A term first used in a restricted sense by Murray Leinster in "Pocket Universes" (October 1946 Thrilling Wonder),
where it is a "contrivance" rather than an encompassing world. It might
broadly be said that the inhabitant of any constricted environment
lives in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – almost inevitably marks the transition
from a pocket universe to a fuller and more real world. In the final
pages of Mark Twain's The Adventures of Huckleberry Finn (1884),
when Huck figures he "got to light out for the Territory ahead of the
rest", he is anticipating his "escape" from aunt Sally in order to be
free of the overgoverned social organization and its conservative
inwardness of gaze that she represents: an hierarchical boundedness that
has many of the psychological characteristics of the pocket universe as
found in sf: that Huck will almost certainly find no freedom in the
Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending),
just as life under the stars tends to be pointed at, rather than lived,
as most Pocket Universe tales come to a climax. The classic movement of
the sf tale is of course outward – via Conceptual Breakthroughs
and all the other forms of initiation or unshackling – and in that
sense most sf works contain some sort of pocket universe, implied or
explicit, which initially binds and blinds the protagonist, and from
which it is necessary to escape; and most sf works lose momentum if they
try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf
A term first used in a restricted sense by Murray Leinster in "Pocket Universes" (October 1946 Thrilling Wonder),
where it is a "contrivance" rather than an encompassing world. It might
broadly be said that the inhabitant of any constricted environment
lives in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – almost inevitably marks the transition
from a pocket universe to a fuller and more real world. In the final
pages of Mark Twain's The Adventures of Huckleberry Finn (1884),
when Huck figures he "got to light out for the Territory ahead of the
rest", he is anticipating his "escape" from aunt Sally in order to be
free of the overgoverned social organization and its conservative
inwardness of gaze that she represents: an hierarchical boundedness that
has many of the psychological characteristics of the pocket universe as
found in sf: that Huck will almost certainly find no freedom in the
Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending),
just as life under the stars tends to be pointed at, rather than lived,
as most Pocket Universe tales come to a climax. The classic movement of
the sf tale is of course outward – via Conceptual Breakthroughs
and all the other forms of initiation or unshackling – and in that
sense most sf works contain some sort of pocket universe, implied or
explicit, which initially binds and blinds the protagonist, and from
which it is necessary to escape; and most sf works lose momentum if they
try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.HIhuXWo7.dpuf
It
might be said that the inhabitant of any constricted environment lives
in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – always marks the transition from a
pocket universe to a fuller and more real world. - See more at:
http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf
It
might be said that the inhabitant of any constricted environment lives
in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – always marks the transition from a
pocket universe to a fuller and more real world. - See more at:
http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf
It
might be said that the inhabitant of any constricted environment lives
in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – always marks the transition from a
pocket universe to a fuller and more real world. - See more at:
http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf
WELL POCKET UNIVERSE IS A TERM USED BY MURRAY LEINSTER IN 1946AND IS A SINGULAR TERM .....THE UNIVERSE IN A POCKET
THE UNIVERSE IN MINIATURE
LIKE THE MICROCOSMOS CONCEPT OF LYNN MARGULIS
IS A HOLISTIC APPROACH TO A ENHANCED CONCEPT OF COSMOS AND COSMOGONY
Welcome to POCKET UNIVERSE, in which THe Manolo's Herédia's or man hole here Diaz.....eat the offspring of the work force like the Morlock's eat the elite, o escol improdutivo nos mundos de H.G.Wells
Ó MEU LORD NUM QUER DAR TRABALHO ÀS SERVAS DA GLEBA MENORES DE 16 ANOS QUE TENDES NAS LEIRAS?
É EXPORTÁ-LAS COM O OURO E AS PRATAS DAS CASAS DE VOSSA SENHORIA
It might broadly be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a lORD OF CHAOS, or a power lord, a war lord in a post-apocaliptyc world like in Testament XXI, a bunker society isolated from the surface, or the H.G.Wells MARXISTIC or marxist MOrlocks that devour the good Gentry or Thw Manolo’s Herédias from the future tense….is a verb form that marks the event described by the verb as not having happened yet, but expected to happen in the future
Manolo Heredia HIPERtaliban em CRUZADA PERMANENTE a BEM DA CRUZ GAMADA à BOA GENTE DE BONS COSTUMES OU CURTUMES OU CHORMES TANTO FAX….
Marxistas são aqueles que vêm os países habitados de uma orda de empregados a quererem lixar os empresários em vez de veram uma data de empresários a quererem fazer o favor de dar emprego a quem não o tem…
a child lord like the children in LORD OF THE FLIES are in a POCKET UNIVERSE
, a prisoner of Zenda or in chateau d’IF or Riddick in a prisional colony, or a soldier in a war they are in Pocket Universes like the victim’s of demential ideologies that praise Tyranus rex…..
Manolo Heredia HIPERtaliban em CRUZADA PERMANENTE a BEM DA CRUZ GAMADA à BOA GENTE DE BONS COSTUMES OU CURTUMES OU CHORMES TANTO FAX….
Marxistas são aqueles que vêm os países habitados de uma orda de empregados a quererem lixar os empresários em vez de veram uma data de empresários a quererem fazer o favor de dar emprego a quem não o tem…
a child lord like the children in LORD OF THE FLIES are in a POCKET UNIVERSE
, a prisoner of Zenda or in chateau d’IF or Riddick in a prisional colony, or a soldier in a war they are in Pocket Universes like the victim’s of demential ideologies that praise Tyranus rex…..
a chained watcher in Plato’s cave or in Socrates Portucale they like a resident of Hell or INFERNO von Jerry Pournelle or another Plutonic mythology or a Mayan or Incal one or Inca c’est presque la même chose ……
well like an inhabitant of the world inside Pantagruel’s mouth they don’t have the perception that Marxist’s and ouvriers and piolheira are human beings too……
well like an inhabitant of the world inside Pantagruel’s mouth they don’t have the perception that Marxist’s and ouvriers and piolheira are human beings too……
they are too many i-dei-as and ideologies that regard the worker class as untermensch
or sub-human or shit and they are lucky enough to survive in an empresarial pocket universe full of Manolo’s Herédia’s the terratenientes the war god’s
the krupp….the FORD
or sub-human or shit and they are lucky enough to survive in an empresarial pocket universe full of Manolo’s Herédia’s the terratenientes the war god’s
the krupp….the FORD
GLORIA MUNDI VON FORD.DETROIT aBYSSUM
. It might also be suggested that the dynamic moment of escape from confinement OR MISERIA OR pauper city or gwetto or gueto or soweto or gwetho c’est la même chose – a leitmotiv of Western and Kappa oriented nipponic literature – almost inevitably marks the transition from a pocket universe to a fuller and more real world. In the final pages of Mark Twain’s The Adventures of Huckleberry Finn (1884), when Huck figures he “got to light out for the Territory ahead of the rest”, he is anticipating his “escape” from aunt Sally in order to be free of the overgoverned social organization and its conservative inwardness of gaze that she represents: an hierarchical boundedness that has many of the psychological characteristics of the pocket universe as found in sf: that Huck will almost certainly find no freedom in the Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending), just as life under the stars tends to be pointed at, rather than lived, as most Pocket Universe tales come to a climax. The classic movement of the sf tale is of course outward – via Conceptual Breakthroughs and all the other forms of initiation or unshackling – and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape; and most sf works lose momentum if they try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer’s World of Tiers sequence
or like the hidden redoubts that feature in so many Lost Race tales; or like the “natural” miniature universes observed in such works as Gregory Benford’s Cosm
or like the set-ups in almost any of Jack L Chalker’s series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl’s “The Tunnel Under the World” (January 1955 Galaxy) or Philip K Dick’s Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon’s “Microcosmic God” (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan’s “Crystal Nights” (April 2008 Interzone);
or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world is set
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer’s and Chalker’s protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct.
In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth...like any society modern or in the old good day's of Rome or Babel or Socratic with lot's of slaves and children for sex with entrepreneurs
Business ideas and trends from the greek entrepreneur Magazine von socrates of Athenas.
The latest news, expert advice, and growth strategies for small business owners without sex toys.....
it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty and avoid the Socratic intrusion's
The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein’s Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss’s Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison’s Captive Universe (1969); but Alexei Panshin’s Rite of Passage (July 1963 If as “Down to the Worlds of Men”; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe’s Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter’s Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye’s Dark Universe (1961), though Margaret St Clair’s Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper’s Kuldesak (1972), Roger Eldridge’s The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake’s Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
-
-
It
might broadly be said that the inhabitant of any constricted
environment lives in a pocket universe, whether as a child, a prisoner, a
victim of dementia, a chained watcher in Plato's cave, a resident of
Hell or an inhabitant of the world inside Pantagruel's mouth. It might
also be suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – almost inevitably marks the
transition from a pocket universe to a fuller and more real world. In
the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884),
when Huck figures he "got to light out for the Territory ahead of the
rest", he is anticipating his "escape" from aunt Sally in order to be
free of the overgoverned social organization and its conservative
inwardness of gaze that she represents: an hierarchical boundedness that
has many of the psychological characteristics of the pocket universe as
found in sf: that Huck will almost certainly find no freedom in the
Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending),
just as life under the stars tends to be pointed at, rather than lived,
as most Pocket Universe tales come to a climax. The classic movement of
the sf tale is of course outward – via Conceptual Breakthroughs
and all the other forms of initiation or unshackling – and in that
sense most sf works contain some sort of pocket universe, implied or
explicit, which initially binds and blinds the protagonist, and from
which it is necessary to escape; and most sf works lose momentum if they
try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf
It
might broadly be said that the inhabitant of any constricted
environment lives in a pocket universe, whether as a child, a prisoner, a
victim of dementia, a chained watcher in Plato's cave, a resident of
Hell or an inhabitant of the world inside Pantagruel's mouth. It might
also be suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – almost inevitably marks the
transition from a pocket universe to a fuller and more real world. In
the final pages of Mark Twain's The Adventures of Huckleberry Finn (1884),
when Huck figures he "got to light out for the Territory ahead of the
rest", he is anticipating his "escape" from aunt Sally in order to be
free of the overgoverned social organization and its conservative
inwardness of gaze that she represents: an hierarchical boundedness that
has many of the psychological characteristics of the pocket universe as
found in sf: that Huck will almost certainly find no freedom in the
Territory is a fate beyond the pages of Huckleberry Finn (> Slingshot Ending),
just as life under the stars tends to be pointed at, rather than lived,
as most Pocket Universe tales come to a climax. The classic movement of
the sf tale is of course outward – via Conceptual Breakthroughs
and all the other forms of initiation or unshackling – and in that
sense most sf works contain some sort of pocket universe, implied or
explicit, which initially binds and blinds the protagonist, and from
which it is necessary to escape; and most sf works lose momentum if they
try to inhabit the new world on offer.
Two usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf
THE POCKET UNIVERSE STORY TELL OR FAIRY TALES For MORON'S combinesTwo usages of the term seem useful, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device – like the various godling-crafted worlds nesting within one another in Philip José Farmer's World of Tiers sequence; or like the hidden redoubts that feature in so many Lost Race tales; or like the "natural" miniature universes observed in such works as Gregory Benford's Cosm (1998); or like the set-ups in almost any of Jack L Chalker's series (e.g., the Well World sequence and the Four Lords of the Diamond tetralogy) which feature universes constructed by godlike beings as Godgame labyrinths and inhabited by victim-players who must solve their universe to escape from it; or like similar 1950s set-ups (see Paranoia) such as in Frederik Pohl's "The Tunnel Under the World" (January 1955 Galaxy) or Philip K Dick's Time Out of Joint (1958), whose protagonists are victims of artificial worlds shaped to delude and manipulate them; or like the inverse scenario in which human protagonists are the manipulators of artificial life, ranging from Theodore Sturgeon's "Microcosmic God" (April 1941 Astounding) to the sophisticated AI-Evolution of Greg Egan's "Crystal Nights" (April 2008 Interzone); or (again trivially) like any fantasy game which involves Role-Playing Game activity within a Virtual-Reality world; or in fact like any world (such as that on which John Crowley's The Deep [1975] is set, or Terry Pratchett's Discworld) whose origins and extent reflect a sense of constraining artifice.
But none of these applications contains the one essential element that defines the true pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined, the world initially perceived seems to be the entire world, not a Keep within a larger from, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the Conceptual Breakthrough which arguably structures all genuine sf.
The classic Generation-Starship tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, Taboo-governed society which suppresses any attempt to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure Generation-Starship story embodies, therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous – Robert A Heinlein's Universe (May 1941 Astounding; 1951 chap) is the most famous in the list, which includes also Brian W Aldiss's Non-Stop (1956 Science Fantasy #17; exp 1958; cut vt Starship 1959), Harry Harrison's Captive Universe (1969); but Alexei Panshin's Rite of Passage (July 1963 If as "Down to the Worlds of Men"; exp 1968), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship from which its heroine must escape. The growth into redemptive adulthood of Silk in Gene Wolfe's Book of the Long Sun sequence (1993-1996) soon absorbs the model into more complex concerns. A good late example of the form, such as Stephen Baxter's Ark (2009), is unlikely to emphasize the Pocket Universe/puberty linkage, which has now become a Cliché, though Paul C {CHAFE} returns to it in his Exodus sequence (2007-2009).
All Post-Holocaust tales in which the descendants of survivors live in Underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is perhaps Daniel F Galouye's Dark Universe (1961), though Margaret St Clair's Sign of the Labrys (1963) and The Shadow People (1969) play fruitfully with the concept, as do Richard Cowper's Kuldesak (1972), Roger Eldridge's The Shadow of the Gloom-World (1977) and many others. In all these stories, the essential movement is from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough; in Genre SF it is only more recently that ironies have significantly pervaded this pattern, as in David J Lake's Ring of Truth (1983), where a traditional enclosed world turns out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a Sense of Wonder, a new world opening before the opened eyes.
- See more at: http://www.sf-encyclopedia.com/entry/pocket_universe#sthash.7EKhvDi1.dpuf
the ultimate in post-modern PROPAGANDA with the RTP's video illustrations to recreate the deepest levels of dreaming in a famished road society.....
THe Manolo's Heredia Pocket Universe is a startling and subtle set-piece of sensational psycho-art or art by the
psychopathic character structure | |
or art by the battered-child syndrome
The authoritarian character structure of the LORD's of Entrepreneur Medieval States
CONSCIENCE IN THE PSYCHOPATH----or in another path or phatos....
| |
from last year's german companion von Eurogrouppen or Einsatzgruppen or Einzatten gruppen or gruppen führer or führer d' gruppen or gruppenführer de future führer's
EUROGRUPPEN RABID EYE, EUROPA composes a single sweeping mindscape that carries the poop people or the poor people or the less than 99,99% of people along hypnotically, unfolding through the vistas of the unconscious with all the magic and mystery of dreaming itself without euros or écus or dollars or thalers or bit coin's for pauvre con's or wathever buy bread and ale...or just ale....
Are art and life one?
Enter EUROPA's POCKET UNIVERSE and learn the simple truth YOU are just fucked up or down
IT'S NOT WHERE EURO OR EUROPA IT'S GOING, IT'S WHERE EUROPA IT'S COMING FROM
MEDIEVAL WORLDS OF IF....AND ROBIN HOOD'S WITHOUT MACHINE GUN'S....WELL EUROPA AND EUROcentric and excentric europeans dystopian's provides a beautifully written view of evolution as a process based on interdependency and the interconnectedness of all life on the planet....except europa of course or europe of corso nappoleone
.sem moças de servir a empresários para todo o serviço e vice-versa
gente de servir bom povo gente de servir a quem se serve….primeiro
Publicat per Para a Posteridade as sobras ….e as dívidas…
It
might be said that the inhabitant of any constricted environment lives
in a pocket universe, whether as a child, a prisoner, a victim of
dementia, a chained watcher in Plato's cave, a resident of Hell or an
inhabitant of the world inside Pantagruel's mouth. It might also be
suggested that the dynamic moment of escape from confinement – a
leitmotiv of Western literature – always marks the transition from a
pocket universe to a fuller and more real world. - See more at:
http://www.sf-encyclopedia.com/archives/pocket_universe/41466#sthash.IkZiQryg.dpuf
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en qualsevol moment si tornes a volver ô no, no se suprimiran els enllaços entre ...ahn? quien es?