In O. J. Anderson’s “Dead Wrong,” if the giant crabs are made of the same materials as normal-sized crabs, do Jack Creed and his squad really have to beat a hasty retreat? Hint: consider the law of scale models.
In Frank Roger’s “Space Beach”:
- Okay, what is the moral when incontrovertible evidence of space aliens is turned into a theme park?
- Complete this paraphrase of Oscar Wilde: “If this is the way humanity treats its space aliens, it...”
In John W. Steele’s “The Supplication”:
- The magic symbolism of the ending does not have a counterpart or foreshadowing anywhere else in the story. Does that invalidate the ending or does the force majeure reinforce the moral?
- What is the moral? Hint: it”s not that grave robbing is bad; such a moral would be trivial.
- How does the ending differ from that of Gary Inbinder’s “To Raise a Storm,” in issue 221?
- Experiment: rewrite the ending in a realistic mode. The problem: Ed has been very smart and lucky in his career as a grave robber. How can he be stopped other than by accident?
Robert A. Dollesin’s “Café Lost”:
- Can you remember other stories in Bewildering Stories that echo the theme of a couple that don’t communicate?
- List the references that utilize the sense of touch rather than that of sight.
In Tim Simmons’ “Dishes in the Sync”:
- Kevin apparently goes “out of sync” with time only when Janice leaves the house. Why might that be?
- How does the ending resemble that of “The Supplication”?
- What would the story become if it were written in realistic mode; i.e. Janice returns home to find Kevin’s skeleton on the bed?
Literary genres may be a marketing category or device today, as Tamara Sheehan says in “Defining Our Beloved Genre.” But have they always been that, and is that all they are?
Copyright © 2008 by Bewildering Stories
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