Writing
Eisenberg published his first short story, "Dr. Beltzov's Polyunsaturated Kasha Oil Diet," in Harper's Magazine in 1962. Shortly after that, he began publishing his stories in many of the leading science fiction magazines of the day, including The Magazine of Fantasy and Science Fiction, Galaxy Science Fiction, and If. Many of these stories have a humorous style and feature his character Professor Emmet Duckworth, a research scientist and two-time winner of the Nobel Prize.
Eisenberg is best known for his short story What Happened to Auguste Clarot?, which was published in the anthology Dangerous Visions edited by Harlan Ellison. His stories have also been reprinted in anthologies such as Great Science Fiction of the 20th Century, The 10th Annual of the Year’s Best SF, and Great Science Fiction By the World's Great Scientists.
He has published two books of limericks (both with George Gordon), and one collection of short stories, Best Laid Schemes. More recently, he has gained a cult following for the limericks he posts in the comments sections of various New York Times articles and has been called the "closest thing this paper has to a poet in residence."
Read more about this topic: Larry Eisenberg
Famous quotes containing the word writing:
“In the course of writing one historical book or another, it has happened that I could hardly restrain myself from simply copying entire documents. Indeed, I sometimes sank down among the documents and said to myself, I can’t improve on these.”
—Alfred Döblin (1878–1957)
“Hidden away amongst Aschenbach’s writing was a passage directly asserting that nearly all the great things that exist owe their existence to a defiant despite: it is despite grief and anguish, despite poverty, loneliness, bodily weakness, vice and passion and a thousand inhibitions, that they have come into being at all. But this was more than an observation, it was an experience, it was positively the formula of his life and his fame, the key to his work.”
—Thomas Mann (18751955)
“There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classics did the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy.”
—Paul Horgan (b. 1904)