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:
“The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The human head is monstrous.”
—Günther Grass (b. 1927)
“I can hardly bring myself to caution you against drinking, because I am persuaded that I am writing to a rational creature, a gentleman, and not to a swine. However, that you may not be insensibly drawn into that beastly custom of even sober drinking and sipping, as the sots call it, I advise you to be of no club whatsoever.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model.... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.”
—Jean Cocteau (1889–1963)