“Ninety percent of science fiction is bullshit, but remember that ninety percent of everything is bullshit.” This statement, also known as Sturgeon's Revelation, hardly applies to his own work. Having changed many professions, from garbage collector to literary agent, from carpenter to university lecturer, he tries genres and styles, literary forms and formats with the same voracious curiosity. No wonder critics called Sturgeon “the best stylist in the history of American fiction.” A destroyer of all sorts of taboos and unwritten rules of SF, a harbinger of many discoveries of the American new wave of the 1960s, he easily found the keys to the hearts of readers of all age categories and taste preferences. Children loved funny stories like “Crumbs and the Beasts.” Romantic types couldn’t help but appreciate “The Flying Saucer of Loneliness,” about a lonely woman falling in love with an alien. The intelligentsia enthusiastically accepted reflections on the frighteningly limitless possibilities of the human mind in “More Than Men” and “Marriage to Medusa.” Sturgeon’s work was studied with interest by Kurt Vonnegut, Ray Bradbury, Samuel Delaney, and Stephen King, fascinated by him, summed up: “One of the greatest fantasists ever born.” In his youth, Sturgeon dreamed of becoming a circus gymnast, but in the end he spread the wings of his imagination so widely that he soared higher than any stuntman or acrobat...