnival was the first published book by Ray Bradbury, the legendary science fiction writer best known for classic novels and anthologies like Fahrenheit 451 (1953), Dandelion Wine (1957), Something Wicked This Way Comes (1962), The Martian Chronicles (1950), The Illustrated Man (1951), and The October Country (1955). As such, Dark Carnival is a mixed bag containing stories best described as horror-lite, farcical horror, and weird tales rather than science fiction. As I prefer horror of an eerier type such as folk horror, cosmic horror, supernatural tales, and post-apocalyptic/dystopian stories, I probably have a lower opinion of this book than other reviewers. Dark Carnival just didn't grab me, creep me out, or hold my attention. In fact, I generally prefer short fiction and anthologies to long novels. Especially when they are the work of a single author whose other works (for me that would be Fahrenheit 451, Something Wicked This Way Comes, and The Martian Chronicles) I absolutely love.
In Dark Carnival, Bradbury writes mostly harmless stories with weird twists and ironies but little suspense or atmosphere. The vast majority of these stories have children as the protagonists or main characters... which gives it a juvenilia vibe. Many are short, ironic sketches resembling the short horror of Ambrose Bierce but entirely lacking Bierce's creepy atmospherics. Three of the stories here about the Elliot family of ghouls and vampires come across as imitation Addams Family stuff. This is farcical horror of the kind I find annoying and trite--despite one of them, "The Homecoming," receiving an O Henry award in 1947. As the Addams Family cartoon debuted in New Yorker in 1938, I can't help thinking the aspiring writer that was Ray Bradbury in the early 1940s must have gotten his inspiration for the Elliots from Charles Addams' creations.
The three stories I liked the most in this lengthy collection were "The Lake," "Cistern," and "The Next in Line" which were all pretty creepy and disturbing in the way horror ought to be. But for the rest... just not my cup of tea.
None of this reflects poorly on the writer Ray Bradbury was in 1947. He was transitioning from the pulp marketplace to mainstream fiction and his writing craft is evident in all of these stories. But he was also looking for his sea legs. Yet in these stories, Bradbury's ability to depict the weird underbelly of Middle America and the hidden horror lying secretly in the dark shadows of the mundane and the normal is as evident as ever. Dark Carnival is a telling portent of the greatness that was brewing in Bradbury's craft from its beginnings.
For this reason, Dark Carnival is highly recommended.
March 24, 2020
Ovo je zbirka koja spada u horor djela Ray Bradburya, sto mi eto u ovom trenutku i ne leze bas. Ali je odlicno pisano, ima njegov divni sarm.
Od prica su me dojmile Jezero i Cupavac iz kutije.
Od prica su me dojmile Jezero i Cupavac iz kutije.
September 2, 2024
鈥� The Homecoming 鈽呪槄鈽呪槄鈽�
鈥� Skeleton 鈽呪槄鈽呪槄鈽�
鈥� The Jar 鈽呪槄鈽呪槄鈽�
鈥� The Lake 鈽呪槄鈽呪槄鈽�
鈥� The Maiden 鈽呪槄鈽呪槄鈽�
鈥� The Tombstone 鈽呪槄鈽呪槄鈽�
鈥� The Smiling People 鈽呪槄鈽呪槄鈽�
鈥� The Emissary 鈽呪槄鈽呪槄鈽�
鈥� The Traveler 鈽呪槄鈽呪槄鈽�
鈥� The Small Assassin 鈽呪槄鈽呪槄鈽�
鈥� The Crowd 鈽呪槄鈽呪槄鈽�
鈥� Reunion 鈽呪槄鈽呪槄鈽�
鈥� The Handler 鈽呪槄鈽呪槄鈽�
鈥� The Coffin 鈽呪槄鈽呪槄鈽�
鈥� Interim 鈽呪槄鈽呪槄鈽�
鈥� Jack-in-the-Box 鈽呪槄鈽呪槄鈽�
鈥� The Scythe 鈽呪槄鈽呪槄鈽�
鈥� Let's Play 'Poison' 鈽呪槄鈽呪槄鈽�
鈥� Uncle Einar 鈽呪槄鈽呪槄鈽�
鈥� The Wind 鈽呪槄鈽呪槄鈽�
鈥� The Night 鈽呪槄鈽呪槄鈽�
鈥� There Was An Old Woman 鈽呪槄鈽呪槄鈽�
鈥� The Dead Man 鈽呪槄鈽呪槄鈽�
鈥� The Man Upstairs 鈽呪槄鈽呪槄鈽�
鈥� The Night Sets 鈽呪槄鈽呪槄鈽�
鈥� Cistern 鈽呪槄鈽呪槄鈽�
鈥� The Next In Line 鈽呪槄鈽呪槄鈽�
October 6, 2018
Bradbury was the master of melancholy, nostalgia and all the other things in between that make you all soft inside. He was one of the very few writers that could accurately capture the strange feelings that overcome us in Autumn, the long-lost loves, losses and lusts whose echoes can still be found in the gusts of October wind and drops of November rain.
October 10, 2017
The collection of stories found in Dark Carnival is a trip into normal things turned into obscure and scary events.
Just think about something you'd never consider before. Things you take for granted. Ray Bradbury probably managed to turn it into some scary shit.
Your skeleton, for instance. Not something we actively think about, until you read a story about a man who believes his skeleton is working against him.
Or the rain, the wind, simple nature can become treacherous in Bradbury's hands.
I must admit, I'm not a fan of short stories, because I like to get invested in a story and therefore it takes a couple more pages than the average short fiction. Ray Bradbury must be the exception to my rule, because I already read several of his compilations and his stories seem to be as long as they need to be.
Of course there's the one that makes no sense, the one that drags on too long, but most of his stories deliver a quick, yet horrifying blow, which I like. It's like watching Tales of the Crypt when I was a lot younger. It might be trash, but it's enjoyable trash.
Not that I would call this collection trash, some of them are very good stories and most of them are interesting ideas turned haywire which makes them unique. I like his style, it might not be for everyone, but he's kind of unique in his story telling, at least in my humble opinion.
Just think about something you'd never consider before. Things you take for granted. Ray Bradbury probably managed to turn it into some scary shit.
Your skeleton, for instance. Not something we actively think about, until you read a story about a man who believes his skeleton is working against him.
Or the rain, the wind, simple nature can become treacherous in Bradbury's hands.
I must admit, I'm not a fan of short stories, because I like to get invested in a story and therefore it takes a couple more pages than the average short fiction. Ray Bradbury must be the exception to my rule, because I already read several of his compilations and his stories seem to be as long as they need to be.
Of course there's the one that makes no sense, the one that drags on too long, but most of his stories deliver a quick, yet horrifying blow, which I like. It's like watching Tales of the Crypt when I was a lot younger. It might be trash, but it's enjoyable trash.
Not that I would call this collection trash, some of them are very good stories and most of them are interesting ideas turned haywire which makes them unique. I like his style, it might not be for everyone, but he's kind of unique in his story telling, at least in my humble opinion.
Read
December 7, 2017U stvari, pro拧itao sam samo 13 izabranih pri膷a iz ove Bredberijeve zbirke u izdanju McMillan-a.
艩ta da ka啪em? Najpre da joj ne膰u dati ocenu.
Ako bih to u膷inio ona bi bila proizvod utiska koji je knjiga ostavila na mene, a ne njenog literarnog kvaliteta. Kvalitet nije sporan.
Sporno je 拧to ovo nije horor ili barem ne ono 拧to ja podrazumevam pod tim 啪anrom, a svakako nije ne拧to 拧to mi prija.
To je skup zaista mra膷nih pri膷a. Mu膷nih, malodu拧nih, mizantropskih, koje teraju na duboko nezadovoljstvo, teskobu, o膷ajanje. Zga膽enost pred raznolikom stravom ljudskog roda, takvog kakav jeste. Nema pravednih, samo mo啪da o膷ajnih, ne ba拧 vrednih preteranog sa啪aljenja. Lestvica zala i strahova u 膷oveku, koja ostavlja bez nade. Uz to, ni deca nisu po拧te膽ena. Pogotovu deca, koja su 膷esti akteri ovih pri膷a (拧to je za moj ukus potpuno odbojno). Mislim da samo jedna od pri膷a ima spokojan kraj, iako sve vreme nagove拧tava isti ose膰aj kao i druge.
Dakle, nije to moja 拧olja 膷aja, 拧to ka啪u. Stil je naravno izuzetan, pa ko voli...
艩ta da ka啪em? Najpre da joj ne膰u dati ocenu.
Ako bih to u膷inio ona bi bila proizvod utiska koji je knjiga ostavila na mene, a ne njenog literarnog kvaliteta. Kvalitet nije sporan.
Sporno je 拧to ovo nije horor ili barem ne ono 拧to ja podrazumevam pod tim 啪anrom, a svakako nije ne拧to 拧to mi prija.
To je skup zaista mra膷nih pri膷a. Mu膷nih, malodu拧nih, mizantropskih, koje teraju na duboko nezadovoljstvo, teskobu, o膷ajanje. Zga膽enost pred raznolikom stravom ljudskog roda, takvog kakav jeste. Nema pravednih, samo mo啪da o膷ajnih, ne ba拧 vrednih preteranog sa啪aljenja. Lestvica zala i strahova u 膷oveku, koja ostavlja bez nade. Uz to, ni deca nisu po拧te膽ena. Pogotovu deca, koja su 膷esti akteri ovih pri膷a (拧to je za moj ukus potpuno odbojno). Mislim da samo jedna od pri膷a ima spokojan kraj, iako sve vreme nagove拧tava isti ose膰aj kao i druge.
Dakle, nije to moja 拧olja 膷aja, 拧to ka啪u. Stil je naravno izuzetan, pa ko voli...
January 22, 2022
Zaj铆mav谩 sm臎s. Od vtipn媒ch kousk暖 p艡es parodie 啪谩nru, jednoduch茅 h艡铆膷ky i znepokojiv茅 texty a啪 po hlubok谩 zamy拧len铆. Na 膷谩st pov铆dek u啪 jsem narazil d艡铆v v jin媒ch sborn铆c铆ch, do mysli se mi zapsal 窜谩蝉迟耻辫 a Mal媒 vrah. Tentokr谩t si k nim p艡id谩m 膷ernohumornou Kostru, morbidn铆ho Hrobn铆ka, 膶ert铆ka v krabi膷ce (nejen film Vesnice si ur膷it臎 bere inspiraci ze stejn茅ho zdroje :), znepokojiv媒 V铆tr nebo vtipnou 沤ila byla star谩 啪ena. Ano, n臎kter茅 z pov铆dek, mj. dv臎 posledn铆, jsou trochu slab拧铆, ale z Temn茅ho karnevalu u m臎 ur膷it臎 p艡eva啪uje celkov臎 dobr媒 dojem.
A jak norm谩ln臎 nem谩m r谩d p艡edmluvy, tady kr谩tk茅 uveden铆 ka啪d茅 z pov铆dek do kontextu, zdroje inspirace i d暖vodu vzniku d谩v谩 rozhodn臎 smysl. Hezky to dotv谩艡铆 cel茅 d铆lo.
A jak norm谩ln臎 nem谩m r谩d p艡edmluvy, tady kr谩tk茅 uveden铆 ka啪d茅 z pov铆dek do kontextu, zdroje inspirace i d暖vodu vzniku d谩v谩 rozhodn臎 smysl. Hezky to dotv谩艡铆 cel茅 d铆lo.
May 31, 2024
Dark Carnival 猫 la prima raccolta di racconti di Ray Bradbury, siamo nel 1947. Era praticamente introvabile prima che HarperCollins la ripubblicasse quest鈥檃nno. Dei 27 racconti che la compongono 15 li avevo gi脿 letti e amati nella raccolta October Country (1955).
Tutta la capacit脿 narrativa di Ray Bradbury 猫 contenuta nel racconto The Night, 12 pagine di perfezione narrativa in cui la paura si crea e si dissolve nel tempo di una passeggiata notturna in citt脿.
Tutta la capacit脿 narrativa di Ray Bradbury 猫 contenuta nel racconto The Night, 12 pagine di perfezione narrativa in cui la paura si crea e si dissolve nel tempo di una passeggiata notturna in citt脿.
May 30, 2022
Interesantno je da u ovoj zbirci kratkih horor pri膷a, nemam ni jednu "osrednju pri膷u". Neke pri膷e su vrhunskog kvaliteta i uzivao sam u njima, dok su neke u rangu prose膷nog pismenog sastava iz srednje 拧kole... Pri膷e koje su mi se dopale su :
1: Jezero
2: 膶upavac iz kutije
3: Mali ubica
4: Nasme拧eni ljudi
5: Pogrebnik
1: Jezero
2: 膶upavac iz kutije
3: Mali ubica
4: Nasme拧eni ljudi
5: Pogrebnik
August 7, 2024
Nearly all of the stories in this collection have been reprinted elsewhere, so why bother? Apart from the four stories unavailable elsewhere鈥攖hree of which are mere vignettes鈥攈ardcore Bradbury fans may be curious to experience these as originally presented. This was the author's first short story collection, and, as such, it gives insight into both his beginnings as a published author and the remarkable strength of even his earliest works. Those who have wandered through Bradbury's bibliography know that some stories have been collected more than once, yet somehow re-reading them never seems to get old. If anything, repeated readings reveal layers of detail and depth of meaning that may be lost at first glance. Whether you're a longtime fan or are simply looking for an introduction into the author's short works, this is a wonderful, if stubbornly dark, collection and well worth the price of admission.
October 30, 2018
Temn媒 karneval sa sklad谩 z 25 poviedok, ktor茅 maj煤 odli拧n煤 d暮啪ku, boli uverejnen茅 (alebo sa o to aspo艌 Bradbury sna啪il) v r么znych periodik谩ch, n谩sledne zozbieran茅 a vydan茅 kni啪ne v roku 1947. Ka啪d谩 jedna z nich je hr么zostra拧n谩, venuje sa v拧edn媒m d艌om 木ud铆 s nev拧edn媒mi probl茅mami a je opatren谩 kr谩tkym autorov媒m predhovorom o tom, ako vlastne kr谩tka pr贸za, ktor煤 sa chyst谩te 膷铆ta钮, vznikla a hlavne pre膷o. T媒mto sympatick媒m vysvetlen铆m Bradbury ukazuje spr谩vny smer, ktor媒 potrebujete k tomu, aby ste dok谩zali s pon煤kan媒m materi谩lom pracova钮 inak, ako ste p么vodne zam媒拧木ali. Prin谩拧a nov煤 perspekt铆vu nahliadania na spracovan媒 鈥瀟uctov媒鈥� mot铆v, ako aj menej stereotypn煤 sch茅mu interpret谩cie. T媒chto 25 poviedok sa naozaj m么啪e pop媒拧i钮 pestr媒m svetom, prostred铆m, postavami, z谩pletkami, grad谩ciami aj umeleck媒mi postupmi, ktor茅 si autor pri p铆san铆 vybral. Pon煤ka v谩m vlastne stru膷n媒 preh木ad Bradburyho spisovate木sk茅ho dozrievania v e拧te st谩le 鈥瀖谩lo popul谩rnom鈥� 啪谩nri.
Viac sa do膷铆tate na na拧ej str谩nke !
Viac sa do膷铆tate na na拧ej str谩nke !
March 26, 2024
笑械 薪邪泄锌械褉褕邪 蟹斜褨褉泻邪 芯锌芯胁褨写邪薪褜 袪械褟 袘褉械写斜械褉褨, 褟泻褨 胁褨薪 薪邪锌懈褋邪胁 褍 23-27-褉褨褔薪芯屑褍 胁褨褑褨. 袛芯褋懈褌褜 锌褉械蟹械薪褌邪斜械谢褜薪邪 蟹斜褨褉泻邪, 褨蟹 27 褉褨蟹薪芯锌谢邪薪芯胁懈褏 芯锌芯胁褨写邪薪褜, 褟泻褨 屑械卸褍褞褌褜 褨蟹 屑褨褋褌懈泻芯褞 褌邪 谐芯褉褉芯褉芯屑.
孝褍褌 褦 褌褉懈 芯锌芯胁褨写邪薪薪褟 锌褉芯 褉芯写懈薪褍 袝谢谢褨芯褌褨胁, 褟泻褨 锌芯褌褨屑 褋褌邪薪褍褌褜 芯褋薪芯胁芯褞 泄芯谐芯 褉芯屑邪薪褍 "袟 锌褉邪褏褍 锌芯胁褋褌邪谢褨". 孝褍褌 褌邪泻芯卸 褦 写芯褋懈褌褜 胁褨写芯屑械 芯锌芯胁褨写邪薪薪褟 "The Wind", 褟泻械 褔邪褋褌芯 胁泻谢褞褔邪褞褌褜 胁 褉褨蟹薪芯屑邪薪褨褌薪褨 蟹斜褨褉泻懈 芯锌芯胁褨写邪薪褜 袘褉械写斜械褉褨. 携泻 薪邪 屑械薪械, 褌芯 屑械薪褨 薪邪泄斜褨谢褜褕械 褋锌芯写芯斜邪胁褋褟 "Jack-in-the-Box", 褏芯褔邪 褑械 芯锌芯胁褨写邪薪薪褟 胁邪卸泻芯 胁褨写薪械褋褌懈 写芯 屑褨褋褌懈泻懈 邪斜芯 谐芯褉褉芯褉褍. 孝褍褌 屑芯胁邪 泄写械 锌褉芯 锌褨写谢褨褌泻邪, 褟泻懈泄 胁褋械 卸懈褌褌褟 锌褉芯卸懈胁 褨蟹 屑邪屑芯褞 褍 斜褍写懈薪泻褍, 芯褌芯褔械薪芯屑褍 写械褉械胁邪屑懈, 薪械 胁懈褏芯写褟褔懈 薪邪蟹芯胁薪褨, 褨 谐邪写泻懈 薪械 屑邪褞褔懈, 褖芯 褨褋薪褍褦 褨薪褕懈泄 褋胁褨褌 蟹邪 屑械卸邪屑懈 褑褜芯谐芯 斜褍写懈薪泻褍.
袙 褑褨谢芯屑褍 写械褟泻褨 芯锌芯胁褨写邪薪薪褟 斜褨谢褜褕械 褑褨泻邪胁褨, 写械褟泻褨 屑械薪褕械, 邪谢械 胁邪卸谢懈胁褨褕械 褌械, 褖芯 褑械 薪邪泄锌械褉褕褨 褌胁芯褉懈 袪械褟 袘褉械写斜械褉褨, 褨 褟 褋邪屑械 褏芯褌褨胁 芯蟹薪邪泄芯屑懈褌懈褋褜 褨蟹 泄芯谐芯 褋褌邪薪芯胁谢械薪薪褟屑 褟泻 锌懈褋褜屑械薪薪懈泻邪, 褔懈褌邪褞褔懈 泄芯谐芯 褋锌芯褔邪褌泻褍.
孝褍褌 褦 褌褉懈 芯锌芯胁褨写邪薪薪褟 锌褉芯 褉芯写懈薪褍 袝谢谢褨芯褌褨胁, 褟泻褨 锌芯褌褨屑 褋褌邪薪褍褌褜 芯褋薪芯胁芯褞 泄芯谐芯 褉芯屑邪薪褍 "袟 锌褉邪褏褍 锌芯胁褋褌邪谢褨". 孝褍褌 褌邪泻芯卸 褦 写芯褋懈褌褜 胁褨写芯屑械 芯锌芯胁褨写邪薪薪褟 "The Wind", 褟泻械 褔邪褋褌芯 胁泻谢褞褔邪褞褌褜 胁 褉褨蟹薪芯屑邪薪褨褌薪褨 蟹斜褨褉泻懈 芯锌芯胁褨写邪薪褜 袘褉械写斜械褉褨. 携泻 薪邪 屑械薪械, 褌芯 屑械薪褨 薪邪泄斜褨谢褜褕械 褋锌芯写芯斜邪胁褋褟 "Jack-in-the-Box", 褏芯褔邪 褑械 芯锌芯胁褨写邪薪薪褟 胁邪卸泻芯 胁褨写薪械褋褌懈 写芯 屑褨褋褌懈泻懈 邪斜芯 谐芯褉褉芯褉褍. 孝褍褌 屑芯胁邪 泄写械 锌褉芯 锌褨写谢褨褌泻邪, 褟泻懈泄 胁褋械 卸懈褌褌褟 锌褉芯卸懈胁 褨蟹 屑邪屑芯褞 褍 斜褍写懈薪泻褍, 芯褌芯褔械薪芯屑褍 写械褉械胁邪屑懈, 薪械 胁懈褏芯写褟褔懈 薪邪蟹芯胁薪褨, 褨 谐邪写泻懈 薪械 屑邪褞褔懈, 褖芯 褨褋薪褍褦 褨薪褕懈泄 褋胁褨褌 蟹邪 屑械卸邪屑懈 褑褜芯谐芯 斜褍写懈薪泻褍.
袙 褑褨谢芯屑褍 写械褟泻褨 芯锌芯胁褨写邪薪薪褟 斜褨谢褜褕械 褑褨泻邪胁褨, 写械褟泻褨 屑械薪褕械, 邪谢械 胁邪卸谢懈胁褨褕械 褌械, 褖芯 褑械 薪邪泄锌械褉褕褨 褌胁芯褉懈 袪械褟 袘褉械写斜械褉褨, 褨 褟 褋邪屑械 褏芯褌褨胁 芯蟹薪邪泄芯屑懈褌懈褋褜 褨蟹 泄芯谐芯 褋褌邪薪芯胁谢械薪薪褟屑 褟泻 锌懈褋褜屑械薪薪懈泻邪, 褔懈褌邪褞褔懈 泄芯谐芯 褋锌芯褔邪褌泻褍.
November 10, 2023
Hororov茅 pov铆dky od Bradburyho - moc mil茅 p艡ekvapen铆. Jako u ka啪d茅 sb铆rky pov铆dek tu m谩m ty, kter茅 se mi l铆bily hodn臎, ty, kter茅 byly pr暖m臎rn茅 a najdou se i takov茅, kter茅 nebyly zrovna m媒m 拧谩lkem 膷aje. Rozhodn臎 chci vyp铆chnout ty, kter茅 se mi l铆bily nejv铆ce a to byly: Kostlivec, Emisar, 窜谩蝉迟耻辫, Usm臎vav铆 lid茅, Mal媒 vrah, Kosa.. Ale rozhodn臎 vede Kostlivec, to byla par谩da. T茅m臎艡 v拧echny pov铆dky maj铆 jeden rys spole膷n媒 - jsou kr谩sn臎 p艡edv铆dateln茅, ale v暖bec jim to neubli啪uje. I kdy啪 膷lov臎k v铆, jakou cestou se bude d臎j ub铆rat, neub铆r谩 to na kr谩se - je to jak ve zpomalen茅m filmu sledovat, jak z nap艡a啪en媒ch rukou pad谩 jablko vst艡铆c sv茅mu neut臎拧en茅mu a nevyhnuteln茅mu konci - rozprsknut铆 se na podlaze. Skv臎l茅 podzimn铆 膷ten铆.
June 10, 2024
So: here鈥檚 a story about how it took me 44 years to finally get a story collection.
Quick background for context. It is 1980. I was 16. By this time I鈥檇 spent a few years reading fantasy, horror and science fiction. I was still finding my way, though 鈥� I had read every Robert Heinlein and Arthur C Clarke I could get my hands on, and in Fantasy read Tolkien, Ray Feist, David Eddings and some Stephen Donaldson, but that was about it.
But in my reading I kept hearing of the 鈥楤ig Three鈥� (Asimov, Heinlein, Clarke), or sometimes 鈥榯he ABC group鈥� 鈥� that鈥檚 Isaac Asimov, Ray Bradbury and Arthur C. Clarke. And although I鈥檇 read the occasional Bradbury (I think my first story was 鈥�The Veldt鈥�, in about 1975, but I鈥檓 not exactly sure) I鈥檇 not found many books by him, not even in my local library.
I had got a copy of The Martian Chronicles and didn鈥檛 like it. Unlike The Veldt with its wall-screen television, this wasn鈥檛 really 鈥榮cience fiction鈥� to my mind. Science fiction was logical, plausible, often an extrapolation of science fact. Some of this was most illogical. (Can you tell I liked Star Trek, too?) 听鈥� (鈥淲hat鈥檚 this? Picket fences on Mars? Rubbish!) 鈥� although I have reassessed that view in more recent years, and now have a signed copy - but even though I didn鈥檛 like it, I had seen the movie Fahrenheit 451, and watched the TV series of The Martian Chronicles, starring Rock Hudson (still very odd!), but that was about as close as I had got to Bradbury鈥檚 works.
Anyway, I eventually managed to get a copy of a Bradbury story collection from the second-hand book stall at my local market. It was a battered copy of The October Country, with an impressive skull and scythe on the cover. 听This might be different, I thought.
I eagerly got it home to read it. And鈥� at first, I was still confused. This was definitely Fantasy. There were vampires and werewolves involved, not to mention killer babies, circuses, strange things in jars鈥�. Some of it was clearly meant to be funny or at least mildly amusing. This was a bit of a revelation. Unlike Asimov, Heinlein and Clarke, this stuff didn鈥檛 always take itself seriously. (Well, Asimov did occasionally attempt humour, with varying degrees of success, admittedly.)
I wasn鈥檛 sure I liked it.
This one was all about the words 鈥� startlingly direct at times, florid, poetical words at others. So I read it again 鈥� I didn鈥檛 have that many books at that stage. And mulled it over for a while.
But I kept coming back to The October Country. I found that I quite liked the nostalgic tone of yearning for a younger childhood, and I really liked the dark creepiness of stories such as The Jar (1944), The Wind (1943) and The Scythe (1943).
I later found that there were more stories like this in a book called Dark Carnival. Bradbury鈥檚 first story collection. In fact, one story in The October Country was from that collection 鈥� The Traveller.
Why wasn鈥檛 it in Dark Carnival? Indeed, where could I find a copy of Dark Carnival?
This was in the days pre-Internet, of course. I scoured second-hand bookshops for an elusive copy. The UK copy was a much shorter version of the US version 鈥� the US edition had 27 stories, the UK one, published in 1948, a mere 20 - with most of the other stories redistributed around his other collections, albeit often rewritten. Over time I read these as I could get them. But it wasn鈥檛 the same 鈥� the stories generally felt good, but a little diluted. I wanted a full-fat 鈥榩roper鈥� copy. And even until now "The Night Sets", "The Maiden", "Reunion" and "Interim"听have been hard to find.
Roll round to the early 2000鈥檚 and with the Internet I was able to take my search globally. Hurrah! Bad news, though 鈥� nothing really UK-available and the original US hardback, if you could find a copy, was hundreds of pounds even for one in poor condition 鈥� and even then beyond my budget.
I resigned myself to never having a copy. (Hardback Arkham copies are still out there for 拢400+, without dustjacket and in fairly poor condition, by the way.)
But then in 2023 Horror writer Ramsey Campbell let me know that there was to be a new UK edition 鈥� in paperback, admittedly, but with 27 stories, like the original US edition. The publication was then delayed, but earlier this year (March 2024) I finally got a copy. For less than 拢10.
So: what have we got here? As I said before, we have 27 stories, all dating from 1943 - 1947. "The Night Sets", "The Maiden", "Reunion" and "Interim" are now all included. These are Bradbury in his Weird Tales phase, with the stories mainly designed to creep and lurk. You want a thing in a jar from a circus freak-show? Try The Jar (1944). How about a child that鈥檚 possibly a killer, yet no one else can see it? Try The Small Assassin (1946), or the grisly and macabre The Man Upstairs (1947), one of the creepiest in the collection? How about when the same faces keep turning up to watch at accidents? Try The Crowd (1943). You know when you鈥檝e had that feeling of being followed home but then there鈥檚 no-one there? Try The Night (1946). (I鈥檓 not going to mention too many stories here, as I think part of the fun of this collection is not knowing much about the stories in advance.)
To give elements of lighter mood, there is also the odd quirkily amusing nostalgia story thrown in too (The Homecoming, The Traveller, Uncle Einar.) With that in mind, I think that The Homecoming may not be the best start to the collection. As one of the so-called 鈥楨lliott family鈥� stories, it鈥檚 about a family of various horrors 鈥� vampires, ghosts, werewolves, etc. who all live together. It鈥檚 cute and made me think of Charles Addams鈥檚 The Addams family, which may be intentional (The Addams family were first published in 1937, The Homecoming first published in 1946.) But it is a light beginning to the collection 鈥� it鈥檚 only after that that the stories, on the whole, become darker and creepier.
Of the stories not published for a long while, The Maiden is short, odd and memorable, a story of decapitation by guillotine 鈥� and uses the word 鈥榦rgasm鈥�, which may have been the reason for its subsequent omission in later editions. The Night Sets I found to be better, as the short but atmospheric story of a ghost being fetched from a film set, 听Reunion is an addition to the Elliott stories and good humoured if perhaps a little unnecessary, and Interim is a short听 burst of a story straight out of Weird Tales, with its bodies rising from the dead and all. In summary, they are worth a read but I can see why they were omitted for years. They are relatively minor works.
听
As these stories were published originally in the 1940鈥檚 it must be said that there are elements that may not sit well with a modern audience 鈥� references to 鈥楴egroes鈥� are a little jarring, but they are written with some respect for their time. The so-called Mexican stories (such as the novella-length The Last in Line (1947) in this book) could also be seen as rather racist today also, but I guess at the time they highlighted cultures that were less well known to most Americans. Remember at this time the main readership of pulp magazines were white WASP males, although there were always exceptions.
听
Admittedly Bradbury may have written better work, more complex stories more poetical, more heartfelt stories than these in his later years 鈥� this was his first story collection, after all. And yet cumulatively they create a sense of unease, of creepiness, all written up in vivid language 鈥� think Hitchcock movies in prose 鈥� anyone who鈥檚 ever read some of Alfred Hitchcock story collections will get the idea. (And in fact, Bradbury did have four of these stories in those collections.)听 They are of a lost world, a time when settlements were often small, neighbourhoods and neighbours were important, and mobile phones were a science fiction dream.
Admittedly, even I will admit that some stories that work less well than others 鈥� I found that some of the comedic elements of stories such as 鈥�The Dead Man鈥� (1945) have dated, although this particular story turns itself into something less mean by the end. But this is a collection about the breadth rather than the depth, after all. Things were simpler then, I guess.
The biggest downside, if there is one, is that some of the stories may seem obvious or familiar, having being copied by others so often since. I must also say that some of them do show an author still finding his voice, although I am still amazed that Bradbury wrote these when he was only somewhere between 23 and 27 years old.
On a minor point, whilst I think that the original Arkham House cover was bad (Bradbury allegedly hated it himself!) and the 1948 UK cover by Hamish Hamilton just as bad, I think that the new cover does the book no favours at all 鈥� simplistic, cheap-looking, the sort of thing that looks like it was made up in 10 minutes on Photoshop. It may not necessarily attract people to pick the book up, which is a real shame. (鈥淚t鈥檚 a circus book!鈥�)
However, if we concentrate upon the prose, if you want to see why Bradbury was so well regarded in the 1940鈥檚, then this collection is a must. Whilst Fahrenheit 451 (published 1953) and Something Wicked The Way Comes (published 1962) show more complexity and depth, Dark Carnival shows Bradbury鈥檚 range as an author of stories. Full of ideas, funny (both in humorous sense as well as听 odd), eerie, nostalgic and yes - weird, they encapsulate Bradbury鈥檚 early strengths in short form - brief but memorable, poetic and creepy, even gleefully gory. I will keep coming back to reread these in this particular collection. I would recommend that you don鈥檛 read this collection all at once, but take your time to work through it for the stories to have their fullest impact. It鈥檚 worth it-听 after all, 听It鈥檚 only taken me 44 years, but I鈥檝e finally got what I wanted. The wait was worthwhile!
Quick background for context. It is 1980. I was 16. By this time I鈥檇 spent a few years reading fantasy, horror and science fiction. I was still finding my way, though 鈥� I had read every Robert Heinlein and Arthur C Clarke I could get my hands on, and in Fantasy read Tolkien, Ray Feist, David Eddings and some Stephen Donaldson, but that was about it.
But in my reading I kept hearing of the 鈥楤ig Three鈥� (Asimov, Heinlein, Clarke), or sometimes 鈥榯he ABC group鈥� 鈥� that鈥檚 Isaac Asimov, Ray Bradbury and Arthur C. Clarke. And although I鈥檇 read the occasional Bradbury (I think my first story was 鈥�The Veldt鈥�, in about 1975, but I鈥檓 not exactly sure) I鈥檇 not found many books by him, not even in my local library.
I had got a copy of The Martian Chronicles and didn鈥檛 like it. Unlike The Veldt with its wall-screen television, this wasn鈥檛 really 鈥榮cience fiction鈥� to my mind. Science fiction was logical, plausible, often an extrapolation of science fact. Some of this was most illogical. (Can you tell I liked Star Trek, too?) 听鈥� (鈥淲hat鈥檚 this? Picket fences on Mars? Rubbish!) 鈥� although I have reassessed that view in more recent years, and now have a signed copy - but even though I didn鈥檛 like it, I had seen the movie Fahrenheit 451, and watched the TV series of The Martian Chronicles, starring Rock Hudson (still very odd!), but that was about as close as I had got to Bradbury鈥檚 works.
Anyway, I eventually managed to get a copy of a Bradbury story collection from the second-hand book stall at my local market. It was a battered copy of The October Country, with an impressive skull and scythe on the cover. 听This might be different, I thought.
I eagerly got it home to read it. And鈥� at first, I was still confused. This was definitely Fantasy. There were vampires and werewolves involved, not to mention killer babies, circuses, strange things in jars鈥�. Some of it was clearly meant to be funny or at least mildly amusing. This was a bit of a revelation. Unlike Asimov, Heinlein and Clarke, this stuff didn鈥檛 always take itself seriously. (Well, Asimov did occasionally attempt humour, with varying degrees of success, admittedly.)
I wasn鈥檛 sure I liked it.
This one was all about the words 鈥� startlingly direct at times, florid, poetical words at others. So I read it again 鈥� I didn鈥檛 have that many books at that stage. And mulled it over for a while.
But I kept coming back to The October Country. I found that I quite liked the nostalgic tone of yearning for a younger childhood, and I really liked the dark creepiness of stories such as The Jar (1944), The Wind (1943) and The Scythe (1943).
I later found that there were more stories like this in a book called Dark Carnival. Bradbury鈥檚 first story collection. In fact, one story in The October Country was from that collection 鈥� The Traveller.
Why wasn鈥檛 it in Dark Carnival? Indeed, where could I find a copy of Dark Carnival?
This was in the days pre-Internet, of course. I scoured second-hand bookshops for an elusive copy. The UK copy was a much shorter version of the US version 鈥� the US edition had 27 stories, the UK one, published in 1948, a mere 20 - with most of the other stories redistributed around his other collections, albeit often rewritten. Over time I read these as I could get them. But it wasn鈥檛 the same 鈥� the stories generally felt good, but a little diluted. I wanted a full-fat 鈥榩roper鈥� copy. And even until now "The Night Sets", "The Maiden", "Reunion" and "Interim"听have been hard to find.
Roll round to the early 2000鈥檚 and with the Internet I was able to take my search globally. Hurrah! Bad news, though 鈥� nothing really UK-available and the original US hardback, if you could find a copy, was hundreds of pounds even for one in poor condition 鈥� and even then beyond my budget.
I resigned myself to never having a copy. (Hardback Arkham copies are still out there for 拢400+, without dustjacket and in fairly poor condition, by the way.)
But then in 2023 Horror writer Ramsey Campbell let me know that there was to be a new UK edition 鈥� in paperback, admittedly, but with 27 stories, like the original US edition. The publication was then delayed, but earlier this year (March 2024) I finally got a copy. For less than 拢10.
So: what have we got here? As I said before, we have 27 stories, all dating from 1943 - 1947. "The Night Sets", "The Maiden", "Reunion" and "Interim" are now all included. These are Bradbury in his Weird Tales phase, with the stories mainly designed to creep and lurk. You want a thing in a jar from a circus freak-show? Try The Jar (1944). How about a child that鈥檚 possibly a killer, yet no one else can see it? Try The Small Assassin (1946), or the grisly and macabre The Man Upstairs (1947), one of the creepiest in the collection? How about when the same faces keep turning up to watch at accidents? Try The Crowd (1943). You know when you鈥檝e had that feeling of being followed home but then there鈥檚 no-one there? Try The Night (1946). (I鈥檓 not going to mention too many stories here, as I think part of the fun of this collection is not knowing much about the stories in advance.)
To give elements of lighter mood, there is also the odd quirkily amusing nostalgia story thrown in too (The Homecoming, The Traveller, Uncle Einar.) With that in mind, I think that The Homecoming may not be the best start to the collection. As one of the so-called 鈥楨lliott family鈥� stories, it鈥檚 about a family of various horrors 鈥� vampires, ghosts, werewolves, etc. who all live together. It鈥檚 cute and made me think of Charles Addams鈥檚 The Addams family, which may be intentional (The Addams family were first published in 1937, The Homecoming first published in 1946.) But it is a light beginning to the collection 鈥� it鈥檚 only after that that the stories, on the whole, become darker and creepier.
Of the stories not published for a long while, The Maiden is short, odd and memorable, a story of decapitation by guillotine 鈥� and uses the word 鈥榦rgasm鈥�, which may have been the reason for its subsequent omission in later editions. The Night Sets I found to be better, as the short but atmospheric story of a ghost being fetched from a film set, 听Reunion is an addition to the Elliott stories and good humoured if perhaps a little unnecessary, and Interim is a short听 burst of a story straight out of Weird Tales, with its bodies rising from the dead and all. In summary, they are worth a read but I can see why they were omitted for years. They are relatively minor works.
听
As these stories were published originally in the 1940鈥檚 it must be said that there are elements that may not sit well with a modern audience 鈥� references to 鈥楴egroes鈥� are a little jarring, but they are written with some respect for their time. The so-called Mexican stories (such as the novella-length The Last in Line (1947) in this book) could also be seen as rather racist today also, but I guess at the time they highlighted cultures that were less well known to most Americans. Remember at this time the main readership of pulp magazines were white WASP males, although there were always exceptions.
听
Admittedly Bradbury may have written better work, more complex stories more poetical, more heartfelt stories than these in his later years 鈥� this was his first story collection, after all. And yet cumulatively they create a sense of unease, of creepiness, all written up in vivid language 鈥� think Hitchcock movies in prose 鈥� anyone who鈥檚 ever read some of Alfred Hitchcock story collections will get the idea. (And in fact, Bradbury did have four of these stories in those collections.)听 They are of a lost world, a time when settlements were often small, neighbourhoods and neighbours were important, and mobile phones were a science fiction dream.
Admittedly, even I will admit that some stories that work less well than others 鈥� I found that some of the comedic elements of stories such as 鈥�The Dead Man鈥� (1945) have dated, although this particular story turns itself into something less mean by the end. But this is a collection about the breadth rather than the depth, after all. Things were simpler then, I guess.
The biggest downside, if there is one, is that some of the stories may seem obvious or familiar, having being copied by others so often since. I must also say that some of them do show an author still finding his voice, although I am still amazed that Bradbury wrote these when he was only somewhere between 23 and 27 years old.
On a minor point, whilst I think that the original Arkham House cover was bad (Bradbury allegedly hated it himself!) and the 1948 UK cover by Hamish Hamilton just as bad, I think that the new cover does the book no favours at all 鈥� simplistic, cheap-looking, the sort of thing that looks like it was made up in 10 minutes on Photoshop. It may not necessarily attract people to pick the book up, which is a real shame. (鈥淚t鈥檚 a circus book!鈥�)
However, if we concentrate upon the prose, if you want to see why Bradbury was so well regarded in the 1940鈥檚, then this collection is a must. Whilst Fahrenheit 451 (published 1953) and Something Wicked The Way Comes (published 1962) show more complexity and depth, Dark Carnival shows Bradbury鈥檚 range as an author of stories. Full of ideas, funny (both in humorous sense as well as听 odd), eerie, nostalgic and yes - weird, they encapsulate Bradbury鈥檚 early strengths in short form - brief but memorable, poetic and creepy, even gleefully gory. I will keep coming back to reread these in this particular collection. I would recommend that you don鈥檛 read this collection all at once, but take your time to work through it for the stories to have their fullest impact. It鈥檚 worth it-听 after all, 听It鈥檚 only taken me 44 years, but I鈥檝e finally got what I wanted. The wait was worthwhile!
July 25, 2008
This is a welcome edition (caveats below), with B/W thumbnail reproductions of the covers for the magazines in which the stories first appeared, informative introductions, a few extra stories written at the same time, reproductions of some of Bradbury's typed manuscripts, etc. It should also be noted that some of the stories, notably "The Emissary" appear in simpler versions, which vary markedly from the versions reprinted in OCTOBER COUNTRY.
The book is expensive, and it is a pity that after expending so much time and money on the extra features for this edition, the editors did not take more care with the actual texts, which suffer from inconsistent capitalizations, random spelling/scanning errors, awkward line-breaks, etc. They also discuss the various designs for cover art of the Arkham House edition without reproducing either the drafts or the finished cover! It is as if those involved in the book were so busy adding good things to it that no one thought to look over the final product once more before sending it to the printer. Therefore what could have been a great book is merely am interesting one.
The book is expensive, and it is a pity that after expending so much time and money on the extra features for this edition, the editors did not take more care with the actual texts, which suffer from inconsistent capitalizations, random spelling/scanning errors, awkward line-breaks, etc. They also discuss the various designs for cover art of the Arkham House edition without reproducing either the drafts or the finished cover! It is as if those involved in the book were so busy adding good things to it that no one thought to look over the final product once more before sending it to the printer. Therefore what could have been a great book is merely am interesting one.
May 15, 2017
Man, this collection of short stories of horror, by the sci-fi legend Ray Bradbury, which started so promisingly, went downhill in the latter half. I read the first 2/3rds of the book in a couple of sittings, but struggled on the last third over a fortnight.
This feeling intensified, especially as I read the last tale, of a women stuck in a ghastly Mexican town, who can't seem to be able to leave. Bradbury describes in detail how time slows down for her, with every hour, every minute dragging on. And this mirrored my own mind so eerily accurately, as I felt my teeth gnash as I tried to finish the book.
The stories contained herein, though the belong squarely in the horror genre, are seldom scary. Most of them have twists at the end, some of them fiendishly clever, others not so much.
3 of the stories are about a family of monsters, a dark variation on the stereotypical large American family, with vampire fathers and werewolf uncles.
The uneven quality of the stories, stops this book from achieving true horror greatness.
This feeling intensified, especially as I read the last tale, of a women stuck in a ghastly Mexican town, who can't seem to be able to leave. Bradbury describes in detail how time slows down for her, with every hour, every minute dragging on. And this mirrored my own mind so eerily accurately, as I felt my teeth gnash as I tried to finish the book.
The stories contained herein, though the belong squarely in the horror genre, are seldom scary. Most of them have twists at the end, some of them fiendishly clever, others not so much.
3 of the stories are about a family of monsters, a dark variation on the stereotypical large American family, with vampire fathers and werewolf uncles.
The uneven quality of the stories, stops this book from achieving true horror greatness.
June 26, 2012
This collection of early "weird" short stories was interesting - not all are great but there are a few standouts. All in one book, the quality is uneven but it would have been so cool to come across one of these dark stories in Mademoiselle magazine in, say, 1945.
The Smiling People: Creepy story with the ending you were dreading.
The Emissary - okay this story scared me - I did do a running jump on to my bed in the dark after reading in order to avoid whatever was underneath. Yes I am 40 years old. What! The story ends with scary, slow footsteps coming up the stairs!
The Coffin - fun as hell to read!
Jack-In-The-Box: A child raised isolated in a victorian mansion by his insane mom - good stuff!
The Man Upstairs: Who or what is the creepy sleeper in the bedroom upstairs? Ugh - not really sure as it turns out. Which is worse than finding out!
The Smiling People: Creepy story with the ending you were dreading.
The Emissary - okay this story scared me - I did do a running jump on to my bed in the dark after reading in order to avoid whatever was underneath. Yes I am 40 years old. What! The story ends with scary, slow footsteps coming up the stairs!
The Coffin - fun as hell to read!
Jack-In-The-Box: A child raised isolated in a victorian mansion by his insane mom - good stuff!
The Man Upstairs: Who or what is the creepy sleeper in the bedroom upstairs? Ugh - not really sure as it turns out. Which is worse than finding out!
March 31, 2010
Bradbury's first book has 27 stories in the horror vein, some of which seem tailor-made for the EC comics that came along a few years later. A few qualify as juvenilia, some are interesting-to-good and a few are creepily brilliant, especially Homecoming, Skeleton and The Small Assassin. I wondered for years what this book was like. For all but the diehards, The October Country (in which the best are reprinted) will suffice.
September 23, 2014
I definitely enjoyed this more than Driving Blind. The stories seemed to be better paced, with much more engaging characters, and several stories that actually gave me a good case of the creeps, this was an enjoyable read.
March 3, 2008
It's basically The October Country, but there certainly are some differences. If you can find it, read it. If not, read October Country.
November 23, 2016
I think I read every short story from Bradbury at least 3 times already but I will read them many, many more.
August 19, 2024
I don't borrow books from the library anymore, because I have enough of my own to be reading, but when I saw this I pounced. A reprint of Ray Bradbury's first collection, originally published in 1947.
The first thing that impressed me is how hefty it is. Nosing towards five hundred pages. The second is that there were stories here I hadn't read before. I recognised most of the stories from various other collections but there were also four stories new to me.
The first story, 'The Homecoming' (but I remember it as being called just 'Homecoming' in other places I encountered it) was the first Bradbury story I ever read, when I was about 12, in some anthology or other, I think it was MONSTER MUSEUM. Like a more sinister episode of The Addams Family. I am wondering if the story was edited down for later appearances. This version seems longer than the way I remember it, with curious references to WW2. I'm not quite sure those references don't detract from the atmosphere a little.
Let's consider just a few of the other stories in the collection in order of appearance...
The second story in the collection, 'Skeleton', is about how a man who is scared of skeletons suddenly realises that he has one inside him. I first read this story forty years ago and it seems I have misremembered it. I thought that Harris, the narrator, escapes from his skeleton on his own, but in fact he uses the services of a sinister occult doctor, who shrinks himself and eats Harris' bones from the inside. But I remembered the ending well enough. Harris' wife comes home to find a jellyfish in the living room. She isn't horrified by such creatures ordinarily, but it's a different matter "when the jellyfish called you by name." Fantastic story. Classic Bradbury.
The following stories ('The Jar', 'The Lake', 'The Maiden', 'The Tombstone', 'The Smiling People', etc) are good enough, but in my view there's nothing truly memorable again until 'Jack-in-the-Box' which is definitely one of the best stories in the book. Funnily enough, when I first read it, decades ago, I didn't like it too much. And I remembered it as having a science fiction element, which in fact it doesn't have. In my memory, the teacher on the upper floor of the house was a robot, not the boy's own mother. Did Bradbury rewrite the story or have I misremembered it? But it works here beautifully.
'The Scythe' is a Bradbury story that is close to being perfect. I have always loved this tale, this modern fable about the necessity for death and change. It's a remarkable work truly, grim and yet oddly life-affirming.
'Uncle Einar' is a story in a loose series that is connected with 'The Homecoming' and it's another story I think I have misremembered. I thought that Uncle Einar had been struck by lightning and his wings had shrivelled so he could no longer fly. Then a child straps him to a kite and he can fly again. But in fact he flies into a power pylon which doesn't damage his wings at all but reduces his night vision so he can no longer fly at night, and if he flies in the day he is more likely to be spotted and reported to the authorities. Therefore he only pretends to be a kite to avoid attracting too much unwanted attention.
'The Man Upstairs' on the face of it is a fairly ordinary vampire story. What makes it different is the curious geometrical anatomy of the vampire character.
'The Night Sets', the best of the four stories in this book that were wholly new to me. A very short but effective flash fiction that is really quite surreal.
'Cistern' is beautifully poetic and yet horrible. A story about a weird obsession or distorted imagination that results in a destructive madness. This is a really powerful piece of work if you happen to be in the right mood for it.
'The Next in Line'. Possibly the most effective horror story in this book. A story about the horror of death, but more than this, about the horror of the outsider when confromting different attitudes to death and different customs. Bradbury wrote several stories set in Mexico that are horror stories and among the best things he ever wrote. He seems to have be traumatised by a visit to the country and he regarded Mexico as a land of death cults (he was especially disturbed by "candy skulls").
Bradbury at his best was one of the best; at his worst he was cringingly terrible. DARK CARNIVAL shows him mostly at his best. He was one of the biggest influences on my own writing. He is, to me, what Lovecraft is to many of you, a sort of fundamental resource and inspiration...
The first thing that impressed me is how hefty it is. Nosing towards five hundred pages. The second is that there were stories here I hadn't read before. I recognised most of the stories from various other collections but there were also four stories new to me.
The first story, 'The Homecoming' (but I remember it as being called just 'Homecoming' in other places I encountered it) was the first Bradbury story I ever read, when I was about 12, in some anthology or other, I think it was MONSTER MUSEUM. Like a more sinister episode of The Addams Family. I am wondering if the story was edited down for later appearances. This version seems longer than the way I remember it, with curious references to WW2. I'm not quite sure those references don't detract from the atmosphere a little.
Let's consider just a few of the other stories in the collection in order of appearance...
The second story in the collection, 'Skeleton', is about how a man who is scared of skeletons suddenly realises that he has one inside him. I first read this story forty years ago and it seems I have misremembered it. I thought that Harris, the narrator, escapes from his skeleton on his own, but in fact he uses the services of a sinister occult doctor, who shrinks himself and eats Harris' bones from the inside. But I remembered the ending well enough. Harris' wife comes home to find a jellyfish in the living room. She isn't horrified by such creatures ordinarily, but it's a different matter "when the jellyfish called you by name." Fantastic story. Classic Bradbury.
The following stories ('The Jar', 'The Lake', 'The Maiden', 'The Tombstone', 'The Smiling People', etc) are good enough, but in my view there's nothing truly memorable again until 'Jack-in-the-Box' which is definitely one of the best stories in the book. Funnily enough, when I first read it, decades ago, I didn't like it too much. And I remembered it as having a science fiction element, which in fact it doesn't have. In my memory, the teacher on the upper floor of the house was a robot, not the boy's own mother. Did Bradbury rewrite the story or have I misremembered it? But it works here beautifully.
'The Scythe' is a Bradbury story that is close to being perfect. I have always loved this tale, this modern fable about the necessity for death and change. It's a remarkable work truly, grim and yet oddly life-affirming.
'Uncle Einar' is a story in a loose series that is connected with 'The Homecoming' and it's another story I think I have misremembered. I thought that Uncle Einar had been struck by lightning and his wings had shrivelled so he could no longer fly. Then a child straps him to a kite and he can fly again. But in fact he flies into a power pylon which doesn't damage his wings at all but reduces his night vision so he can no longer fly at night, and if he flies in the day he is more likely to be spotted and reported to the authorities. Therefore he only pretends to be a kite to avoid attracting too much unwanted attention.
'The Man Upstairs' on the face of it is a fairly ordinary vampire story. What makes it different is the curious geometrical anatomy of the vampire character.
'The Night Sets', the best of the four stories in this book that were wholly new to me. A very short but effective flash fiction that is really quite surreal.
'Cistern' is beautifully poetic and yet horrible. A story about a weird obsession or distorted imagination that results in a destructive madness. This is a really powerful piece of work if you happen to be in the right mood for it.
'The Next in Line'. Possibly the most effective horror story in this book. A story about the horror of death, but more than this, about the horror of the outsider when confromting different attitudes to death and different customs. Bradbury wrote several stories set in Mexico that are horror stories and among the best things he ever wrote. He seems to have be traumatised by a visit to the country and he regarded Mexico as a land of death cults (he was especially disturbed by "candy skulls").
Bradbury at his best was one of the best; at his worst he was cringingly terrible. DARK CARNIVAL shows him mostly at his best. He was one of the biggest influences on my own writing. He is, to me, what Lovecraft is to many of you, a sort of fundamental resource and inspiration...
August 3, 2024
Dark Carnival by Ray Bradbury. Admit one for imagination and total macabre. I adore this book's dark intonations and sinister vibrations; you will be lost and caught like a spider within its pages. I have read almost everything Ray Bradbury has written during my lifetime, with one or two exceptions. This collection of tales of creeping horror hallmarks Bradbury's career that veers into his future masterworks, which evolved into his other classics. It has an unsettling tone to this anthology - as if you are about to jump out of your skin. Let the tent poles unfurl and enter.
I have never read some of these short stories, but I am familiar with many of them.
A few of my favourites include The Homecoming, where we are introduced to Cecy Elliot, the original Wednesday Adams. Where Cecy and Wednesday differ, Cecy is a telepath and a wandering Witch. Ray and Charles Adams, the creator of his eponymous Adams Family, were about to collaborate on a book project. This union, unfortunately, didn't come to be, as Adams passed away. Wednesday is portrayed nowadays as a moody teenage gothic persona. However, Cecy takes it to another sinister level in this, her first appearance. I would dearly love to see a movie made or a series of Bradbury's later work that features the whole Elliot clan, "From The Dust Returns鈥�.
Next, The Emissary. Martin is a boy around the age of eleven and is quite ill and bedbound. His dog, Torry, is a labrador retriever. Torry is a good dog whenever he brings visitors to Martin's bedside. The dog goes astray one day and disappears. Martin's mom comes to his bedside to tell him a friendly neighbour has died. But Torry is a bad dog because he digs up bones in the graveyard. Martin is overjoyed whenever the dog returns home with another visitor, a dreadful, ghastly one 鈥�
The Jar is just a perfect horror story. "It was just one of those things they keep in a jar in the tent of a sideshow on the outskirts of a little, drowsy town."
Charlie is a hick from the bayou who becomes enthralled with the contents of the Jar and buys it from the Carny proprietor. He brings it to Wilder's Hollow, where he ekes out a living on the edge of a swampland. He invites his neighbours to guess what is contained within its mysterious contents. His wife, Theady, is sceptical and jealous of the thing, along with another neighbour, Tom Carmody and together they conspire against Charlie.
But Charlie has plans of his own. Theady gets her comeuppance when Charlie fixes his problems by unscrewing The Jar ...
Now, we turn our attention to The Scythe. Drew Erickson is a dirt farmer who has fallen on the hardest of times. This story is straight out of the twilight zone. His family finds refuge in an old, dusty, creaking, abandoned farmhouse out by the boondocks. The house is surrounded by wheatfields from horizon to horizon, as far as the eye can see. They search the house, finding food, water and shelter.
Upstairs, Drew discovers an old man. Who appears to be not long dead lying on a bed, in his funeral attire. A Scythe hangs perched high on a wall beside him. In the ancient hands, there is a golden, ripened blade of wheat. On the pillow opposite, the man's last will and testimony.
The deceased man's name is John Buhr. Written on the parchment is a deed bequeathing the land, the farmlands to the new occupants - and the Scythe. There are words inscribed on the gleaming blade ... ''Who he wields me - wields the world."
The wheatfield is strange. When Drew attends the fields with his Scythe the foison grows and ripens weirdly and rapidly, first seedlings, then vast clusters, then it ripens.
The grain needed to be cut. Drew knew it instinctively. What he didn't fathom was why. He avoids some patches of wheat, knowing somehow they are different from the rest.
Then, the sudden realisation falls when the farmhouse burns down, his family are the wheat to be harvested!
Stephen King mentions this story in his works. And Alan Moore in V - for Vendetta, where Evie and V discuss the story in the rose garden.
All in all, this is a magnificent collection. Well worth the entrance ticket. Price, one soul. Ray Bradbury has captured mine - now and forever
Jonathan Fisher author.
I have never read some of these short stories, but I am familiar with many of them.
A few of my favourites include The Homecoming, where we are introduced to Cecy Elliot, the original Wednesday Adams. Where Cecy and Wednesday differ, Cecy is a telepath and a wandering Witch. Ray and Charles Adams, the creator of his eponymous Adams Family, were about to collaborate on a book project. This union, unfortunately, didn't come to be, as Adams passed away. Wednesday is portrayed nowadays as a moody teenage gothic persona. However, Cecy takes it to another sinister level in this, her first appearance. I would dearly love to see a movie made or a series of Bradbury's later work that features the whole Elliot clan, "From The Dust Returns鈥�.
Next, The Emissary. Martin is a boy around the age of eleven and is quite ill and bedbound. His dog, Torry, is a labrador retriever. Torry is a good dog whenever he brings visitors to Martin's bedside. The dog goes astray one day and disappears. Martin's mom comes to his bedside to tell him a friendly neighbour has died. But Torry is a bad dog because he digs up bones in the graveyard. Martin is overjoyed whenever the dog returns home with another visitor, a dreadful, ghastly one 鈥�
The Jar is just a perfect horror story. "It was just one of those things they keep in a jar in the tent of a sideshow on the outskirts of a little, drowsy town."
Charlie is a hick from the bayou who becomes enthralled with the contents of the Jar and buys it from the Carny proprietor. He brings it to Wilder's Hollow, where he ekes out a living on the edge of a swampland. He invites his neighbours to guess what is contained within its mysterious contents. His wife, Theady, is sceptical and jealous of the thing, along with another neighbour, Tom Carmody and together they conspire against Charlie.
But Charlie has plans of his own. Theady gets her comeuppance when Charlie fixes his problems by unscrewing The Jar ...
Now, we turn our attention to The Scythe. Drew Erickson is a dirt farmer who has fallen on the hardest of times. This story is straight out of the twilight zone. His family finds refuge in an old, dusty, creaking, abandoned farmhouse out by the boondocks. The house is surrounded by wheatfields from horizon to horizon, as far as the eye can see. They search the house, finding food, water and shelter.
Upstairs, Drew discovers an old man. Who appears to be not long dead lying on a bed, in his funeral attire. A Scythe hangs perched high on a wall beside him. In the ancient hands, there is a golden, ripened blade of wheat. On the pillow opposite, the man's last will and testimony.
The deceased man's name is John Buhr. Written on the parchment is a deed bequeathing the land, the farmlands to the new occupants - and the Scythe. There are words inscribed on the gleaming blade ... ''Who he wields me - wields the world."
The wheatfield is strange. When Drew attends the fields with his Scythe the foison grows and ripens weirdly and rapidly, first seedlings, then vast clusters, then it ripens.
The grain needed to be cut. Drew knew it instinctively. What he didn't fathom was why. He avoids some patches of wheat, knowing somehow they are different from the rest.
Then, the sudden realisation falls when the farmhouse burns down, his family are the wheat to be harvested!
Stephen King mentions this story in his works. And Alan Moore in V - for Vendetta, where Evie and V discuss the story in the rose garden.
All in all, this is a magnificent collection. Well worth the entrance ticket. Price, one soul. Ray Bradbury has captured mine - now and forever
Jonathan Fisher author.
April 7, 2022
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N谩hrobn铆 k谩men - Op臎t velmi 膷tiv谩 pov铆dka s dost neo膷ek谩van媒m koncem.
Cestovatelka 鈥� Autor d臎j zasadil do stejn茅ho up铆rsk茅ho prost艡ed铆 jako prvn铆 Rodinnou se拧lost. Na rozd铆l od t茅to pov铆dky se mi v拧ak Cestovatelka l铆bila a op臎t m臎la docela neo膷ek谩van茅 rozuzlen铆, kter茅 se mi na pov铆dk谩ch l铆b铆, kdy啪 u啪 si teda n臎kdy n臎jakou p艡e膷tu.
Mal媒 vrah 鈥� Tohle je p艡esn臎 ta pov铆dka, u kter茅 jsem obdivovala odvahu ji ve 膷ty艡ic谩t媒ch letech napsat. Jedn谩 se o pov铆dku o matce, kter谩 si projde velmi komplikovan媒m porodem, kdy opravdu za啪ije velik茅 trauma a n谩sledn臎 sv茅 narozen茅 d铆t臎 nen谩vid铆. Pr谩v臎 vztah matky a d铆t臎te je v t茅to pov铆dce z谩sadn铆m. I kdy啪 by mnoho 膷ten谩艡暖 matku za svoje chov谩n铆 odsoudilo, mn臎 j铆 bylo i l铆to. Jedn谩 se o citliv茅 t茅ma, kdy se vsad铆m, 啪e mu啪拧t铆 膷ten谩艡i na hlavn铆 hrdinku budou nahl铆啪et pouze negativn臎. Mysl铆m, 啪e ji budou ch谩pat jen n臎kter茅 啪ensk茅 膷ten谩艡ky.
窜谩蝉迟耻辫 - Dal拧铆 z dost d臎siv媒ch pov铆dek, kterou jsem 膷etla p艡ed span铆m a nem臎la jsem to 煤pln臎 d臎lat. Je拧t臎 d臎siv臎j拧铆 je, 啪e p艡铆b臎h obrovsk茅ho z谩stupu lid铆 z m铆sta, kter茅 vypadalo skoro neobydlen臎, je podle skute膷n茅 autorovy vzpom铆nky.
Rakev 鈥� Velmi stra拧ideln谩 pov铆dka, kter谩 m臎 dost p艡ekvapila sv媒m koncem. Graduje opravdu a啪 do neuv臎艡iteln茅ho fin谩le.
Kosa 鈥� Tahle pov铆dka bude pat艡it asi k m媒m nejobl铆ben臎j拧铆m. Autor dal dohromady tematiku kosy jako n谩stroje pro zem臎d臎lce i pro smrtku. A povedlo se mu to opravdu n谩ramn臎. Opravdu jsem obdivovala autorovu p艡edstavivost.
Knize v拧ak i p艡esto d谩v谩m pouze t艡i hv臎zdi膷ky. Hlavn臎 v posledn铆 膷谩sti knihy se na拧lo plno pov铆dek, kter茅 u啪 m臎 tolik nezaujaly. Mo啪n谩 se k tomuto hodnocen铆 prost臎 p艡id谩v谩 i skute膷nost, 啪e p艡铆li拧 fanou拧kem pov铆dek nejsem. Ale pokud se najde 膷ten谩艡, kter媒 m谩 r谩d hororov茅, stra拧ideln茅 pov铆dky, mnohdy s neo膷ek谩van媒m koncem, pak se mu ur膷it臎 tato kniha bude l铆bit.
Mus铆m knihu hodnotit jako celek - n臎kter茅 z pov铆dek m臎 opravdu nevzaly jako t艡eba 煤pln臎 prvn铆 Rodinn谩 se拧lost a posledn铆 Dal拧铆 v 艡ad臎. Vedle toho se v拧ak zde vyskytlo mnoho pov铆dek, u kter媒ch jsem si a啪 艡铆kala, 啪e autor se neb谩l mluvit o t茅matech, kter茅 musely b媒t v 膷ty艡ic谩t媒ch letech je拧t臎 docela tabu. Toto byly pov铆dky, kter茅 se mi opravdu l铆bily (ale bez velk媒ch spoiler暖, tak啪e to bude dost 煤tr啪kovit茅):
Kostra 鈥� Tato pov铆dka byla opravdu 膷tiv谩, m臎la rychl媒 sp谩d a autor se mo啪n谩 i tro拧ku sna啪il pouk谩zat na poruchy p艡铆jmu potravy a celkovou a啪 p艡铆li拧nou zaujatost vlastn铆m vzhledem.
Jezero 鈥� Pov铆dka podle skute膷n茅 ud谩losti, kter谩 se autorovi v d臎tstv铆 stala. Tahle pov铆dka nen铆 ani tolik hororov谩, jako sp铆拧e vzpom铆nkov谩 a pln谩 nostalgie, kdy se autor vrac铆 do sv茅 minulosti a sna啪铆 se s n铆 vyrovnat.
N谩hrobn铆 k谩men - Op臎t velmi 膷tiv谩 pov铆dka s dost neo膷ek谩van媒m koncem.
Cestovatelka 鈥� Autor d臎j zasadil do stejn茅ho up铆rsk茅ho prost艡ed铆 jako prvn铆 Rodinnou se拧lost. Na rozd铆l od t茅to pov铆dky se mi v拧ak Cestovatelka l铆bila a op臎t m臎la docela neo膷ek谩van茅 rozuzlen铆, kter茅 se mi na pov铆dk谩ch l铆b铆, kdy啪 u啪 si teda n臎kdy n臎jakou p艡e膷tu.
Mal媒 vrah 鈥� Tohle je p艡esn臎 ta pov铆dka, u kter茅 jsem obdivovala odvahu ji ve 膷ty艡ic谩t媒ch letech napsat. Jedn谩 se o pov铆dku o matce, kter谩 si projde velmi komplikovan媒m porodem, kdy opravdu za啪ije velik茅 trauma a n谩sledn臎 sv茅 narozen茅 d铆t臎 nen谩vid铆. Pr谩v臎 vztah matky a d铆t臎te je v t茅to pov铆dce z谩sadn铆m. I kdy啪 by mnoho 膷ten谩艡暖 matku za svoje chov谩n铆 odsoudilo, mn臎 j铆 bylo i l铆to. Jedn谩 se o citliv茅 t茅ma, kdy se vsad铆m, 啪e mu啪拧t铆 膷ten谩艡i na hlavn铆 hrdinku budou nahl铆啪et pouze negativn臎. Mysl铆m, 啪e ji budou ch谩pat jen n臎kter茅 啪ensk茅 膷ten谩艡ky.
窜谩蝉迟耻辫 - Dal拧铆 z dost d臎siv媒ch pov铆dek, kterou jsem 膷etla p艡ed span铆m a nem臎la jsem to 煤pln臎 d臎lat. Je拧t臎 d臎siv臎j拧铆 je, 啪e p艡铆b臎h obrovsk茅ho z谩stupu lid铆 z m铆sta, kter茅 vypadalo skoro neobydlen臎, je podle skute膷n茅 autorovy vzpom铆nky.
Rakev 鈥� Velmi stra拧ideln谩 pov铆dka, kter谩 m臎 dost p艡ekvapila sv媒m koncem. Graduje opravdu a啪 do neuv臎艡iteln茅ho fin谩le.
Kosa 鈥� Tahle pov铆dka bude pat艡it asi k m媒m nejobl铆ben臎j拧铆m. Autor dal dohromady tematiku kosy jako n谩stroje pro zem臎d臎lce i pro smrtku. A povedlo se mu to opravdu n谩ramn臎. Opravdu jsem obdivovala autorovu p艡edstavivost.
Knize v拧ak i p艡esto d谩v谩m pouze t艡i hv臎zdi膷ky. Hlavn臎 v posledn铆 膷谩sti knihy se na拧lo plno pov铆dek, kter茅 u啪 m臎 tolik nezaujaly. Mo啪n谩 se k tomuto hodnocen铆 prost臎 p艡id谩v谩 i skute膷nost, 啪e p艡铆li拧 fanou拧kem pov铆dek nejsem. Ale pokud se najde 膷ten谩艡, kter媒 m谩 r谩d hororov茅, stra拧ideln茅 pov铆dky, mnohdy s neo膷ek谩van媒m koncem, pak se mu ur膷it臎 tato kniha bude l铆bit.
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