في إحدى الحانات، يبوح رجل يُدعى «ليمان»، لغريب يجلس إلى جواره، بسِر مرعب، يزعم أنه وحده مَن كشفه: «المريخيون هنا... يعيشون بيننا منذ زمن طويل، مُتخفِّين خلف وجوه مألوفة، وقد أحكموا سيطرتهم على العالَم بغزو خفي من دون حرب أو مقاومة». ويؤكد «ليمان» أن المريخيين يتحكمون بالبشر بطريقة لا يمكن إدراكها؛ إذ يتلاعبون بالإدراك ويستخدمون إيحاءات نفسية، تجعل الناس غير قادرين على رؤية الحقيقة... ومع تصاعد الأحداث، يجد القارئ نفسه في دوامةٍ من الشك؛ إذ يتحوَّل العالَم المألوف إلى مكان أكثر غرابةً ورعبًا، ويلوح احتمال مقلق بأن ما نراه ليس الحقيقة بل صورة صُنعت لنا بعناية، عندها يبرز السؤال: «هل ما يقوله «ليمان» كشف خطير حقًّا، أم مجرد هلوسة رجل ثمل فقد صوابه؟». «لا تنظر الآن»: قصة خيال علمي نفسية آسرة، تلعب ببراعة على حدود الإدراك والوهم، وتغرس في الصدر شكًّا بأن ما نراه قد لا يكون الحقيقة... بل النسخة التي يُراد لنا أن نراها، لتترك القارئ في النهاية أمام سؤال لا يهدأ حتى بعد السطر الأخير.
Henry Kuttner was, alone and in collaboration with his wife, the great science fiction and fantasy writer C.L. Moore, one of the four or five most important writers of the 1940s, the writer whose work went furthest in its sociological and psychological insight to making science fiction a human as well as technological literature. He was an important influence upon every contemporary and every science fiction writer who succeeded him. In the early 1940s and under many pseudonyms, Kuttner and Moore published very widely through the range of the science fiction and fantasy pulp markets.
Their fantasy novels, all of them for the lower grade markets like Future, Thrilling Wonder, and Planet Stories, are forgotten now; their science fiction novels, Fury and Mutant, are however well regarded. There is no question but that Kuttner's talent lay primarily in the shorter form; Mutant is an amalgamation of five novelettes and Fury, his only true science fiction novel, is considered as secondary material. There are, however, 40 or 50 shorter works which are among the most significant achievements in the field and they remain consistently in print. The critic James Blish, quoting a passage from Mutant about the telepathic perception of the little blank, silvery minds of goldfish, noted that writing of this quality was not only rare in science fiction but rare throughout literature: "The Kuttners learned a few thing writing for the pulp magazines, however, that one doesn't learn reading Henry James."
In the early 1950s, Kuttner and Moore, both citing weariness with writing, even creative exhaustion, turned away from science fiction; both obtained undergraduate degrees in psychology from the University of Southern California and Henry Kuttner, enrolled in an MA program, planned to be a clinical psychologist. A few science fiction short stories and novelettes appeared (Humpty Dumpty finished the Baldy series in 1953). Those stories -- Home There Is No Returning, Home Is the Hunter, Two-Handed Engine, and Rite of Passage -- were at the highest level of Kuttner's work. He also published three mystery novels with Harper & Row (of which only the first is certainly his; the other two, apparently, were farmed out by Kuttner to other writers when he found himself incapable of finishing them).
Henry Kuttner died suddenly in his sleep, probably from a stroke, in February 1958; Catherine Moore remarried a physician and survived him by almost three decades but she never published again. She remained in touch with the science fiction community, however, and was Guest of Honor at the World Convention in Denver in 198l. She died of complications of Alzheimer's Disease in 1987.
His pseudonyms include:
Edward J. Bellin Paul Edmonds Noel Gardner James Hall Keith Hammond Hudson Hastings Peter Horn Kelvin Kent Robert O. Kenyon C. H. Liddell Hugh Maepenn Will Garth Scott Morgan Lawrence O'Donnell Lewis Padgett Woodrow Wilson Smith Charles Stoddard
At corner of coffee there was how can i see him thee cant make me forget and forgive cloud part of sky at that film but at that corner he has another skine and many thing in mind and pen i see him even stranger tell me to nt look but i see him clothes as us and has skin and has third eyes yes three eyes and fair skin nt like mine strange advise me to nt look but i see throw three eyes and see my life
This is the style of writing that I enjoyed the most by Kuttner. I keep searching around for the correct adjective to describe it but can't quite get the right one. Droll comes to mind. He leads you down the road and them gives you a great twist ending ala Fredric Brown.
"I don't like the note of skepticism creeping into this conversation. "
When I was younger, I loved this kind of "droll" writing. That slightly, off-kilter kind of viewpoint on life where one was never quite sure where in reality one had planted their feet. You see, I'm autistic and it was the closest thing I could read about someone elses experience of living on "the wrong planet".
And don't get me going about all stoned-out hippies I met who were born on Jupiter. Hey! Is that Dave Bowman flying by?
Anyways, switch, bait-and-switch, twist it again and watch out where you walk down that shifting garden path. You never know who is watching you out and of which eye they are looking at you.
It's amazing how convincing the portrayal of Lyman is, as a man who has had his brains slightly bent out of sync. He's both irritating and sadly funny at the same time. As for the man in brown....well.......