This collection comprises the Science Fiction novels A Space Odyssey by Arthur C Clarke and its three sequels - Odyssey Two, These are e-books, in liomnemlibicon.tk format (capable of being read by any. The year is , and cosmonauts uncover a mysterious monolith that has been buried on the Moon for at least three million years. This novel version of the famous Stanley Kubrick film A Space Odyssey was written by Clarke in conjunction with the movie's production. , a space odyssey: a novel 13 editions. A colaboration of ideas with director Stanley Kubrick in the late 's it begins at "the dawn of man" and then leaps to the year where a mission to Saturn (Jupiter in the film) is mounted to try and answer questions raised by the.
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Space Odyssey has 7 entries in the series. Space Odyssey (Series). Book 1. Arthur C. Clarke Author (). cover image of A Space Odyssey. a Space Odyssey. [Arthur C Clarke; 3M Company.] -- The year is , and cosmonauts uncover a mysterious monolith that has been buried on the Moon. This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is.
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You already recently rated this item. Your rating has been recorded. Write a review Rate this item: Preview this item Preview this item. Arthur C Clarke ; 3M Company. RosettaBooks, English View all editions and formats Summary: The year is , and cosmonauts uncover a mysterious monolith that has been buried on the Moon for at least three million years.
To their astonishment, the monolith releases an equally mysterious pulse? Whether alarm or communication, the human race must know what the signal is? A Space Odyssey and Odyssey II, have been adapted into films that still stand as classic examples of the genre. Without a doubt, Arthur C. Clarke is one of the most important voices in contemporary science fiction literature.
Read more Show all links. Allow this favorite library to be seen by others Keep this favorite library private. Find a copy in the library Finding libraries that hold this item Print version: Clarke, Arthur C. Document, Fiction, Internet resource Document Type: Find more information about: Arthur C Clarke. A Space Odyssey Arthur C. Clarke, Diseno de cubierta: He was planning a special promotion of the movie in the year ; I am very sad that I will be unable to share the occasion with him.
Though we met only a few times during the three decades after completing , we remained in friendly touch-as is demonstrated by the generous message which he sent to the BBC when I appeared on This Is Your Life: August 22, Dear Arthur, I'm sorry that work on my film prevents me from joining in this great honour to you tonight.
You are deservedly the best known science fiction writer in the world.
You have done more than anyone to give us a vision of mankind reaching out from cradle earth to our future in the stars, where alien intelligences may treat us like a godlike father, or possibly like the "Godfather.
But whether future generations will ever have the opportunity to know of this depends on the answer to your favorite question: Is there intelligent life on Earth? Yours, A few nights ago I dreamed that we were talking together he was looking exactly the same as in ! One of my deepest regrets now is that we shall not be able to welcome the year together. Clarke 16 April Foreword to the Millennial Edition It is now thirty-five years since Stanley Kubrick began his quest for the proverbial "good science fiction movie," and already seems to belong to another age.
Only a handful of men-and one woman-had gone into space, and although President Kennedy had announced the United States' intention of putting a man on the Moon before the end of the decade, I doubt if many people believed it would actually happen. Moreover, our genuine knowledge of our neighbors in space was still virtually zero: To give some sense of perspective, let me quote from the mostly nonfictional account of our enterprise, The Lost Worlds of , which I wrote in when everything was still fresh in my mind: But the portents were clear; I often remarked to Stanley that the film would be still on its first run when men were actually walking on the Moon.
So in writing our story line, at the early dawn of the space age, Stanley and I had a credibility problem; we wanted to create something realistic and plausible, that would not be made obsolete by the events of the next few years. And although our original working title was How the Solar System Was Won , Stanley was aiming at something more than a straightforward tale of exploration.
As he was fond of telling me, "What I want is a theme of mythic grandeur. I doubt if even in his wildest dreams Stanley imagined that one day a hundred million Americans would know exactly who what? If you want the definitive version, I refer you to the superb Voyager-Criterion video disc, which contains not only the full movie but also a vast amount of archival material relating its production.
These are glimpses of the film being shot, and discussions with the artists, scientists, and technicians who made it possible. It also shows a youthful Arthur C. Clarke being interviewed in the lunar-module assembly room at Grumman Aircraft, surrounded by the hardware which a few years later was resting on the surface of the Moon.
The sequence ends with a fascinating comparison between the movie and the later realities of Apollo, Skylab, and Shuttle flights-some of which do not look anything like as convincing as Stanley's previsions. It is therefore hardly surprising that, even in my own mind, book and movie tend to be confused with each other-and with reality; the various sequels make the situation even more complicated.
So I'd like to go back to the beginning and recall how the whole thing started. I cannot resist quoting from my reminiscences of this time: It was strange, being back in New York after several years of living in the tropical paradise of Ceylon. Commuting-even if only for three stations on the IRT-was an exotic novelty, after my humdrum existence among elephants, coral reefs, monsoons and sunken treasure ships.
The strange cries, cheerful smiling faces, and unfailingly courteous manners of the Manhattanites as they went about their mysterious affairs were a continual source of fascination; so were the comfortable trains whispering quietly through the spotless subway stations, the advertisements often charmingly adorned by amateur artists for such outlandish products as Levy's bread, the New York Post , Piel's beer, and a dozen competing brands of oral carcinogens.
But you can get used to anything in time, and after a while about fifteen minutes the glamour faded. From Report on Planet Three: They should put up a plaque to mark the spot. Stanley was still basking in the success of his last movie, Dr. Strangelove , and was looking for an even more ambitious theme.
He wanted to make a movie about man's place in the universe-a project likely to give a heart attack to any studio head of the old school-or, for that matter, of the new one. Stanley-who becomes an instant expert in any subject that concerns him-had already devoured several libraries of science fact and science fiction. He had also acquired rights to a property with the intriguing title Shadow on the Sun ; I remember nothing whatsoever about it and have even forgotten the author's name, so presumably he was not one of the s.
Whoever he was, I hope he never knows that I sabotaged his career, because Kubrick was promptly informed that Clarke was not interested in developing other people's ideas. See the Afterword of Rama Il for the curious series of events which caused a change of policy with Cradle a couple of decades later. This point having been settled, we decided to create Something Entirely New.
Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters. I had already given Stanley a list of my shorter pieces, and we had decided that one-"The Sentinel"-contained a basic idea on which we could build. It has now been anthologized so often that I need only say that it's a mood piece about the discovery of an alien artifact on the Moon-a kind of burglar alarm, waiting to be set off by mankind's arrival.
It needed a lot more material to make the movie, and some of it came from "Encounter in the Dawn" a. But most of it was wholly new, and the result of months of brainstorming with Stanley-followed by lonely well, fairly lonely hours in Room of the famous Hotel Chelsea, at West 23rd Street. This is where most of the novel was written, and the journal of this often painful process is found in The Lost Worlds of But why write a novel, you may well ask, when we were aiming to make a movie?
It's true that novelizations ugh are all too often produced afterward; in this case, Stanley had excellent reasons for reversing this process. Because a screenplay has to specify everything in excruciating detail, it is almost as tedious to read as to write.
John Fowles put it very well when he said: And, hopefully, a little cash. This is more or less the way it worked out, though toward the end novel and screenplay were being written simultaneously, with feedback in both directions.
Thus I rewrote some sections after seeing the movie rushes-a rather expensive method of literary creation, which few other authors can have enjoyed, though I am not sure if "enjoyed" is the right word.
To give the flavor of that hectic time, here are some extracts from the journal I must have hastily written in the smaller hours of the morning: May 28, Suggested to Stanley that "they" might be machines who regard organic life as a hideous disease.
Stanley thinks this is cute,,, June 2. Averaging one or two thousand words a day. Stanley says, "We've got a best seller here.
Joined Stanley to discuss plot development, but spent almost all the time arguing about Cantor's Transfinite Groups,,, I decide that he is a latent mathematical genius.
July Now have everything-except the plot. Stanley's 36th birthday.
Went to the Village and found a card with the inscription: Dreamed I was a robot being rebuilt. Took two chapters to Stanley, who cooked me a fine steak, remarking, "Joe Levine doesn't do this for his writers. Stanley has invented the wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease.