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Woman
SIGNED by RICHARD MATHESON on THE TITLE PAGE. Signature only A First edition, First printing. Book is in Near Fine condition. Boards are clean, not bumped. Fore edges have a tiny bit of shelf wear. Interior is clean and legible. Not remaindered. Thanks and Enjoy. All-Ways well packaged, All-Ways fast service.
125 pages, Paperback
First published January 1, 2005
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About the author
Richard Matheson
760 books4,771 followersBorn in Allendale, New Jersey to Norwegian immigrant parents, Matheson was raised in Brooklyn and graduated from Brooklyn Technical High School in 1943. He then entered the military and spent World War II as an infantry soldier. In 1949 he earned his bachelor's degree in journalism from the University of Missouri and moved to California in 1951. He married in 1952 and has four children, three of whom (Chris, Richard Christian, and Ali Matheson) are writers of fiction and screenplays.
His first short story, "Born of Man and Woman," appeared in the Magazine of Fantasy and Science Fiction in 1950. The tale of a monstrous child chained in its parents' cellar, it was told in the first person as the creature's diary (in poignantly non-idiomatic English) and immediately made Matheson famous. Between 1950 and 1971, Matheson produced dozens of stories, frequently blending elements of the science fiction, horror and fantasy genres.
Several of his stories, like "Third from the Sun" (1950), "Deadline" (1959) and "Button, Button" (1970) are simple sketches with twist endings; others, like "Trespass" (1953), "Being" (1954) and "Mute" (1962) explore their characters' dilemmas over twenty or thirty pages. Some tales, such as "The Funeral" (1955) and "The Doll that Does Everything" (1954) incorporate zany satirical humour at the expense of genre clichés, and are written in an hysterically overblown prose very different from Matheson's usual pared-down style. Others, like "The Test" (1954) and "Steel" (1956), portray the moral and physical struggles of ordinary people, rather than the then nearly ubiquitous scientists and superheroes, in situations which are at once futuristic and everyday. Still others, such as "Mad House" (1953), "The Curious Child" (1954) and perhaps most famously, "Duel" (1971) are tales of paranoia, in which the everyday environment of the present day becomes inexplicably alien or threatening.
He wrote a number of episodes for the American TV series The Twilight Zone, including "Steel," mentioned above and the famous "Nightmare at 20,000 Feet"; adapted the works of Edgar Allan Poe for Roger Corman and Dennis Wheatley's The Devil Rides Out for Hammer Films; and scripted Steven Spielberg's first feature, the TV movie Duel, from his own short story. He also contributed a number of scripts to the Warner Brothers western series "The Lawman" between 1958 and 1962. In 1973, Matheson earned an Edgar Award from the Mystery Writers of America for his teleplay for The Night Stalker, one of two TV movies written by Matheson that preceded the series Kolchak: The Night Stalker. Matheson also wrote the screenplay for Fanatic (US title: Die! Die! My Darling!) starring Talullah Bankhead and Stefanie Powers.
Novels include The Shrinking Man (filmed as The Incredible Shrinking Man, again from Matheson's own screenplay), and a science fiction vampire novel, I Am Legend, which has been filmed three times under the titles The Omega Man and The Last Man on Earth and once under the original title. Other Matheson novels turned into notable films include What Dreams May Come, Stir of Echoes, Bid Time Return (as Somewhere in Time), and Hell House (as The Legend of Hell House) and the aforementioned Duel, the last three adapted and scripted by Matheson himself. Three of his short stories were filmed together as Trilogy of Terror, including "Prey" with its famous Zuni warrior doll.
In 1960, Matheson published The Beardless Warriors, a nonfantastic, autobiographical novel about teenage American soldiers in World War II.
He died at his home on June 23, 2013, at the age of 87
http://us.macmillan.com/author/richar...
His first short story, "Born of Man and Woman," appeared in the Magazine of Fantasy and Science Fiction in 1950. The tale of a monstrous child chained in its parents' cellar, it was told in the first person as the creature's diary (in poignantly non-idiomatic English) and immediately made Matheson famous. Between 1950 and 1971, Matheson produced dozens of stories, frequently blending elements of the science fiction, horror and fantasy genres.
Several of his stories, like "Third from the Sun" (1950), "Deadline" (1959) and "Button, Button" (1970) are simple sketches with twist endings; others, like "Trespass" (1953), "Being" (1954) and "Mute" (1962) explore their characters' dilemmas over twenty or thirty pages. Some tales, such as "The Funeral" (1955) and "The Doll that Does Everything" (1954) incorporate zany satirical humour at the expense of genre clichés, and are written in an hysterically overblown prose very different from Matheson's usual pared-down style. Others, like "The Test" (1954) and "Steel" (1956), portray the moral and physical struggles of ordinary people, rather than the then nearly ubiquitous scientists and superheroes, in situations which are at once futuristic and everyday. Still others, such as "Mad House" (1953), "The Curious Child" (1954) and perhaps most famously, "Duel" (1971) are tales of paranoia, in which the everyday environment of the present day becomes inexplicably alien or threatening.
He wrote a number of episodes for the American TV series The Twilight Zone, including "Steel," mentioned above and the famous "Nightmare at 20,000 Feet"; adapted the works of Edgar Allan Poe for Roger Corman and Dennis Wheatley's The Devil Rides Out for Hammer Films; and scripted Steven Spielberg's first feature, the TV movie Duel, from his own short story. He also contributed a number of scripts to the Warner Brothers western series "The Lawman" between 1958 and 1962. In 1973, Matheson earned an Edgar Award from the Mystery Writers of America for his teleplay for The Night Stalker, one of two TV movies written by Matheson that preceded the series Kolchak: The Night Stalker. Matheson also wrote the screenplay for Fanatic (US title: Die! Die! My Darling!) starring Talullah Bankhead and Stefanie Powers.
Novels include The Shrinking Man (filmed as The Incredible Shrinking Man, again from Matheson's own screenplay), and a science fiction vampire novel, I Am Legend, which has been filmed three times under the titles The Omega Man and The Last Man on Earth and once under the original title. Other Matheson novels turned into notable films include What Dreams May Come, Stir of Echoes, Bid Time Return (as Somewhere in Time), and Hell House (as The Legend of Hell House) and the aforementioned Duel, the last three adapted and scripted by Matheson himself. Three of his short stories were filmed together as Trilogy of Terror, including "Prey" with its famous Zuni warrior doll.
In 1960, Matheson published The Beardless Warriors, a nonfantastic, autobiographical novel about teenage American soldiers in World War II.
He died at his home on June 23, 2013, at the age of 87
http://us.macmillan.com/author/richar...
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Displaying 1 - 20 of 20 reviews
January 7, 2011
I guess after you’ve been writing for half a century or so, you no longer need to “pay your dues,” and can just start submitting your first drafts for publishing. Except that this book isn’t really a first draft—it’s more of a half-draft.
But we’ll get to that in a minute.
I like everything of Matheson’s that I’ve read. I was in the library recently and needed to get a book that was relatively short, ‘cause I just wanted something to tide me over while an Amazon order of Zelazny books makes its way to my house. I came across Woman, a book I’d never even heard of before. It was by Matheson and it was short (125 pages), so it seemed like a good deal.
As I was saying earlier, this seems like a “half-draft,” in that it’s not even as polished as a first draft would be. The typos and grammatical errors are just—yikes. They’re everywhere. It’s not just a small mistake here or there. I wouldn’t be surprised if the book averages more than one error per page.
But that’s something we can get past if the story is good, right?
Actually, yes.
I found myself drawn into this book more than anything else I’ve read lately, and I think it’s just because Matheson knows how to tell a story. The premise wasn’t something that sounded very interesting to me and there were errors everywhere, yet I found myself flying through the pages. I didn’t necessarily have any particular love for any of the characters, but apparently I was interested in what was going on, because I got through this thing in no time.
According to the Wiki gods, Matheson was about 79 when this was published, and it reads very much like an old guy who doesn’t really give a crap about quality anymore and just wants to get his message out. The first half of the book or so is just a debate about the female movement in society, and the amount of errors makes me wonder if Matheson even read over anything he wrote or if he just went straight ahead without ever looking back.
In addition to the mistakes, there were also a few style choices I didn’t like (and these were things I hadn’t noticed in Matheson’s writing before, but maybe I just haven’t read enough of his stuff). For starters, there’s the italics. I’m not sure there was ever a character who spoke in this book without having at least one of their words italicized. Early on, this made it sound like everyone was just talking so hard, and it was extremely difficult to read. But, as is always the case when you overuse something like this, the reader eventually becomes desensitized to it. By the end of the book, I was just ignoring the italics. Which, of course, could mean I wasn’t reading some of the lines in the way Matheson intended—but he cried wolf so often that I stopped listening, so I probably didn’t hear it when it really counted.
Another thing that got me was that Matheson felt the need to put a dialogue tag right after someone got interrupted. For example, he might say something like . . .
***
“But I—” he started.
“Oh, shove it,” she interrupted.”
***
The problem? It’s supposed to be an interruption, and by putting the “he started” dialogue tag in there, you’re putting space between the first line of dialogue and the second. We don’t want space there. We don’t want a pause there. A pause makes it sound less like a smooth-flowing interruption. Why is the “he started” even necessary? We know he started talking. Between the quotation marks and the em dash, we already know that he started talking and was then cut off. That’s what the em dash was for. It’s doing all the heavy lifting here, and rightfully so. Let the em dash do its job, Richard.
My last major style complaint is that Matheson seemed to really over-explain his dialogue. There were lots of adverbs on the dialogue tags and little notes to tell us just how the person said the thing they said. We do NOT need to be updated that often on how they’re speaking—if you tell us once to set the mood of a conversation, we can figure it out from there. Or, hell—most of the time, you probably don’t even need to tell us once, because context clues will tell us how the person is talking. I really felt like Matheson was beating me over the head with information I already had.
Anyway, as far as the story goes, I saw a review here that mentioned that the plot doesn’t really get underway until partway through the book, and I’d agree with that. But apparently I felt that the earlier parts of the book were interesting enough, because the pages just kept turnin’. And the ending was pretty cool, so that’s nice.
All in all, this is dangerously close to being a 2-star book, on account of all the typos and poor style choices. But I can’t deny the facts: Matheson held my attention the entire time, and the last few books I’ve read haven’t really been doing that. So 3 stars it is.
But we’ll get to that in a minute.
I like everything of Matheson’s that I’ve read. I was in the library recently and needed to get a book that was relatively short, ‘cause I just wanted something to tide me over while an Amazon order of Zelazny books makes its way to my house. I came across Woman, a book I’d never even heard of before. It was by Matheson and it was short (125 pages), so it seemed like a good deal.
As I was saying earlier, this seems like a “half-draft,” in that it’s not even as polished as a first draft would be. The typos and grammatical errors are just—yikes. They’re everywhere. It’s not just a small mistake here or there. I wouldn’t be surprised if the book averages more than one error per page.
But that’s something we can get past if the story is good, right?
Actually, yes.
I found myself drawn into this book more than anything else I’ve read lately, and I think it’s just because Matheson knows how to tell a story. The premise wasn’t something that sounded very interesting to me and there were errors everywhere, yet I found myself flying through the pages. I didn’t necessarily have any particular love for any of the characters, but apparently I was interested in what was going on, because I got through this thing in no time.
According to the Wiki gods, Matheson was about 79 when this was published, and it reads very much like an old guy who doesn’t really give a crap about quality anymore and just wants to get his message out. The first half of the book or so is just a debate about the female movement in society, and the amount of errors makes me wonder if Matheson even read over anything he wrote or if he just went straight ahead without ever looking back.
In addition to the mistakes, there were also a few style choices I didn’t like (and these were things I hadn’t noticed in Matheson’s writing before, but maybe I just haven’t read enough of his stuff). For starters, there’s the italics. I’m not sure there was ever a character who spoke in this book without having at least one of their words italicized. Early on, this made it sound like everyone was just talking so hard, and it was extremely difficult to read. But, as is always the case when you overuse something like this, the reader eventually becomes desensitized to it. By the end of the book, I was just ignoring the italics. Which, of course, could mean I wasn’t reading some of the lines in the way Matheson intended—but he cried wolf so often that I stopped listening, so I probably didn’t hear it when it really counted.
Another thing that got me was that Matheson felt the need to put a dialogue tag right after someone got interrupted. For example, he might say something like . . .
***
“But I—” he started.
“Oh, shove it,” she interrupted.”
***
The problem? It’s supposed to be an interruption, and by putting the “he started” dialogue tag in there, you’re putting space between the first line of dialogue and the second. We don’t want space there. We don’t want a pause there. A pause makes it sound less like a smooth-flowing interruption. Why is the “he started” even necessary? We know he started talking. Between the quotation marks and the em dash, we already know that he started talking and was then cut off. That’s what the em dash was for. It’s doing all the heavy lifting here, and rightfully so. Let the em dash do its job, Richard.
My last major style complaint is that Matheson seemed to really over-explain his dialogue. There were lots of adverbs on the dialogue tags and little notes to tell us just how the person said the thing they said. We do NOT need to be updated that often on how they’re speaking—if you tell us once to set the mood of a conversation, we can figure it out from there. Or, hell—most of the time, you probably don’t even need to tell us once, because context clues will tell us how the person is talking. I really felt like Matheson was beating me over the head with information I already had.
Anyway, as far as the story goes, I saw a review here that mentioned that the plot doesn’t really get underway until partway through the book, and I’d agree with that. But apparently I felt that the earlier parts of the book were interesting enough, because the pages just kept turnin’. And the ending was pretty cool, so that’s nice.
All in all, this is dangerously close to being a 2-star book, on account of all the typos and poor style choices. But I can’t deny the facts: Matheson held my attention the entire time, and the last few books I’ve read haven’t really been doing that. So 3 stars it is.
May 18, 2013
This is an odd book. It starts off looking like one thing—I was reminded of, of all things, the TV play Abigail’s Party—and then seems to be heading in a completely different direction—an Outer Limits/Tales of the Unexpected-type scenario—before ending up as straight science fiction. I can see why people might have been disappointed in it. Those who come to it after watching I Am Legend won’t know what hit them. Then again they’d probably be disappointed with the original novel rather than the other way round.
The title Woman works on a couple of levels and we don’t actually learn who ‘Woman’ is until the last few pages. Up until then I hadn’t thought it was that great a title although Matheson hammers the Feminist stake into all the male chests with gusto; there isn’t a man in the book that’s likeable, not even the hero, although to be fair none of the women are especially likeable either. To criticise the writer for populating his book with cardboard characters is to miss the point: they are. Woman came out in 2006 but it felt very 1970s. I’ve watched TV programmes from or set in that time and it’s quite appalling how the males behaved and what the females tolerated. If this book had come out then I can imagine it becoming a cult classic. Not now.
It is one thing—from start to finish—a page turner and that’s perhaps a little surprising since the bulk of the book is dialogue. Nothing really happens and virtually all the action—I use the term loosely—takes place in a single apartment. I found it hard to put down. The best part reminded me of the film Carnage where two pairs of parents hold a cordial meeting after their sons are involved in a fight, though as their time together progresses, increasingly childish behaviour throws the evening into chaos. I’ve been in company like that, where a conversation gets out of hand and nothing can rein the guests in.
The book is not without its faults and other reviewers have highlighted them. I liked it more than I expected. It probably only deserves 3½ stars but I’m going with 4 since I got so caught up in it that I missed most of its failings and these are things a decent editor should’ve picked up; I can’t fault the author for that especially knowing what things my own editor has caught.
The title Woman works on a couple of levels and we don’t actually learn who ‘Woman’ is until the last few pages. Up until then I hadn’t thought it was that great a title although Matheson hammers the Feminist stake into all the male chests with gusto; there isn’t a man in the book that’s likeable, not even the hero, although to be fair none of the women are especially likeable either. To criticise the writer for populating his book with cardboard characters is to miss the point: they are. Woman came out in 2006 but it felt very 1970s. I’ve watched TV programmes from or set in that time and it’s quite appalling how the males behaved and what the females tolerated. If this book had come out then I can imagine it becoming a cult classic. Not now.
It is one thing—from start to finish—a page turner and that’s perhaps a little surprising since the bulk of the book is dialogue. Nothing really happens and virtually all the action—I use the term loosely—takes place in a single apartment. I found it hard to put down. The best part reminded me of the film Carnage where two pairs of parents hold a cordial meeting after their sons are involved in a fight, though as their time together progresses, increasingly childish behaviour throws the evening into chaos. I’ve been in company like that, where a conversation gets out of hand and nothing can rein the guests in.
The book is not without its faults and other reviewers have highlighted them. I liked it more than I expected. It probably only deserves 3½ stars but I’m going with 4 since I got so caught up in it that I missed most of its failings and these are things a decent editor should’ve picked up; I can’t fault the author for that especially knowing what things my own editor has caught.
April 20, 2014
A co-worker of mine at the library handed me this book and said, "Let me know what you think of it."
From the cover, I presumed this book was vanity published, and I wondered how it got into our library's collection. Gauntlet Press insists on their website that "These [books] are NOT print on demand." Well, okay, if you say so.
Richard Matheson's Woman is a parable about how women are undervalued by men in our society, and how the men better watch out or else there will be hell to pay (i.e. Men will become extinct).
I can see how this might be an A+ work of fiction if one handed it in to one's first-year Women's Studies professor at college or university, but I really don't see why this book was published and sold at all.
I found the writing really ham-fisted. It's like a little caveman shouting, "ME HAVE MESSAGE!" and dropping a rock on your head. I'd like to be able to call it a diamond in the rough, but I can't make that stretch.
There are two types of character in this book: 1) crass, boorish, and unlikeable; and 2) weak, ineffectual, and unlikeable.
This is terribly nit-picky, but I also thought it was really odd that Matheson named a principal character "Ganine" (she is introduced on page 8), and then had to explain to the readers that the name is pronounced "Jeanine". So why call her Ganine? It doesn't figure into the story anywhere. She is no apparent relation to Peter Ganine (pronounced with a hard g), designer of Gothic sculpted chess sets, although that might have been interesting. A few pages later (page 15), a character calls her Ganine (hard g), and she corrects him, saying "Jeanine". At no point does anyone in the story see her name written anywhere, so the character who mispronounces her name wouldn't have had any reason to say differently from how she had first said it when she introduced herself.
As another reviewer said, this book reads like a first draft, and perhaps Richard Matheson was just phoning this one in. I can't understand why he wouldn't work just a little bit harder on it if he actually intended for it to be distributed to "every chain and independent store in the country" as Gauntlet Press says is their aim.
Thank goodness this annoying book is only 125 pages long. I recommend you skip this one entirely.
From the cover, I presumed this book was vanity published, and I wondered how it got into our library's collection. Gauntlet Press insists on their website that "These [books] are NOT print on demand." Well, okay, if you say so.
Richard Matheson's Woman is a parable about how women are undervalued by men in our society, and how the men better watch out or else there will be hell to pay (i.e. Men will become extinct).
I can see how this might be an A+ work of fiction if one handed it in to one's first-year Women's Studies professor at college or university, but I really don't see why this book was published and sold at all.
I found the writing really ham-fisted. It's like a little caveman shouting, "ME HAVE MESSAGE!" and dropping a rock on your head. I'd like to be able to call it a diamond in the rough, but I can't make that stretch.
There are two types of character in this book: 1) crass, boorish, and unlikeable; and 2) weak, ineffectual, and unlikeable.
This is terribly nit-picky, but I also thought it was really odd that Matheson named a principal character "Ganine" (she is introduced on page 8), and then had to explain to the readers that the name is pronounced "Jeanine". So why call her Ganine? It doesn't figure into the story anywhere. She is no apparent relation to Peter Ganine (pronounced with a hard g), designer of Gothic sculpted chess sets, although that might have been interesting. A few pages later (page 15), a character calls her Ganine (hard g), and she corrects him, saying "Jeanine". At no point does anyone in the story see her name written anywhere, so the character who mispronounces her name wouldn't have had any reason to say differently from how she had first said it when she introduced herself.
As another reviewer said, this book reads like a first draft, and perhaps Richard Matheson was just phoning this one in. I can't understand why he wouldn't work just a little bit harder on it if he actually intended for it to be distributed to "every chain and independent store in the country" as Gauntlet Press says is their aim.
Thank goodness this annoying book is only 125 pages long. I recommend you skip this one entirely.
January 8, 2008
I love me some Matheson, but this book really sucked. The meat of the story didn't come around until just over halfway through, and by then I was already bored with the characters. The ending didn't exactly save it, either.
May 28, 2012
Writing Style: 2.5 stars
Characterization: 3 stars
Plot: 2.5 stars
Page-turner: 3 stars
Heart Factor: 2 stars
Characterization: 3 stars
Plot: 2.5 stars
Page-turner: 3 stars
Heart Factor: 2 stars
December 13, 2013
I still want to make this as a film - it is one of the most brilliant pieces of work from this man. Absolutely terrifying.
April 3, 2020
The writer of "I am Legend" and some of the most intriguing episodes of The Twilight Zone here gives his take on the ultimate end to the struggle between the sexes. Will women become men in order to thrive in a patriarchal society? Or is there even any need for men at all?
March 17, 2022
First section a little drawn out and annoying; second section, WOW total trip! I am glad I kept reading...
April 13, 2024
a strange short novel - a bit of a polemic on misogyny -but with a satisfying twilight zone vibe.
October 30, 2016
Woman (Paperback)
by Richard Matheson
I don't know when this short novel, published in 2005, was actually written.
The setting, dialog and, references to landline telephones and answering services tend to place it
In the early 1970s.
It is interesting to read this now at the very end of the Trump run for president. This spectacle has brought to our attention the gender gap in some of its crudest forms from the mouth and history of this Trump person. One could have thought, before this, that perhaps we are progressing away from such ugly patriarchal notions of dominance, that they were finally passing away. They are not hardwired, but a socially learned as humans moved from hunter-gatherer, into agriculture and ownership, where we started caring which kid came from with father as very important in passing on ownership of property.
The novel appears to be a supportive comradely reaction to the 1970s wave of feminism, the characters talk about “women's lib”.
The set up is a party before the Emmys in the LA apt of a woman sitcom producer and he husband, a radio talk show psychiatrist. A young woman who likes the radio program shows up at the apartment where the TV sitcom staff is assembling for drinks before the Emmys. The woman is troubled and wants help from the radio shrink who can’t get rid of her. She likes him because of comments he has made on the radio regarding “Women’s Lib” it’s direction and possible failure through cooptation.
She doesn’t belong to the party but has wormed her way in. The TV people are shown as brash, greedy, uncaring narcissists. Matheson ought to know with all his TV work.
They say ugly things casual and jokingly which upsets the young woman and, not unlike The Hulk, you won’t like her when she is mad.
This book has a very cool monster ultimately, and a sort of feminist/ecological theme.
It is very nicely done considering that it is written by an old and successful male story and TV writer.
I liked it. Richard Matheson is very good at succeeding in what he set out to do which makes is a very good little book.
(I try to judge these things on their own terms. It accomplished what I think it set out to do by sending a little message within an engaging story.)
by Richard Matheson
I don't know when this short novel, published in 2005, was actually written.
The setting, dialog and, references to landline telephones and answering services tend to place it
In the early 1970s.
It is interesting to read this now at the very end of the Trump run for president. This spectacle has brought to our attention the gender gap in some of its crudest forms from the mouth and history of this Trump person. One could have thought, before this, that perhaps we are progressing away from such ugly patriarchal notions of dominance, that they were finally passing away. They are not hardwired, but a socially learned as humans moved from hunter-gatherer, into agriculture and ownership, where we started caring which kid came from with father as very important in passing on ownership of property.
The novel appears to be a supportive comradely reaction to the 1970s wave of feminism, the characters talk about “women's lib”.
The set up is a party before the Emmys in the LA apt of a woman sitcom producer and he husband, a radio talk show psychiatrist. A young woman who likes the radio program shows up at the apartment where the TV sitcom staff is assembling for drinks before the Emmys. The woman is troubled and wants help from the radio shrink who can’t get rid of her. She likes him because of comments he has made on the radio regarding “Women’s Lib” it’s direction and possible failure through cooptation.
She doesn’t belong to the party but has wormed her way in. The TV people are shown as brash, greedy, uncaring narcissists. Matheson ought to know with all his TV work.
They say ugly things casual and jokingly which upsets the young woman and, not unlike The Hulk, you won’t like her when she is mad.
This book has a very cool monster ultimately, and a sort of feminist/ecological theme.
It is very nicely done considering that it is written by an old and successful male story and TV writer.
I liked it. Richard Matheson is very good at succeeding in what he set out to do which makes is a very good little book.
(I try to judge these things on their own terms. It accomplished what I think it set out to do by sending a little message within an engaging story.)
January 4, 2008
So the movie, "I Am Legend" is based on a novel by this author, Richard Matheson. After finding myself leaving the theater at a dead-run, I decided I wouldn't like to read "I Am Legend" and further upset myself, so I opted to read this instead. It was more philosophical than sci-fi scary and actually, sort or boring. I didn't like it. As I searched for this title a minute ago so that I could add it to my book list here, I saw that Richard Matheson also wrote "What Dreams May Come" which you may remember was made into a movie with Robin Williams. Having now seen 1.5 movies based on work of this author and having read 1 book, I would say that "What Dreams May Come" (at least the movie version) is the best of the 2.5, although still odd. If you are curious about this author, I recommend reading "What Dreams May Come".
September 5, 2013
Por haches o por bes, a veces tenemos olvidos imperdonables. No se trata de olvidos conscientes, sino más bien de una inercia al olvido inexplicable pero evidente. Mientras que con determinados autores no perdemos ripio (Stephen King, por ejemplo) con otros, que aceptamos en el club de los más grandes, nos quedamos in albis.
Uno de ellos, por increíble que parezca, es Richard Matheson.
Reseña completa de Ángel Sucasas para paraiso4.com: http://bit.ly/1aSl5Uk
Uno de ellos, por increíble que parezca, es Richard Matheson.
Reseña completa de Ángel Sucasas para paraiso4.com: http://bit.ly/1aSl5Uk
May 6, 2013
Second Matheson novel I've read, and given all his hype, I haven't been impressed yet. I guess I'll give I Am Legend and Hell House a try before writing him off completely.
His male lead characters always seem to be such gutless pussies, it's ridiculous. No depth for any of the characters here. It's like he wrote this just to have his viewpoint on the subject matter in print.
His male lead characters always seem to be such gutless pussies, it's ridiculous. No depth for any of the characters here. It's like he wrote this just to have his viewpoint on the subject matter in print.
April 9, 2009
The book is a very good book and has some great arguments for women.
March 10, 2015
This is the worst book I've ever read.
April 20, 2013
1 day read and a fantastic social commentary on the differences between the sexes.
September 4, 2013
A strong novella by a master of horror.
For a complete review go to http://www.examiner.com/review/woman-... and follow me on Twitter @josenher
For a complete review go to http://www.examiner.com/review/woman-... and follow me on Twitter @josenher
July 9, 2014
Quick read. Much like an episode of old Hitch-cock TV series.
October 14, 2015
pretty sub par writing.
not horrible, just not very exciting.
not horrible, just not very exciting.
Read
June 13, 2016I've stopped reading it.
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