![]() ![]() ![]() I’m not sure I liked them, but Mugnaini’s illustrations certainly contribute to the dated feel of many of the stories, to the sense of 1950s American Gothick, and also to the feeling that they are, at bottom, children’s stories. I read a reissue of the 1955 hardcover edition which features artwork by Joseph Mugnaini. ![]() ![]() Fifteen of them are taken from the 27 stories in Bradbury’s first collection, 1947’s Dark Carnival, with four more added which had been previously published elsewhere. The October Country contains nineteen dark and twisted short stories. Even in the supposedly science fiction stories you can feel the pull of the fairy tale, the fable, of horror and fantasy, and also, sometimes, of strikingly ‘normal’, non-sci-fi, naturalistic stories – the kind of sweet and sentimental sensibility which produced the idyllic stories of boyhood in rural Illinois which are captured in Dandelion Wine.īut this volume is all about the grotesque and the macabre. I didn’t realise until I began to read him, that science fiction accounts for less than half of Bradbury’s output of short stories and novels, though it makes perfect sense once you’re told. ![]()
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