Brave New Worlds PDF
Preview Brave New Worlds
Annotation When the government wields its power against its own people, every citizen becomes an enemy of the state. Will you fight the system, or be ground to dust beneath the boot of tyranny? In his smash-hit anthologies Wastelands and The Living Dead, acclaimed editor John Joseph Adams showed you what happens when society is utterly wiped away. Now he brings you a glimpse into an equally terrifying future — what happens when civilization invades and dictates every aspect of your life? From 1984 to The Handmaid’s Tale, from Children of Men to Bioshock, the dystopian imagination has been a vital and gripping cautionary force. Brave New Worlds collects 33 of the best tales of totalitarian menace by some of today’s most visionary writers. From Huxley's Brave New World, to Orwell's 1984, to Atwood's The Handmaid's Tale, dystopian books have always been an integral part of both science fiction and literature, and have influenced the broader culture discussion in unique and permanent ways. Brave New Worlds brings together the best dystopian fiction of the last 30 years, demonstrating the diversity that flourishes in this compelling subgenre. This landmark tome contains stories by Ursula K. Le Guin, Cory Doctorow, M. Rickert, Paolo Bacigalupi, Orson Scott Card, Neil Gaiman, Ray Bradbury, and many others. BRAVE NEW WORLDS Introduction The Lottery Red Card Ten With A Flag The Ones Who Walk Away From Omelas Evidence Of Love In A Case Of Abandonment The Funeral O Happy Day! Pervert From Homogenous To Honey Amaryllis Pop Squad Auspicious Eggs Peter Skilling The Things That Make Me Weak And Strange Get Engineered Away The Pearl Diver Dead Space For The Unexpected "Repent, Harlequin!" Said The Ticktockman Is this Your Day To Join The Revolution? Independence Day The Lunatics Sacrament Just Do It Caught In The Organ Draft Geriatric Ward Arties Aren't Stupid Jordan's Waterhammer Of A Sweet Slow Dance In The Wake Of Temporary Dogs Resistance Civilization FOR FURTHER READING compiled by ROSS E. LOCKHART ACKNOWLEDGEMENTS ABOUT THE EDITOR BRAVE NEW WORLDS DYSTOPIAN STORIES For Christie Introduction by JOHN JOSEPH ADAMS Nineteen Eighty-Four, Fahrenheit 451, and, of course, the book this anthology is named for—Brave New World—are the cornerstones of dystopian literature in novel form, but there has never, to my knowledge, been an anthology collecting all the best, classic works of dystopian short fiction in one volume. This book aims to do exactly that, spanning from 1948 to the present day, from what is perhaps The classic dystopian short story—"The Lottery" by Shirley Jackson — to stories just published in the last two years but which will surely stand the test of time. The roots of the word dystopia — dys-and — topia — are from the Ancient Greek for "bad" and "place," and so we use the term to describe an unfavorable society in which to live. "Dystopia" is not a synonym for "post-apocalyptic"; it also is not a synonym for a bleak, or darkly imagined future. In a dystopian story, society itself is typically the antagonist; it is society that is actively working against the protagonist's aims and desires. This oppression frequently is enacted by a totalitarian or authoritarian government, resulting in the loss of civil liberties and untenable living conditions, caused by any number of circumstances, such as world overpopulation, laws controlling a person's sexual or reproductive freedom, and living under constant surveillance. Whether or not a society is perceived as a dystopia is usually determined by one's point of view; what one person may consider to be a horrible dystopia, another may find completely acceptable or even nigh-utopian. For instance, if you don't care about procreating, then living in a world in which the birth rate is strictly regulated wouldn't seem very dystopic to you; to someone who values that very much, however, having society tell you how, when (or how often) you can procreate would seem like something out of a nightmare. Or a person who doesn't enjoy reading or intellectual thinking might not care if books are banned. or even hunted down and destroyed, as in Fahrenheit 451, whereas you, dear reader, would probably care very much. Many societies in fiction are depicted as utopias when in fact they are dystopias; like angels and demons, the two are sides of the same coin. This seemingly paradoxical situation can arise because, in a dystopia, the society often gives up A in exchange for B, but the benefit of B blinds the society to the loss of A; it is often not until many years later that the loss of A is truly felt, and the citizens come to realize that the world they once thought acceptable (or even ideal) is not the world they thought it was. That's part of what is so compelling — and insidious — about dystopian fiction: the idea that you could be living in a dystopia and not even know it. Dystopias are often seen as "cautionary tales," but the best dystopias are not didactic screeds, and the best dystopias do not draw their power from whatever political/societal point they might be making; the best dystopias speak to the deeper meanings of what it is to be one small part of a teeming civilization. and of what it is to be human. And so here are thirty-three such stories, representing the best of what dystopian fiction has to offer. So read them, and be glad that doing so won't bring firemen to your door to burn all your books — and your house with them. * The following stories included in the Brave New Worlds trade paperback (9781-59780-221-5) have not been approved for electronic release by the Ministry of Truth and Decency: "Billennium," by J. G. Ballard; "The Pedestrian," by Ray Bradbury; “The Minority Report," by Philip K. Dick; and "Harrison Bergeron," by Kurt Vonnegut, Jr. Possession of unauthorized electronic versions of these stories may result in incarceration, disenfranchisement, or revocation of citizenship under the New Millennium Copyright and Loyalty Act (BNW-165A) of 2011. Save the State! Report all Pinks! The Lottery by SHIRLEY JACKSON Shirley Jackson, best known for penning this classic story, was the author of several novels, such as We Have Always Lived in the Castle and The Haunting of Hill House, The latter of which has been adapted to film twice (both times as The Haunting). She is also the author of dozens of short stories, which appeared in magazines including The New Yorker, Collier's, Good Housekeeping, Harper's, Mademoiselle, The New Republic, and The Magazine of Fantasy & Science Fiction. Frequently anthologized and taught in classrooms around the world, "The Lottery" is a masterwork of dystopian fiction, and is a story whose influence can be felt in several of the other stories in this anthology. Literature of the early twentieth-century is rich with characters struggling to understand the dwindling importance of rural life. Whether the small towns and agrarian communities were rejected by the characters or if their loss left them pining, there could be no doubt that rural communities were drying up. From Sherwood Anderson to John Steinbeck to the stage of Thornton Wilder, writer after writer tried to capture the end of era. Science fiction and fantasy writers tackled the topic, too. Many of Ray Bradbury's greatest pieces are saturated with nostalgia for lost times in little country towns. In our first story, we offer you one of those small towns, a place not so different from Bradbury's beloved Green Town, Illinois. Like Green Town, it's full of ordinary people working hard to get by, who are drawn together by an annual ritual. * The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green. The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 26th, but in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner. The children assembled first, of course. School was recently over for the summer, and the feeling of liberty sat uneasily on most of them; they tended to gather together quietly for a while before they broke into boisterous play, and their talk was still of the classroom and the teacher, of books and reprimands. Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example, selecting the smoothest and roundest stones; Bobby and Harry Jones and Dickie Delacroix — the villagers pronounced this name "Dellacroy" — eventually made a great pile of stones in one corner of the square and guarded it against the raids of the other boys. The girls stood aside, talking among themselves, looking over their shoulders at the boys, and the very small children rolled in the dust or clung to the hands of their older brothers or sisters. Soon the men began to gather, surveying their own children, speaking of planting and rain, tractors and taxes. They stood together, away from the pile of stones in the corner, and their jokes were quiet and they smiled rather than laughed. The women, wearing faded house dresses and sweaters, came shortly after their menfolk. They greeted one another and exchanged bits of gossip as they went to join their husbands. Soon the women, standing by their husbands, began to call to their children, and the children came reluctantly, having to be called four or five times. Bobby Martin ducked under his mother's grasping hand and ran, laughing, back to the pile of stones. His father spoke up sharply, and Bobby came quickly and took his place between his father and his oldest brother. The Lottery was conducted — as were the square dances, the teenage club, the Halloween program — by Mr. Summers, who had time and energy to devote to civic activities. He was a round-faced, jovial man and he ran the coal business, and people were sorry for him, because he had no children and his wife was a scold. When he arrived in the square, carrying the black wooden box, there was a murmur of conversation among the villagers, and he waved and called, "Little late today, folks. " the postmaster, Mr. Graves, followed him, carrying a three-legged stool, and the stool was put in the center of the square and Mr. Summers set the black box down on it. The villagers kept their distance, leaving a space between themselves and the stool, and when Mr. Summers said, "Some of you fellows want to give me a hand?" there was a hesitation before two men, Mr. Martin and his oldest son, Baxter, came forward to hold the box steady on the stool while Mr. Summers stirred up the papers inside it. The original paraphernalia for the lottery had been lost long ago, and the black box now resting on the stool had been put into use even before Old Man Warner, the oldest man in town, was born. Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box. There was a story that the present box had been made with some pieces of the box that had preceded it, the one that had been constructed when the first people settled down to make a village here. Every year, after the lottery, Mr. Summers began talking again about a new box, but every year the subject was allowed to fade off without anything's being done. The black box grew shabbier each year; by now it was no longer completely black but splintered badly along one side to show the original wood color, and in some places faded or stained. Mr. Martin and his oldest son, Baxter, held the black box securely on the stool until Mr. Summers had stirred the papers thoroughly with his hand. Because so much of the ritual had been forgotten or discarded, Mr. Summers had been successful in having slips of paper substituted for the chips of wood that had been used for generations. Chips of wood, Mr. Summers had argued, had been all very well when the village was tiny, but now that the population was more than three hundred and likely to keep on growing, it was necessary to use something that would fit more easily into the black box. The night before the lottery, Mr. Summers and Mr. Graves made up the slips of paper and put them in the box, and it was then taken to the safe of Mr. Summers's coal company and locked up until Mr. Summers was ready to take it to the square next morning. The rest of the year, the box was put away, sometimes one place, sometimes another; it had spent one year in Mr. Graves's barn and another year underfoot in the post office, and sometimes it was set on a shelf in the Martin grocery and left there. There was a great deal of fussing to be done before Mr. Summers declared the lottery open. There were the lists to make up — of heads of families, heads of households in each family, members of each household in each family. There was the proper swearing-in of Mr. Summers by the postmaster, as the official of the lottery; at one time, some people remembered, there had been a recital of some sort, performed by the official of the lottery, a perfunctory, tuneless chant that had been rattled off duly each year; some people believed that the official of the lottery used to stand just so when he said or sang it, others believed that he was supposed to walk among the people, but years and years ago this part of the ritual had been allowed to lapse. There had been, also, a ritual salute, which the official of the lottery had had to use in addressing each person who came up to draw from the box, but this also had changed with time, until now it was felt necessary only for the official to speak to each person approaching. Mr. Summers was very good at all this; in his clean white shirt and blue jeans, with one hand resting carelessly on the black box, he seemed very proper and important as he talked interminably to Mr. Graves and the Martins. Just as Mr. Summers finally left off talking and turned to the assembled villagers, Mrs. Hutchinson came hurriedly along the path to the square, her sweater thrown over her shoulders, and slid into place in the back of the crowd. "Clean forgot what day it was," she said to Mrs. Delacroix, who stood next to her, and they both laughed softly. "thought my old man was out back stacking wood," Mrs. Hutchinson went on, "and then I looked out the window and the kids was gone, and then I remembered it was the twenty-seventh and came a- running. " She dried her hands on her apron, and Mrs. Delacroix said, "You're in time, though. They're still talking away up there. " Mrs. Hutchinson craned her neck to see through the crowd and found her husband and children standing near the front. She tapped Mrs. Delacroix on the arm as a farewell and began to make her way through the crowd. The people separated good-humoredly to let her through; two or three people said, in voices just loud enough to be heard across the crowd, "Here comes your Missus, Hutchinson," and "Bill, she made it after all. " Mrs. Hutchinson reached her husband, and Mr. Summers, who had been waiting, said cheerfully, "Thought we were going to have to get on without you, Tessie." Mrs. Hutchinson said, grinning, ‘Wouldn't have me leave m'dishes in the sink, now, would you, Joe?" and soft laughter ran through the crowd as the people stirred back into position after Mrs. Hutchinson's arrival. "Well, now," Mr. Summers said soberly, "guess we better get started, get this over with, so's we can go back to work. Anybody ain't here?" "Dunbar," several people said. "Dunbar, Dunbar." Mr. Summers consulted his list. "Clyde Dunbar," he said. "that's right. He's broke his leg, hasn't he? Who's drawing for him?" "Me, I guess," a woman said, and Mr. Summers turned to look at her. "Wife draws for her husband," Mr. Summers said. "Don't you have a grown boy to do it for you, Janey?" Although Mr. Summers and everyone else in the village knew the answer perfectly well, it was the business of the official of the lottery to ask such questions formally. Mr. Summers waited with an expression of polite interest while Mrs. Dunbar answered. "Horace's not but sixteen yet," Mrs. Dunbar said regretfully. "Guess I gotta fill in for the old man this year. " "Right," Mr. Summers said. He made a note on the list he was holding. Then he asked, "Watson boy drawing this year?"
The list of books you might like
