Collected Stories of Robert Silverberg, Volume Seven: We Are For the Dark

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story.

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story.

The world that these stories sprang from was the troubled, bewildering, dangerous, and very exciting world of those weird years when the barriers were down and the future was rushing into the present with the force of a river unleashed. A great many strange and dizzying things happen to the characters in these sixteen stories.

By the time this present group of stories was written I had passed through the cultural turbulence that engulfed nearly everyone’s life in the wild, stormy period we know as “the Sixties,” which for me had actually lasted from 1968 to 1974 or 1975. I had come through my own angry four-year-long retirement from writing in the middle 1970s, and was working again at a steady pace, though not with the frenetic prolificacy of the pre-retirement years. At the beginning of this period my personal life was still pretty chaotic, a carryover from all that Sixties madness, and plenty of new chaos was going to descend on me while some of these stories were written, but I was tiptoeing toward an escape from the various messes that were complicating my life, and by the time the last five stories of this volume were being written I was heading into the stability of my second marriage. Table of Contents: Introduction, Tourist Trade, Multiples, Against Babylon, Symbiont, Sailing to Byzantium, Sunrise on Pluto, Hardware, Hannibal’s Elephants, Blindsight, Gilgamesh in the Outback, The Pardoner’s Tale, The Iron Star, The Secret Sharer, House of Bones.

The world that these stories sprang from was the troubled, bewildering, dangerous, and very exciting world of those weird years when the barriers were down and the future was rushing into the present with the force of a river unleashed. But of course I think these stories speak to our times, too, and that most of them will remain valid as we go staggering onward through the brave new world of the twenty-first century. I am not one of those who believes that all is lost and the end is nigh. Like William Faulkner, I do think we will somehow endure and prevail against increasingly stiff odds. A great many strange and dizzying things happen to the characters in these sixteen stories, and in the fourteen stories of the 1972-73 volume that will follow. The reader who makes the journey from beginning to end of all thirty stories will be taken on many a curious trip, that I promise -- as was their author during the years when they were being written. This third of a projected eight volumes of Grand Master Silverberg’s short form fiction focuses on his literary output from 1969 to 1972. Many of the 16 stories share what Silverberg describes as the era’s “Day-Glo splendor” and take a questioning, cynical tone, often with discontented characters searching for some kind of transcendence... Longtime fans and new readers alike will cherish this collection. Silverberg wrote several novels and fewer short stories in the period this volume covers, during which losing his house in a 1968 fire and responding to the social and political turmoil of the 1960s affected his writing. Nevertheless, he produced such widely recognized classics as ‘The Feast of St. Dionysus,’ ‘Good News from the Vatican,’ ‘Caught in the Organ Draft,’ ‘Thomas the Proclaimer,’ and ‘Going.’

By the time this present group of stories was written I had passed through the cultural turbulence that engulfed nearly everyone’s life in the wild, stormy period we know as “the Sixties,” which for me had actually lasted from 1968 to 1974 or 1975. I had come through my own angry four-year-long retirement from writing in the middle 1970s, and was working again at a steady pace, though not with the frenetic prolificacy of the pre-retirement years. At the beginning of this period my personal life was still pretty chaotic, a carryover from all that Sixties madness, and plenty of new chaos was going to descend on me while some of these stories were written, but I was tiptoeing toward an escape from the various messes that were complicating my life, and by the time the last five stories of this volume were being written I was heading into the stability of my second marriage. Table of Contents: Introduction, Tourist Trade, Multiples, Against Babylon, Symbiont, Sailing to Byzantium, Sunrise on Pluto, Hardware, Hannibal’s Elephants, Blindsight, Gilgamesh in the Outback, The Pardoner’s Tale, The Iron Star, The Secret Sharer, House of Bones.

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story.

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story.

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story.