Steel and Other Stories
Richard Matheson
I often find short story collections fairly hit-and-miss, with a few gems, a few clunkers, and a bunch of stories that fall contentedly among the middle. This collection, however, seems to fall almost entirely within the realm of mediocrity, with nothing glaringly terrible but only a few hints of magic. The story selection seems a bit uneven and, at times, downright odd; while the collection displays Matheson's remarkable range with convincing attempts at science fiction, fantasy, and westerns, each morsel appears suddenly, and the effect can be a bit jarring when any two offerings are read in sequence without a break. Again, however, the failure is only partial, and the collection's last story, "Window of Time," while a bit awkward in itself, provides a fitting ending, tackling the emotional state of a man traveling through a window of time to his younger self. This kind of introspection pops up occasionally throughout the collection, most notably perhaps in "Steel" and rather frustratingly in "Dear Diary," which has an interesting core concept but which plays it as a joke rather than exploring its potential as a penetrating glance at contentment and desire. The twin themes are similarly dealt with at only a surface level in most other stories, with the exception being "Descent," an absolutely brilliant story that blows the remainder completely out of the water, excelling in ways that the other serious tales do not and achieving a complex emotional effect while taking a slightly different tack than the reader might expect. Here the simple language displays despite its simple fashion a complex longing, and a simple portrait expands to consider some elements of what makes humanity tick- all without desperate moralizing or the distinct thuds of the Obvious Hammer. The story, though brief, is achingly complete despite the plot's seeming irresolution, offering but requiring only few specific details, appropriately chosen and well-deployed.
Much of the collection, however, appears to consist of elaborate jokes- amusing, sure, but somehow pedestrian and often failing to achieve any kind of depth or greater meaning. While Matheson mercifully avoids the overt moralizing that would seem appropriate in a story such as "To Fit the Crime," it feels nonetheless a bit empty and fleeting, though cute. "The Wedding" and "The Splendid Source" suffer from the same ailments, with the former offering a tantalizing hint of meaning or even deeper humor, but sadly failing to capitalize on its own potential; the latter plays as a farce, but the satire misses the mark and the story just kind of exists, memorable and with some chuckle-inducing puns but sadly without actual substance. The most infuriating of these half-realized visions is "The Conqueror," an otherwise convincing western that seemingly aims to tackle the role of carpetbaggers in the Wild West, but which falls flat as an otherwise intriguing and well-written story abruptly ends in an entirely expected manner, rather than attempting a character study or even a particularly thrilling climax. The disappointment is almost palpable, particularly when other stories such as "The Doll That Does Everything" and "Lemmings" can come so close to actually exploring a theme, only to wade off into the expected and retain a surface-only level of interest. Aside from "The Descent," the only one that comes close is "A Visit to Santa Claus," which is well-constructed, offers unexpected plot twists, and maintains an effective air of clouded suspense until the expected, yet strangely effective, ending. Likewise, "Dr. Morton's Folly" demonstrates that even the sillier stories, meant to be digested quickly and only on a most basic level, can be filling without being base, a mark most often missed here. Much in a similar way, the majority of Matheson's stories entertain but fail to enthrall, the science fiction satisfying but rarely revealing, and Steel and Other Stories usually close to, but not quite hitting, the mark.
Grade: B
Richard Matheson
I often find short story collections fairly hit-and-miss, with a few gems, a few clunkers, and a bunch of stories that fall contentedly among the middle. This collection, however, seems to fall almost entirely within the realm of mediocrity, with nothing glaringly terrible but only a few hints of magic. The story selection seems a bit uneven and, at times, downright odd; while the collection displays Matheson's remarkable range with convincing attempts at science fiction, fantasy, and westerns, each morsel appears suddenly, and the effect can be a bit jarring when any two offerings are read in sequence without a break. Again, however, the failure is only partial, and the collection's last story, "Window of Time," while a bit awkward in itself, provides a fitting ending, tackling the emotional state of a man traveling through a window of time to his younger self. This kind of introspection pops up occasionally throughout the collection, most notably perhaps in "Steel" and rather frustratingly in "Dear Diary," which has an interesting core concept but which plays it as a joke rather than exploring its potential as a penetrating glance at contentment and desire. The twin themes are similarly dealt with at only a surface level in most other stories, with the exception being "Descent," an absolutely brilliant story that blows the remainder completely out of the water, excelling in ways that the other serious tales do not and achieving a complex emotional effect while taking a slightly different tack than the reader might expect. Here the simple language displays despite its simple fashion a complex longing, and a simple portrait expands to consider some elements of what makes humanity tick- all without desperate moralizing or the distinct thuds of the Obvious Hammer. The story, though brief, is achingly complete despite the plot's seeming irresolution, offering but requiring only few specific details, appropriately chosen and well-deployed.
Much of the collection, however, appears to consist of elaborate jokes- amusing, sure, but somehow pedestrian and often failing to achieve any kind of depth or greater meaning. While Matheson mercifully avoids the overt moralizing that would seem appropriate in a story such as "To Fit the Crime," it feels nonetheless a bit empty and fleeting, though cute. "The Wedding" and "The Splendid Source" suffer from the same ailments, with the former offering a tantalizing hint of meaning or even deeper humor, but sadly failing to capitalize on its own potential; the latter plays as a farce, but the satire misses the mark and the story just kind of exists, memorable and with some chuckle-inducing puns but sadly without actual substance. The most infuriating of these half-realized visions is "The Conqueror," an otherwise convincing western that seemingly aims to tackle the role of carpetbaggers in the Wild West, but which falls flat as an otherwise intriguing and well-written story abruptly ends in an entirely expected manner, rather than attempting a character study or even a particularly thrilling climax. The disappointment is almost palpable, particularly when other stories such as "The Doll That Does Everything" and "Lemmings" can come so close to actually exploring a theme, only to wade off into the expected and retain a surface-only level of interest. Aside from "The Descent," the only one that comes close is "A Visit to Santa Claus," which is well-constructed, offers unexpected plot twists, and maintains an effective air of clouded suspense until the expected, yet strangely effective, ending. Likewise, "Dr. Morton's Folly" demonstrates that even the sillier stories, meant to be digested quickly and only on a most basic level, can be filling without being base, a mark most often missed here. Much in a similar way, the majority of Matheson's stories entertain but fail to enthrall, the science fiction satisfying but rarely revealing, and Steel and Other Stories usually close to, but not quite hitting, the mark.
Grade: B
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