I'm so glad I discovered this writer. Everyone talks about the "golden age SF" writers who were a cut above the norm, and most people always site the same ones: notably, those who have gained a bit of mainstream cred in recent years, like Phillip K. Dick. I've got nothing against Dick, really; some of his stories are great, his world-building excellent, his ideas novel and sometimes gloriously outlandish...but his style just isnt so hot much of the time, the prose often seeming to have been forced out of him with great difficulty and hitting the ground with a clunk. Not so with C. M. Kornbluth. While the quality of stories in this anthology is necessarily variable (more on this later), the man had a really snappy, distinctive and sharp style that you'd recognise within a few sentences, and which brings to life even the most standard of stories.
Not many of these tales are very standard if you ask me; while he got his start within pulp strictures and even wrote stories based on guidelines in the 30s, Kornbluth was clearly a visionary with plenty to say and a huge amount of talent and ability. Maybe, in the end, too cynical to keep plugging on; probably very disillusioned and almost certainly clinically depressed. Many of these stories are startling in their depictions of reality and their observations about humankind. No exuberant one-sided boyish wonder here; for Kornbluth there may well be plenty of great advancements to come, but the future looks kind of grimy and crooked. There are also some fine tales of the present, sometimes with just a hint of the otherworldly lurking beneath the surface. At times I was reminded of Harlan Ellison, but Kornbluth seems a bit less cocky and, to me at least, a bit more enjoyable to read.
Most of the strongest tales in the anthology come from Kornbluth's post-war period, specifically, the 1950s. This makes it all the sadder that Kornbluth died so young as he was obviously climbing to a real pinnacle of artistic craftsmanship. There are still plenty of early gems though, and I found it interesting to notice how under various pseudonyms Kornbluth would tell a different sort of tale with a different sort of voice, depending on what kind of audience he thought he was writing for. There are two or three "occult" stories, written in the 40s, that I found very interesting. The Cecil Corwin stories are very lighthearted and silly, but immensely entertaining.
Some of these ideas seem far ahead of their time to me. "The Marching Morons" is classic; I think everyone should read it. Sure, Idiocracy is fun, but this is far cleverer, far more biting, and will really have you thinking by the end on what it implies. "The Mindworm" is an unusual take on vampirism and is a very dark story, especially as it basically puts the destructive eponymous creature in the role of protagonist. "Two Dooms" concerns a physicist taking a very special kind of psychedelic mushrooms because he is agonising over the ethical problem of the atom bomb, and being transported to an alternate world where the Nazis won World War II. "The Silly Season" is the story of a somewhat disreputable newspaperman struggling to be on the scene and report a number of weird events that are happening...nobody listens to him, and the whole thing is kind of funny until the last line, which is so sudden and packs such an unexpected sting that I laughed out loud. "The Events Leading Down to the Tragedy" reminded me of Poe's more sly and humorous stories because of the way it plays with its audience, and turns out to be a brilliant display of misdirection that reveals a lot about Kornbluth's trickster-like nature. There are even a couple of stories in here about struggling young artists that don't really have any normal SF trappings at all, and in which Kornbluth seems to be coming very close to revealing the stark pain of his inner soul. These are not necessarily the best pieces in the anthology, but they're very surprising coming from a writer most would dismiss as a "pulp hack" without even having read a word of him.
Kornbluth does his best to portray a wide variety of characters and situations and make you feel for most of them. There's some blusteringly anti-Asiatic sentiments on display in a couple of the stories, but all told it's not too alarmist, and they were written immediately in the aftermath of World War II, so they kind of seem like natural products of their time. A few stories show Kornbluth appearing to struggle with the format he was forced to work in, as reading them I got a bizarre, powerful sense that he really, really wanted to take things in better, more interesting directions but was held back by the strictures of some of the magazines who were supplying his paycheque. No more is this evident than in "The Slave", which starts out remarkably and bursting with interesting ideas. Kornbluth even goes through some trouble to show the alien antagonists as being individuals and possessing their own culture, which he tries to elucidate a bit before turning the whole thing off in a quick ending battle and sending everybody home. It was rather disappointing and almost felt like someone else had stolen Kornbluth's typewriter before he could finish the thing. There are a couple of inconsequential pieces, too; one even hinging upon a bad pun, in the manner of Roger Zelazny's "I woke up this morning and then I made a funny" stories, but these are far outweighed by the level of quality displayed in most of the other tales here.
For the most part this shows that Kornbluth's body of work was a huge success. I think several of these stories actually rank among my favourite short pieces, in any genre. Kornbluth could elucidate better than almost anyone the futility of many pursuits and ways of life, and he'd do it with a joke more often than not. The whole of "The Marching Morons" is like a massive, sick joke played on the central character, the world at large, and even the reader, and it's hilarity is all the more effective because the more you think about it the more uncomfortable it makes you feel. Genuinely great stuff, this.