"Donald A. Wollheim - European Science Fiction" - читать интересную книгу автора (Wollheim Donald A)

A Problem in Bionics, c 1974 by Pierre Barber. From Horizons du Fantastique.
The King and the Dollmaker, c 1970 in German by Wolfgang Jeschke, c 1975 in English by Wolfgang
Jeschke. By permission of the author and Thomas Schliick, literary agent.
Codemus, c 1968, 1974 by Gyldendal Norsk Forlag A/S, from Probok
(1968) and Karavane (1974) by Tor Age Bringsvaerd.
Rainy Day Revolution No. 39, c 1965 by Luigi Cozzi. From Galassia. Nobody Here But Us Shadows. c
1975 by UPD Publishing Corp. for Galaxy.
From Jtdes-Verne Magasinet.
Round and Round and Round Again, c 1970 by Domingo Santos and Edi-
ciones Dronte, for Nueva Dimension.
Planet/or Sale, c 1964 by Hasselbalch, Copenhagen, for Noget Rigtigt Tosser
by Niels E. Nielsen.
тАвsolde, c 1968 by Damon Knight, for International Science Fiction. By arrangement with Damon Knight
as translator.
Dedication

To my many friends abroad without whose advice this work would have been virtually impossible, and
most especially to the gracious hospitality and unstinting kindness of

MARIANNE and CLAUDE AVICE
Contents

Introduction by Donald A. Wollheim xi
Party Line by G~rard Klein (France) 1
Pairpuppets by Manuel Van Loggem (Holland)31
The Scythe by Sandro Sandrelli (Italy) 41
A Whiter Shade of Pale by Jon Bing (Norway) 55
Paradise 3000 by Herbert W. Franke (Germany) 69
My Eyes, They Burn! by Eddy C. Bertin (Belgium) 81
A Problem in Bionics by Pierre Barbet (France) 109
The King and the Dollmaker by Wolfgang Jeschke
(Germany) 123
Codemus by Tor Age Bringsvaerd (Norway) 181
Rainy Day Revolution No. 39 by Luigi Cozzi (Italy) 195
Nobody Here But Us Shadows by Sam J. Lundwall (Sweden) 203
Round and Round and Round Again by Domingo Santos
(Spain) 215
Planet for Sale by Niels E. Nielsen (Denmark) 237
Ysolde by Nathalie-Charles Henneberg (France) 249
Introduction

Science fiction is the branch of literature that perceives the universe through the widest-angle lens.
Unlike the mainstream of literature, which attempts, more or less, to depict the real world and real people
in present or historic situations with the maximum mount of verisimilitude, science fiction acknowledges
from the start that it is fantasy, that it is not depicting that which is or that which has been but is engaging
in assaying the actions of people and things against backgrounds of limitless imagination.
All that might have been, all that might by the remotest chance ever be, and the world today as
perhaps it could be if things are going on of which we are not aware, all these infinite horizons are
covered by the lens of science fiction. Yet, because the reader must be convinced of credibility, the best
science fiction tries to underline this fantasy by persuading the reader that this is not just the spinning of