Slippage: Previously Uncollected, Precariously Poised Stories

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Overview

With this, his best-selling and most critically acclaimed collection ever, Ellison celebrates four decades of brilliant, outrageous writing. The award-winning novella "Mefisto in Onyx" is the centerpiece of an irreverent and wildly imaginative book that the San Diego Union-Tribune called "electrifying...Ellison is back, as unsettling as ever."
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Slippage: Previously Uncollected, Precariously Poised Stories

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Overview

With this, his best-selling and most critically acclaimed collection ever, Ellison celebrates four decades of brilliant, outrageous writing. The award-winning novella "Mefisto in Onyx" is the centerpiece of an irreverent and wildly imaginative book that the San Diego Union-Tribune called "electrifying...Ellison is back, as unsettling as ever."
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
The ever-provocative Ellison is at the top of his form in these 21 stories and essays, dynamiting fault lines where the fantastic erupts into the everyday and jolting interfaces between the mythic and the mundane. None of the characters in this outstanding collection is invulnerable to slippage, that sudden disorienting sense that "the universe shifted over one notch": not the fugitive criminals who discover that they can't escape a rendezvous with the supernatural in "Sensible City"; not the dinosaurs made extinct by extraterrestrials in "The Dreams a Nightmare Dreams"; not even the gods no one believes in any more in "Chatting with Anubis." Ellison's loquacious protagonists are so personable, and their lives and appetites so appealingly ordinary, that one is easily beguiled into accepting their outrageous revelationsfor example, that life's random injustices are the work of cosmic string-pullers on a lark, as in "The Man Who Rowed Christopher Columbus Ashore," or that computers are a vampiric life form that feed through our fingertips, as in "Keyboard." An antic spirit pervades most of the stories; but even when playing the court jester, Ellison can be deadly earnest, hurling barbed commentaries dripping with insight. "Mephisto in Onyx" explores racial prejudice through its conceit of a black mind-reader summoned to interrogate a white serial killer. "The Few, The Proud" and "Pulling Hard Time" are sardonic inquiries into social hypocrisy that divulge the true motives of men hailed by the public as heroes or vilified as villains. Ellison has purged his writing of the excesses and indulgences that burdened the stories in Angry Candy 1988. These newer efforts are, by contrast, as sleek and on-target as a cruise missile. FYI: Slippage was previously published in a limited edition by Mark Ziesing.
Library Journal
Having won too many awards to list here, veteran Ellison collects several small gems: "Mefisto in Onyx," called his "best work in years" LJ 12/93 when it was published in an expanded version two years ago; "The Man Who Rowed Christopher Columbus Ashore," which appeared in The Best Short Stories 1993; and "Keyboard," based on a theme suggested by Robin Williams.
Kirkus Reviews
"The world seems precarious to me now," the prodigiously productive Ellison (more than 65 books, including some 1,700 short stories) notes in his introduction to this collection of 21 previously uncollected science-fiction/fantasy tinged tales, "everything changes so fast, and no one remembers anything." Change is a recurrent element in these typically gruff, exuberant pieces, as is the conviction that humans possess an extraordinary range of talents and powers, few of which we thoroughly exploit. In "Go Toward the Light," for instance, a cynical "Timedrifter," who travels back and forward in time as part of a government research project, finds his long-ignored faith stirred by an encounter with a priest in ancient Palestine. Ellison's ability to inject fantastic elements into otherwise grimly realistic situations is powerfully on display in "Mefisto in Onyx," a gritty, terse, deeply disturbing novella about the encounter of a black psychic and a white serial killer on death row. Ellison, 63, needn't worry too much. It's likely that the best of his tales, mingling fantasy and grim, angry realism in a distinctive mix, will be remembered for a long time to come. A varied and powerful collection.
From the Publisher

"Hums with a relentless narrative drive." The New York Times

"One of our finest short story writers, regardless of Genre." The San Francisco Chronicle

"Equal parts funny, brazen, sarcastic, and sacrilegious." Dallas Morning News

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Product Details

  • ISBN-13: 9781617560040
  • Publisher: EReads
  • Publication date: 5/13/2011
  • Pages: 426
  • Product dimensions: 5.50 (w) x 8.50 (h) x 0.95 (d)

Meet the Author


Harlan Ellison has been called “one of the great living American short story writers” by the Washington Post. In a career spanning more than fifty years, he has won more awards than any other living fantasist. Ellison has written or edited seventy-four books; more than seventeen hundred stories, essays, articles, and newspaper columns; two dozen teleplays; and one dozen motion pictures. He has won the Hugo Award eight and a half times (shared once); the Nebula Award three times; the Bram Stoker Award, presented by the Horror Writers Association, five times (including the Lifetime Achievement Award in 1996); the Edgar Allan Poe Award of the Mystery Writers of America twice; the Georges Melies Fantasy Film Award twice; two Audie Awards (for the best in audio recordings); and he was awarded the Silver Pen for Journalism by PEN, the international writers’ union. He was presented with the first Living Legend Award by the International Horror Critics at the 1995 World Horror Convention. Ellison is the only author in Hollywood ever to win the Writers Guild of America award for Outstanding Teleplay (solo work) four times, most recently for “Paladin of the Lost Hour,” his Twilight Zone episode that was Danny Kaye’s final role, in 1987. In 2006, Ellison was awarded the prestigious title of Grand Master by the Science Fiction and Fantasy Writers of America. Dreams With Sharp Teeth, the documentary chronicling his life and works, was released on DVD in May 2009. 
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Read an Excerpt

Slippage

The Harlan Ellison Collection


By Harlan Ellison

OPEN ROAD INTEGRATED MEDIA

Copyright © 1997 The Kilimanjaro Corporation
All rights reserved.
ISBN: 978-1-4976-0432-2


CHAPTER 1

This is a story titled

The Man Who Rowed Christopher Columbus Ashore


LEVENDIS: On Tuesday the 1st of October, improbably dressed as an Explorer Scout, with his great hairy legs protruding from his knee-pants, and his heavily festooned merit badge sash slantwise across his chest, he helped an old, arthritic black woman across the street at the jammed corner of Wilshire and Western. In fact, she didn't want to cross the street, but he half-pulled, half-dragged her, the old woman screaming at him, calling him a khaki-colored motherfucker every step of the way.


LEVENDIS: On Wednesday the 2nd of October, he crossed his legs carefully as he sat in the Boston psychiatrist's office, making certain the creases of his pants—he was wearing the traditional morning coat and ambassadorially-striped pants—remained sharp, and he said to George Aspen Davenport, M.D., Ph.D., FAPA (who had studied with Ernst Kris and Anna Freud), "Yes, that's it, now you've got it." And Dr. Davenport made a note on his pad, lightly cleared his throat and phrased it differently: "Your mouth is ... vanishing? That is to say, your mouth, the facial feature below your nose, it's uh disappearing?" The prospective patient nodded quickly, with a bright smile. "Exactly." Dr. Davenport made another note, continued to ulcerate the inside of his cheek, then tried a third time: "We're speaking now—heh heh, to maintain the idiom—we're speaking of your lips, or your tongue, or your palate, or your gums, or your teeth, or—" The other man sat forward, looking very serious, and replied, "We're talking all of it, Doctor. The whole, entire, complete aperture and everything around, over, under, and within. My mouth, the allness of my mouth. It's disappearing. What part of that is giving you a problem?" Davenport hmmm'd for a moment, said, "Let me check something," and he rose, went to the teak and glass bookcase against the far wall, beside the window that looked out on crowded, lively Boston Common, and he drew down a capacious volume. He flipped through it for a few minutes, and finally paused at a page on which he poked a finger. He turned to the elegant, gray-haired gentleman in the consultation chair, and he said, "Lipostomy." His prospective patient tilted his head to the side, like a dog listening for a clue, and arched his eyebrows expectantly, as if to ask yes, and lipostomy is what? The psychiatrist brought the book to him, leaned down and pointed to the definition. "Atrophy of the mouth." The gray-haired gentleman, who looked to be in his early sixties, but remarkably well-tended and handsomely turned-out, shook his head slowly as Dr. Davenport walked back around to sit behind his desk. "No, I don't think so. It doesn't seem to be withering, it's just, well, simply, I can't put it any other way, it's very simply disappearing. Like the Cheshire cat's grin. Fading away." Davenport closed the book and laid it on the desktop, folded his hands atop the volume, and smiled condescendingly. "Don't you think this might be a delusion on your part? I'm looking at your mouth right now, and it's right there, just as it was when you came into the office." His prospective patient rose, retrieved his homburg from the sofa, and started toward the door. "It's a good thing I can read lips," he said, placing the hat on his head, "because I certainly don't need to pay your sort of exorbitant fee to be ridiculed." And he moved to the office door, and opened it to leave, pausing for only a moment to readjust his homburg, which had slipped down, due to the absence of ears on his head.


LEVENDIS: On Thursday the 3rd of October, he overloaded his grocery cart with okra and eggplant, giant bags of Kibbles 'n Bits 'n Bits 'n Bits, and jumbo boxes of Huggies. And as he wildly careened through the aisles of the Sentry Market in La Crosse, Wisconsin, he purposely engineered a collision between the carts of Kenneth Kulwin, a 47-year-old homosexual who had lived alone since the passing of his father thirteen years earlier, and Anne Gillen, a 35-year-old legal secretary who had been unable to find an escort to take her to her senior prom and whose social life had not improved in the decades since that death of hope. He began screaming at them, as if it had been their fault, thereby making allies of them. He was extremely rude, breathing muscatel breath on them, and finally stormed away, leaving them to sort out their groceries, leaving them to comment on his behavior, leaving them to take notice of each other. He went outside, smelling the Mississippi River, and he let the air out of Anne Gillen's tires. She would need a lift to the gas station. Kenneth Kulwin would tell her to call him "Kenny," and they would discover that their favorite movie was the 1945 romance, The Enchanted Cottage, starring Dorothy McGuire and Robert Young.


LEVENDIS: On Friday the 4th of October, he found an interstate trucker dumping badly sealed cannisters of phenazine in an isolated picnic area outside Phillipsburg, Kansas; and he shot him three times in the head; and wedged the body into one of the large, nearly empty trash barrels near the picnic benches.


LEVENDIS: On Saturday the 5th of October, he addressed two hundred and forty-four representatives of the country & western music industry in the Chattanooga Room just off the Tennessee Ballroom of the Opryland Hotel in Nashville. He said to them, "What's astonishing is not that there is so much ineptitude, slovenliness, mediocrity and downright bad taste in the world ... what is unbelievable is that there is so much good art in the world. Everywhere." One of the attendees raised her hand and asked, "Are you good, or evil?" He thought about it for less than twenty seconds, smiled, and replied, "Good, of course! There's only one real evil in the world: mediocrity." They applauded sparsely, but politely. Nonetheless, later at the reception, no one touched the Swedish meatballs, or the rumaki.


LEVENDIS: On Sunday the 6th of October, he placed the exhumed remains of Noah's ark near the eastern summit of a nameless mountain in Kurdistan, where the next infrared surveillance of a random satellite flyby would reveal them. He was careful to seed the area with a plethora of bones, here and there around the site, as well as within the identifiable hull of the vessel. He made sure to place them two-by-two: every beast after his kind, and all the cattle after their kind, and every creeping thing that creepeth upon the earth after his kind, and every fowl after his kind, and every bird of every sort. Two-by-two. Also the bones of pairs of gryphons, unicorns, stegosaurs, tengus, dragons, orthodontists, and the carbon-dateable 5o,ooo-year old bones of a relief pitcher for the Boston Red Sox.


LEVENDIS: On Monday the 7th of October, he kicked a cat. He kicked it a far distance. To the passersby who watched, there on Galena Street in Aurora, Colorado, he said: "I am an unlimited person, sadly living in a limited world." When the housewife who planned to call the police yelled at him from her kitchen window, "Who are you? What is your name!?!" he cupped his hands around his mouth so she would hear him, and he yelled back, "Levendis! It's a Greek word." They found the cat imbarked halfway through a tree. The tree was cut down, and the section with the cat was cut in two, the animal tended by a talented taxidermist who tried to quell the poor beast's terrified mewling and vomiting. The cat was later sold as bookends.


LEVENDIS: On Tuesday the 8th of October, he called the office of the District Attorney in Cadillac, Michigan, and reported that the blue 1988 Mercedes that had struck and killed two children playing in a residential street in Hamtramck just after sundown the night before, belonged to a pastry chef whose sole client was a Cosa Nostra pezzonovante. He gave detailed information as to the location of the chop shop where the Mercedes had been taken to be banged out, bondo'd, and repainted. He gave the license number. He indicated where, in the left front wheel-well, could be found a piece of the skull of the younger of the two little girls. Not only did the piece fit, like the missing section of a modular woodblock puzzle, but pathologists were able to conduct an accurate test that provided irrefutable evidence that would hold up under any attack in court: the medical examiner got past the basic ABO groups, narrowed the scope of identification with, the five Rh tests, the M and N tests (also cap-S and small-s variations), the Duffy blood groups, and the Kidd types, both A and B; and finally he was able to validate the rare absence of Jr a, present in most blood-groups but missing in some Japanese-Hawaiians and Samoans. The little girl's name was Sherry Tualaulelei. When the homicide investigators learned that the pastry chef, his wife, and their three children had gone to New York City on vacation four days before the hit-and-run, and were able to produce ticket stubs that placed them seventh row center of the Martin Beck Theater, enjoying the revival of Guys and Dolls, at the precise moment the Mercedes struck the children, the Organized Crime Unit was called in, and the scope of the investigation was broadened. Sherry Tualaulelei was instrumental in the conviction and thirty-three-year imprisonment of the pastry chefs boss, Sinio "Sally Comfort" Conforte, who had "borrowed" a car to sneak out for a visit to his mistress.


LEVENDIS: On Wednesday the 9th of October, he sent a fruit basket to Patricia and Faustino Evangelista, a middle-aged couple in Norwalk, Connecticut, who had given to the surviving son, the gun his beloved older brother had used to kill himself. The accompanying note read: Way to go, sensitive Mom and Dad!


LEVENDIS: On Thursday the 10th of October, he created a cure for bone-marrow cancer. Anyone could make it: the juice of fresh lemons, spider-webs, the scrapings of raw carrots, the opaque and whitish portion of the toenail called the lunula, and carbonated water. The pharmaceutical cartel quickly hired a prestigious Philadelphia PR firm to throw its efficacy into question, but the AMA and FDA ran accelerated tests, found it to be potent, with no deleterious effects, and recommended its immediate use. It had no effect on AIDS, however. Nor did it work on the common cold. Remarkably, physicians praised the easing of their workload.


LEVENDIS: On Friday the 11th of October, he lay in his own filth on the sidewalk outside the British Embassy in Rangoon, holding a begging bowl. He was just to the left of the gate, half-hidden by the angle of the high wall from sight of the military guards on post. A woman in her fifties, who had been let out of a jitney just up the street, having paid her fare and having tipped as few rupees as necessary to escape a strident rebuke by the driver, smoothed the peplum of her shantung jacket over her hips, and marched imperially toward the Embassy gates. As she came abaft the derelict, he rose on one elbow and shouted at her ankles, "Hey, lady! I write these pomes, and I sell 'em for a buck inna street, an' it keeps juvenile delinquents offa the streets so's they don't spit on ya! So whaddaya think, y'wanna buy one?" The matron did not pause, striding toward the gates, but she said snappishly, "You're a businessman. Don't talk art."


This is a story titled The Route of Odysseus

"You will find the scene of Odysseus's wanderings when you find the cobbler who sewed up the bag of the winds." Eratosthenes, late 3rd century, B.C.E.


LEVENDIS: On Saturday the 12th of October, having taken the sidestep, he came to a place near Weimar in southwest Germany. He did not see the photographer snapping pictures of the scene. He stood among the cordwood bodies. It was cold for the spring; and even though he was heavily clothed, he shivered. He walked down the rows of bony corpses, looking into the black holes that had been eye sockets, seeing an endless chicken dinner, the bones gnawed clean, tossed like jackstraws in heaps. The stretched-taut groins of men and women, flesh tarpaulins where passion had once smoothed the transport from sleep to wakefulness. Entwined so cavalierly that here a woman with three arms, and there a child with the legs of a sprinter three times his age. A woman's face, looking up at him with soot for sight, remarkable cheekbones, high and lovely, she might have been an actress. Xylophones for chests and torsos, violin bows that had waved goodbye and hugged grandchildren and lifted in toasts to the passing of traditions, gourd whistles between eyes and mouths. He stood among the cordwood bodies and could not remain merely an instrument himself. He sank to his haunches, crouched and wept, burying his head in his hands, as the photographer took shot after shot, an opportunity like a gift from the editor. Then he tried to stop crying, and stood, and the cold cut him, and he removed his heavy topcoat and placed it gently over the bodies of two women and a man lying so close and intermixed that it easily served as coverlet for them. He stood among the cordwood bodies, 24 April 1945, Buchenwald, and the photograph would appear in a book published forty-six years later, on Saturday the 12th of October. The photographer's roll ran out just an instant before the slim young man without a topcoat took the sidestep. Nor did he hear the tearful young man say, "Sertsa." In Russian, sertsa means soul.


LEVENDIS: On Sunday the 13th of October, he did nothing. He rested. When he thought about it, he grew annoyed. "Time does not become sacred until we have lived it," he said. But he thought: to hell with it; even God knocked off for a day.


LEVENDIS: On Monday the 14th of October, he climbed up through the stinking stairwell shaft of a Baltimore tenement, clutching his notebook, breathing through his mouth to block the smell of mildew, garbage, and urine, focusing his mind on the apartment number he was seeking, straining through the evening dimness in the wan light of one bulb hanging high above, barely illuminating the vertical tunnel, as he climbed and climbed, straining to see the numbers on the doors, going up, realizing the tenants had pulled the numbers off the doors to foil him and welfare investigators like him, stumbling over something oily and sobbing jammed into a corner of the last step, losing his grip on the rotting bannister and finding it just in time, trapped for a moment in the hopeless beam of washed-out light falling from above, poised in mid-tumble and then regaining his grip, hoping the welfare recipient under scrutiny would not be home, so he could knock off for the day, hurry back downtown and crosstown and take a shower, going up till he had reached the topmost landing, and finding the number scratched on the doorframe, and knocking, getting no answer, knocking again, hearing first the scream, then the sound of someone beating against a wall, or the floor, with a heavy stick, and then the scream again, and then another scream so closely following the first that it might have been one scream only, and he threw himself against the door, and it was old but never had been well built, and it came away, off its hinges, in one rotten crack, and he was inside, and the most beautiful young black woman he had ever seen was tearing the rats off her baby. He left the check on the kitchen table, he did not have ah affair with her, he did not see her fall from the apartment window, six storeys into a courtyard, and never knew if she came back from the grave to escape the rats that gnawed at her cheap wooden casket. He never loved her, and so was not there when what she became flowed back up through the walls of the tenement to absorb him and meld with him and become one with him as he lay sleeping penitently on the filthy floor of the topmost apartment. He left the check, and none of that happened.


(Continues...)

Excerpted from Slippage by Harlan Ellison. Copyright © 1997 The Kilimanjaro Corporation. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted April 3, 2000

    Read Slippage, well, read Ellison

    While I enjoyed the gestalt of Angry Candy more than this book, this is still a worthy book. 'Columbus' recalls the best of 'Angry Candy', 'Anubis' and 'Cathedral' recall the reasons you enjoyed 'Deathbird Stories'. Ellison has won a lot of awards, blah blah blah. and there is obviously a reason for this, even when the stories are not from the best parts of his brain, the language is palpable and hard to ignore. The best evidence is that, after reading many of his collections i discovered the joys of his introduction essays. Giving me another excuse to look back at past works. wonderful author, recommended book.

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    Posted January 11, 2013

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