Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts

Monday, August 12, 2019

GAMMA: A Showcase for the Writers of The Twilight Zone

Cover art by Morris Scott Dollens
for Gamma 2 (1963)
    A guide to the short-lived fiction magazine based in Hollywood which published many of the science fiction film and television writers of the day.     

          Gamma was a digest-sized fiction magazine which appeared on newsstands in the spring of 1963, around the time the fourth season of The Twilight Zone was coming to a close. Reluctant to label itself science fiction, the magazine was instead subtitled “New Frontiers in Fiction” and featured an eclectic and sometimes experimental (poetry, drama, etc.) assortment of science fiction, fantasy, and horror fiction, along with interviews and original art. It lasted two years, with five issues irregularly appearing between 1963 and September, 1965. A sixth issue was advertised and anticipated but never appeared. An irregular publishing schedule and distribution problems plagued the magazine from the beginning and ultimately caused its demise as a dedicated readership was difficult to cultivate under those conditions.
Gamma was published by Star Press, Inc., a venture out of North Hollywood created by Jack Matcha (1919-2003), a journalist and playwright turned novelist who assumed the roles of Publisher and Executive Editor on Gamma as well as the short-lived crime fiction magazine Chase published by Health Knowledge, Inc. As a novelist Matcha wrote a hardboiled paperback for Fawcett Gold Medal (Prowler in the Night, 1959), several Brady Bunch mysteries for the Tiger Beat (from the teen magazine) imprint of New American Library, and novels of erotic pulp sleaze, the latter a service he also provided under the pseudonyms John Barclay and John (or James) Tanner. The Star Press team also included Publisher/Editor Charles E. Fritch and Managing Editor William F. Nolan, who departed his position after three issues.

Gamma can be counted among the many genre fiction magazines which folded as financial problems or a crowded newsstand brushed them away after a few issues. What separated Gamma, however, were the contributors to the magazine. Modeling itself on the high literary standards set by Ellery Queen’s Mystery Magazine and, especially, The Magazine of Fantasy and Science Fiction, Gamma served as a showcase for the Southern California Group of writers and their associates, many of whom were also writing for film and television at the time. The Southern California Group (so-named by The Los Angeles Times literary critic Robert Kirsch) was a collective of close friends who formed creatively under the mentorship of Ray Bradbury (and later Charles Beaumont) and were those writers Rod Serling gathered around him to bring The Twilight Zone to life on television.
Nearly every major contributing writer to The Twilight Zone can be found in the pages of Gamma. Rod Serling, Richard Matheson, Charles Beaumont, Ray Bradbury, George Clayton Johnson, and John Tomerlin all appear in the first issue and most would appear again later. Other names, such as Robert Bloch, Ray Russell, Fritz Leiber, Robert Sheckley, Dennis Etchison, Patricia Highsmith, and Forrest J. Ackerman, will certainly ring familiar. Gamma also distinguished itself by including work from writers not known for speculative fiction, such as William Faulkner, Tennessee Williams, and Bernard Malamud.
Gamma crowded a lot of material into its five issues, including dense but concise contributor biographies and insightful interviews. For a brief time in the early 1960s the magazine was the perfect vehicle of expression for a group of writers who would exert a wide-ranging influence upon American popular culture.

Below is a cover gallery, contents list, and notes for the five issues of Gamma. A gallery of the magazine’s interior art follows.

-JP

























Gamma 1 (vol. 1, no. 1, 1963)
Cover art: Morris Scott Dollens
Editor & Publisher: Charles E. Fritch
Executive Editor: Jack Matcha
Managing Editor: William F. Nolan

Contents:

-“About Our Cover Artist” – Biographical essay on Morris Scott Dollens (1920-1994) who was also a successful commercial photographer with many of Ray Bradbury’s book jacket author photos to his credit.

-“Gamma” – Mission statement editorial.

-“Mourning Song” by Charles Beaumont. Beaumont (1929-1967) was struggling with the ill-effects of early-onset Alzheimer’s at this time and “Mourning Song” was one of the last pieces of fiction he would write. It is also one of his finest, an ironic and meditative dark fantasy about fate and consequence. Judith Merril included the story in The 9th Annual of the Year’s Best SF (1964) and it was collected in the career retrospective Charles Beaumont: Selected Stories, ed. Roger Anker (1988).

-“Crimes Against Passion” by Fritz Leiber. A short play.

-“Time in Thy Flight” by Ray Bradbury. This story originally appeared in the June-July, 1953 issue of Fantastic Universe. It was collected in the second of Bradbury’s two collections for younger readers, S Is for Space (1966).

-“The Vengeance of Nitocris” by Thomas Lanier “Tennessee” Williams. The first reprinting of an early story from the American playwright which originally appeared in the August, 1928 issue of Weird Tales.

-“Itself!” by A.E. van Vogt. This is reprinted from the January, 1963 issue of Scientific American. It was collected in The Far-Out Worlds of A.E. van Vogt (1968).

-“Venus Plus Three” by Charles E. Fritch. Fritch (1927-2012) was a prolific novelist and short story writer equally adept at science fiction and suspense. He was a core member of the Southern California Group and memorialized the group in perhaps his best-known story, “Big, Wide, Wonderful World,” from the March, 1958 issue of The Magazine of Fantasy and Science Fiction. “Venus Plus Three” was collected in Horses’ Asteroid (1970).

-“A Message from Morj” by Ray Russell. Russell (1924-1999) was the fiction editor for Playboy until he moved from Chicago to Los Angeles in the early 1960s to begin a screenwriting career working with directors Roger Corman and William Castle. Russell collaborated with Charles Beaumont on the script for Corman’s The Premature Burial (1962).

-“To Serve the Ship” by William F. Nolan. This story was reprinted a few months later in Nolan’s Impact-20 (1963). Some time back we interviewed Nolan about his long career. You can read that here.

-The Gamma Interview: Rod Serling. This interview is relatively brief but insightful and much of the discussion centers on The Twilight Zone.

-“The Freeway” by George Clayton Johnson. Johnson (1929-2015) remains well known for his television scripts, including such The Twilight Zone episodes as “A Game of Pool,” “Nothing in the Dark,” and “Kick the Can.” “The Freeway” was reprinted by William F. Nolan in the anthology Man Against Tomorrow (1965) and collected in the career retrospective All of Us Are Dying and Other Stories (1999).

-“One Night Stand” by Herbert A. Simmons. A science fiction story from the reclusive African American writer. William F. Nolan reprinted the story in the 1970 anthology A Sea of Space.

-Advertisement for the sale of copies of The Ray Bradbury Review. The Ray Bradbury Review, a 1952 booklet featuring essays from Anthony Boucher, Chad Oliver, and Henry Kuttner, among others, was the first of William F. Nolan’s biographical and bibliographical works on Bradbury, which also includes The Ray Bradbury Companion (1975) and Nolan on Bradbury (2013).

-“As Holy and Enchanted” by Kris Neville. Neville (1925-1980) was a highly-regarded specialist in the SF short story who had largely abandoned SF writing by the time this tale appeared, reprinted from the April, 1953 issue of Avon Science Fiction and Fantasy Reader.

-“Shade of Day” by John Tomerlin. Tomerlin (1930-2014) was a novelist, short story writer, and scriptwriter for such television programs as Thriller and Wanted: Dead or Alive. He collaborated with Charles Beaumont on the 1957 suspense novel Run from the Hunter, published under the joint pseudonym Keith Grantland, and adapted Beaumont’s 1952 story “The Beautiful People” for the fifth season Twilight Zone episode, “Number 12 Looks Just Like You.”

-“The Girl Who Wasn’t There” by Forrest J. Ackerman. This story was originally written by Tigrina (1921-2015) (Edythe Eyde), a secretary at RKO Studios and fanzine editor now remembered for creating the first lesbian periodical in the U.S., Vice Versa in 1947. Ackerman supplied the ending to the story for its first appearance in the fanzine Inside. For its appearance in Gamma, the story was rewritten by Charles E. Fritch and William F. Nolan. It was reprinted, with credit to all four authors, in Science Fiction Worlds of Forrest J. Ackerman & Friends (1969).

-“Death in Mexico” by Ray Bradbury. A second appearance by Bradbury in the issue with this poem, collected in When Elephants Last in the Dooryard Bloomed (1973).

-An Editorial – More or Less. Brief essay explaining the type of fiction a reader can expect from the magazine and the reason the magazine is reluctant to label itself a science fiction magazine.

-“Crescendo” by Richard Matheson. Matheson (1926-2013), Grandmaster of fantasy and writer of such Twilight Zone classics as “Nick of Time,” “The Invaders,” and “Nightmare at 20,000 Feet,” appears with a lesser-known tale. It was collected in Shock III (1966).



























Gamma 2 (vol. 1, no. 2, 1963)
Cover art: Morris Scott Dollens
Interior art: Burt Shonberg, Luan Meatheringham
Editor/Publisher: Charles E. Fritch
Executive Editor/Publisher: Jack Matcha
Managing Editor: William F. Nolan

Contents:

-Not Really an Editorial, But. Essay detailing the response to the first issue of the magazine. Lists a number of writers expected to appear in a future issue, most of whom do not.

-“The Granny Woman” by Dorothy B. Hughes. A tale of witchcraft from the noted mystery writer Hughes (1904-1993). The tale was reprinted in the 1970 MWA anthology Crime Without Murder.

-“The Old College Try” by Robert Bloch. Forever to be known as the author of Psycho (1950), Bloch (1917-1994) was the prolific author of scores of horror, fantasy, science fiction, and mystery novels and stories, many of which were adapted for film and television, often by Bloch himself. Bloch wrote the novelization of Twilight Zone: The Movie (Warner Books, 1983), which we reviewed. “The Old College Try” was reprinted by William F. Nolan in A Sea of Space (1970) and collected in Fear Today, Gone Tomorrow (1971).

-“Michael” by Francesca Marques. A debut story.

-“Deus Ex Machina” by Richard Matheson. Collected in Shock Waves (1970).

-“The Kid Learns” by William Faulkner. An early story from the American Nobel Laureate. The story originally appeared in the New Orleans Time Picayune during Faulkner’s time living in the city.

-“King’s Jester” by Jack Matcha. A story from the Publisher and Executive Editor.

-“Here’s Sport Indeed!” by William Shakespeare, assisted by Ib Melchior. Melchior (1917-2015) was the Danish-American son of the opera singer Lauritz Melchior. Ib is best-remembered for his scriptwriting work on such films as Robinson Crusoe on Mars (1964) and Planet of the Vampires (1965). Here he selects passages from Shakespeare’s works which reflect a tour through our solar system.

-Portfolio by Burt Shonberg. Shonberg (1933-1977) was an American artist and fixture on the Southern California art scene. He co-owned the controversial Laguna Beach coffee house CafĂ© Frankenstein with George Clayton Johnson and provided paintings for Roger Corman’s films House of Usher (1960) and The Premature Burial (1962). Shonberg also provided the cover for George Clayton Johnson’s career retrospective, All of Us Are Dying and Other Stories (1999).

-Everybody Out There Likes Us . . . Quoted praise for Gamma from an impressive roster of talents, including Rod Serling, Robert Kirsch, Ray Bradbury, Anthony Boucher, and August Derleth.

-“The Undiscovered Country” by William F. Temple. A reprint of the British SF author’s 1958 story, first published in Nebula Science Fiction, number 35. William F. Nolan reprinted the tale in A Sea of Space (1970) and it was collected in A Niche in Time and Other Stories (2011).

-Chase. An advertisement for the crime fiction magazine. Chase lasted only three issues, with the first issue dated January, 1964 and ending with issues in May and September of that year.

-The Gamma Interview: Robert Sheckley. An interview with the prolific SF writer. Sheckley (1928-2005) frequently contributed to the early issues of Rod Serling’s The Twilight Zone Magazine, including a brief tenure as books reviewer.

-Attention SF Fans! Advertisement for William F. Nolan’s first collection of SF stories, Impact-20, published by Paperback Library in November, 1963. There is brief quoted praise from Rod Serling, Alfred Hitchcock, and Anthony Boucher. The book included an introduction from Ray Bradbury.

-“Castaway” by Charles E. Fritch. Reprinted by William F. Nolan in the 1969 anthology A Wilderness of Stars.

-“Something in the Earth” by Charles Beaumont. Reprinted in The Bradbury Chronicles: Stories in Honor of Ray Bradbury, ed. William F. Nolan and Martin H. Greenberg (1991). I reviewed that volume here.

-Soon to Be Released – An advertisement for the imminent release of “a suspenseful paperback anthology,” A Funny Thing Happened on the Way to the Morgue, which I could not verify ever appeared, at least under that title. Contributing authors included Ray Bradbury, Charles Beaumont, Richard Matheson, Robert Bloch, and Anthony Boucher.

-“I’m Only Lonesome When I’m Lonely” by William F. Nolan. Reprinted in the German horror anthology Horror Expert (1972).

-A Note on Ernest Hemingway. A short essay explaining that the editors originally planned to reprint a fantasy story from the American Nobel Laureate, “The Good Lion,” first published in the March, 1951 issue of Holiday magazine, before being denied by the late author’s publishers, Scribner’s. The essay also directs the reader to another Hemingway work, Today Is Friday.

-“Sombra Y Sol” by Ray Bradbury. Collected, as “El Dia de Muerte,” in The Machineries of Joy (1964).



























Gamma 3 (vol. 2, no. 1, 1964)
Cover art: Morris Scott Dollens
Interior art: Luan Meatheringham
Editor/Publisher: Charles E. Fritch
Executive Editor/Publisher: Jack Matcha
Managing Editor: William F. Nolan

Contents:

-“The Girl of Paradise Planet” by Robert Turner. The brief biography which accompanies this tale states that Turner (1915-1980) sold over one thousand stories to magazines. Turner also wrote for television, notably two episode of Alfred Hitchcock Presents. His collection Shroud 9 (1970) collects 18 of his short crime and horror stories.  

-“The Feather Bed” by Shelly Lowenkopf. Lowenkof (b. 1931) is a retired UCLA writing professor and prolific novelist who at this time was also the Associate Editor of the short-lived crime fiction magazine Chase.

-About Our Interior Artist. A biographical essay on Luan Meatheringham.

-“Angel Levine” by Bernard Malamud. Reprinted from the author’s 1959 debut collection The Magic Barrel, winner of a National Book Award.  

-“The (In)visible Man” by Edward W. Ludwig. Collected, as “The Visible Invisible Man,” in The 7 Shapes of Solomon Bean (1983).

-“Inside Story” by Miriam Allen deFord. deFord’s (1888-1975) 1961 story, “A Death in the Family,” was adapted by Rod Serling for the second season of Night Gallery, directed by Jeannot Szwarc, starring E.G. Marshall and Desi Arnaz, Jr., broadcast September 22, 1971.

-“The Birth” by George Clayton Johnson. Collected in All of Us Are Dying and Other Stories (1999).

-The Gamma Interview: Soviet Science Fiction. An interview with a Russian magazine editor going under the pseudonym Ivan Kirov. The interview was conducted at the Frankfort Book Fair.

-“Buttons” by Raymond E. Banks. The prolific Banks (1918-1996) was a fixture of the science fiction magazines in the 1950s and 1960s, writing under a number of pseudonyms.

-“Society for the Prevention” by Ron Goulart. Goulart (b. 1933) is a prolific and versatile writer best known for his humorous short stories and his works on the history of American comic books. Goulart was a member of the Southern California Group who later contributed often to the early issues of Rod Serling’s The Twilight Zone Magazine. “Society for the Prevention” was reprinted by William F. Nolan in the 1970 anthology A Sea of Space.

-“The Snail Watcher” by Patricia Highsmith. The first appearance of one of Highsmith’s (1921-1995) most oft-reprinted tales, a modern horror classic. The American expatriate writer was best known for her novels which have been made into films, including Strangers on a Train (1950) and The Talented Mr. Ripley (1955).



























Gamma 4 (vol. 2, no. 2, February, 1965)
Cover art: John Healey
Editor/Publishers: Charles E. Fritch, Jack Matcha
Special Outer Space Issue

-Changes this issue. Gone is Managing Editor William F. Nolan and cover artist Morris Scott Dollens.

Contents:

-Remember . . . Brief editorial describing the Special Outer Space Issue, a nostalgic issue in tribute to the older style of pulp science fiction when “you didn’t need a slide-rule and a couple years of calculus to figure out what was going on.”

-“The Clutches of Ruin” by H.B. Fyfe. Horace Browne Fyfe, Jr. (1918-1997) was a prolific writer of short stories during the Golden Age of science fiction, his career as an SF author fading out with the 1960s.

-“The Towers of Kagasi” by William P. Miller. A well-known mystery writer of the time contributing a science fiction story.

-“Food” by Ray Nelson. An early story from Nelson (b. 1931) who’s had a dual career as an SF author and cartoonist.

-“Hans Off in Free Pfall to the Moon” by E. A. Poe. An abridged version of Edgar Allan Poe’s Hans Phall – a Tale, first published in the June, 1835 issue of Southern Literary Messenger.

-The Gamma Interview: Forrest J. Ackerman

-“Open Season” by John Tanner. Tanner was a pseudonym of Publisher and Editor Jack Matcha.

-“The Woman Astronaut” by Robert Katz. A short play.

-“Happily Ever After” by William F. Nolan. Reprinted in the 1969 anthology A Wilderness of Stars and collected in Alien Horizons (1974).

-“Don’t Touch Me I’m Sensitive” by James Stamers. Stamers was a pseudonym for a California based CPA and Doctor of Law. He published a number of SF stories in the periodicals of the time under the name.

-“The Hand of Mr. Insidious” by Ron Goulart. A satirical story of the mysteries of the orient.



























Gamma 5 (vol. 2, no. 5, September, 1965)
Cover art: John Healey
Interior art: William F. Nolan, Luan Meatheringham, Bernard Zuber, Burt Shonberg
Editor/Publishers: Charles E. Fritch, Jack Matcha
Note the irregularity in numbering.

Contents:

-Across the Editor’s Desk – Editorial on the wildly different types of mail being sent into the Gamma offices. The editorial also includes a brief biographical sketch from the cover artist John Healey.

-“Nesbit” by Ron Goulart. A short novel. John Healey’s cover illustration depicts a scene from the narrative.

-“Policy Conference” by Sylvia Dees and Ted White. Dees is described as a professional photographer, an award-winning artist, and an amateur musician. Ted White (b. 1938) made his mark primarily as a longtime editor in the SF field, lifting the literary quality of such magazines as Fantastic, Amazing Stories, and Heavy Metal. White was also a notable SF fan in his early years and enjoyed a long career as a fiction writer.

-“Auto Suggestion” by Charles Beaumont. This story about a car which begins to communicate with its owner is one of Beaumont’s fugitive pieces, not appearing in any collection under the author’s name. It was reprinted by editor William Pattrick (Peter Haining) in Mysterious Motoring Stories (1987), reprinted in paperback the same year as Duel: Horror Stories of the Road.

-“Welcome to Procyon IV” by Chester H. Carlfi. A pseudonymous work by Charles E. Fritch. The story was collected in Crazy Mixed-Up Planet (1969).

-“Interest” by Richard Matheson. A lesser-known story from Matheson. It was reprinted in Matheson’s Collected Stories, issued by Dream Press in 1989.

-“Lullaby and Goodnight” by George Clayton Johnson. Collected in All of Us Are Dying and Other Stories (1999).

-“A Careful Man Dies” by Ray Bradbury. Reprinted from the November, 1946 issue of New Detective. It was collected in A Memory of Murder (1984).

-“The Late Mr. Adams” by Steve Allen. Allen (1921-2000) was a popular and influential television personality and comedian who co-created The Tonight Show. “The Late Mr. Adams” is reprinted from Allen’s 1955 collection of short stories Fourteen for Tonight.

-“Wet Season” by Dennis Etchison. Etchison (1943-2019), who recently passed away on May 29, is now regarded as one of the finest short stories writers of horror and dark fantasy in the latter half of the twentieth century. At the time of this story Etchison was still in college, having sold a handful of stories to science fiction magazines. Etchison was a student in a UCLA writing course taught by Charles Beaumont and recounts the experience in his introduction to Beaumont’s “Free Dirt” in Charles Beaumont: Selected Stories (1988). “Wet Season” was collected in Red Dreams (1984).

Interior Art:

Gamma 2:

Burt Shonberg portfolio:







Illustration by Luan Meatheringham:



Gamma 3:

Illustrations by Luan Meatheringham:







Gamma 5:

Illustration by Luan Meatheringham:



Illustration by Bernard Zuber:



Illustration by Burt Shonberg:


Cover gallery for Chase, the short-lived crime fiction magazine which shared many of the contributors to Gamma:





Grateful acknowledgement for information contained in the text and cover images:

Transformations: The Story of the Science-fiction Magazines from 1950-1970 by Mike Ashley (Liverpool University Press, 2005)

Galactic Central (philsp.com)

The Internet Speculative Fiction Database (isfdb.org)

The Internet Archive (archive.org)

Wednesday, February 1, 2017

TWILIGHT ZONE: THE MOVIE—THE BOOK


A LOOK AT ROBERT BLOCH’S NOVELIZATION OF THE 1983 FILM

Review by Brian Durant

In the years following the initial run of The Twilight Zone, there were numerous attempts to bring Rod Serling’s celebrated anthology series to the big screen. Serling himself attempted to get a feature-length project off the ground several times but was never successful. In 1982, Steven Spielberg, fresh off the massive success of Raiders of the Lost Ark (1981) and E.T. (1982), announced that he had secured the rights for a feature-length film adaptation of the series. Of all the names that had been associated with a possible Twilight Zone film or revival series over the years, Spielberg’s seemed the most appropriate. He appeared to have a great admiration for fantasy and science fiction and his first big break into the industry came in 1969 when he directed the “Eyes” segment of Serling’s Night Gallery pilot film. He also directed Serling’s “Make Me Laugh” for the first season of the show the following year. In 1971, he achieved another high point in his early career when he directed a feature-length version of Richard Matheson’s story Duel for NBC. The television special, which starred Twilight Zone alumni Dennis Weaver, was enormously successful and when asked about the film in interviews Matheson always said it was among his favorite film adaptations. Given his unprecedented popularity and the confidence of key figures from the original series like Serling and Matheson, Spielberg seemed the obvious choice to helm such a project.

He enlisted friend and filmmaker John Landis to co-produce the film with him. The film would be split into four half-hour segments. One of the segments would be an original story and the other three would be adaptations of episodes from the original series. Landis volunteered to write and direct the original segment and also an opening prologue. Spielberg chose George Clayton Johnson’s “Kick the Can” for his segment. “It’s a Good Life,” adapted for the show by Serling from a story by Jerome Bixby, was given to director Joe Dante. And George Miller was given the task of directing Richard Matheson’s classic psychological thriller “Nightmare at 20,000 Feet.” Matheson was the natural choice to pen the remainder of the screenplay, sharing screen credit for “Kick the Can” with friend and original writer George Clayton Johnson and E.T. screenwriter Melissa Mathison (under the pseudonym “Josh Rogan”). The score would be arranged by veteran composer Jerry Goldsmith, whose music for the original series had been an enormous influence on the show. The film would also feature a handful of actors from the original series with the great Burgess Meredith stepping in as narrator, an obvious choice. With what felt like all of the right people for the job, Twilight Zone: The Movie was sure to be a commercial and creative success.

The resulting film is considered one of the most regretful chapters in the history of Hollywood. The accidental deaths of actor Vic Morrow and child actors Myca Dinh Le (age 7) and Renee Shin-Yi Chen (age 6) during the shooting of Landis’s segment cast an ominous shadow over the entire production and caused Warner Brothers to severely limit promotion of the film. The film performed poorly at the box office and was generally not a success among critics. The special effects were too extravagant, as was the majority of Goldsmith’s score, and the sets were ridiculously over-the-top in every way, not at all like the modest sets of the original episodes. Many fans also did not care for the drastic changes to “Kick the Can” and “It’s a Good Life.” The silver lining of the film was a handful of great performances especially from Vic Morrow and John Lithgow. While there were good things to be said of the film, it was clear that the filmmakers didn’t understand Serling’s vision for the original series.

A lesser known but more enjoyable version of the film came in July of 1983 in the form of Robert Bloch’s novelization of the movie published by Warner Books. Unlike many film novelizations, which are often assigned to unknown or unsuccessful writers for much less than it would cost to hire an established name, Bloch was a prolific and highly-regarded writer of speculative fiction and a Hugo and Edgar Allan Poe Award winner as well as the recipient of a Lifetime Achievement Award from the World Fantasy Convention. Among his many books are the novels Night World (1972), American Gothic (1974), and The Night of the Ripper (1984). His novel Psycho (1959) was the basis for the Hitchcock film and he wrote numerous episodes of Alfred Hitchcock Presents, Thriller, Star Trek, and Night Gallery. Bloch was a close friend of Matheson and of George Clayton Johnson.

Robert Bloch

The novelization is only available as a mass market paperback and would have cost American fans $2.95 when it was first released in 1983. It's not actually a novel-as the title page says it is-but a collection of four distinctly individual stories which have no overlapping characters or settings. It’s roughly 200 pages with each segment clocking in around 50 pages. It features a middle insert containing black and white photographs from the film. Other than that the book is relatively bare bones. There is no introduction or afterword and also no celebrity quotes anywhere on the book with the exception Serling’s opening narration from the second season of the show on the back cover. The book was also released in several international markets.


Dutch edition, cover by Julie Bergen
French edition, cover artist unknown, taken from the French film poster
Italian edition, cover artist unknown

When first opening the book several changes are immediately noticeable. First, none of the stories contain opening or closing narrations, a trademark of the original series which is also featured in the movie and in both revival series. The stories are also given titles, where as in the film they are referred to only as “segments.” Each story bears the name of its main character. Readers will also notice that the order of the stories is different than it is in the films. The second and fourth segments are switched making the order:

1.) “BILL” (Segment I)
2.) “VALENTINE” (Segment IV)
3.) “HELEN” (Segment III)
4.) “BLOOM” (Segment II)

According to Bloch he was given an early draft of the screenplay and this was the order in which the segments appeared. This order actually shifts the tone of the book with each story slightly more hopeful than the one before it ending the book on a soft note with Bloch’s version of “Kick the Can.” He also said that the version he was given did not contain either the opening prologue—the driving sequence with Dan Aykroyd and Albert Brooks—or the ending gag with Aykroyd in the ambulance.

1.) BILL
As a result of the tragic accident that occurred while filming the opening segment, Landis was forced to rewrite his screenplay. Originally written, Vic Morrow’s character redeems himself by saving the lives of two Vietnamese children from an air strike. Since they did not have all of the footage they needed Landis re-wrote the story the way it appears in the film. Bloch was also asked to re-write part of the first story to reflect how it appears onscreen. “Bill” is pretty faithful to Landis’s screenplay with some minor scenes added to flesh out the story. For instance, the story opens with Bill Conner driving to the bar, agitated and swearing, swinging in and out of five o’clock traffic. We learn a bit more about his character as well, like, for instance, that he is a salesman—no surprise—and that he has a wife—slightly more surprising. The chase montage is also a little longer with Conner briefly returning to the other time periods after the Vietnam sequence before ending up in Nazi Germany as he does in the film. Other than that the story is much the same as its big screen counterpart.

2.) VALENTINE
Out of all of the stories this one is probably the most faithful to the screen version. Bloch’s version is almost identical to Matheson’s in terms of action, although he includes a lot of Valentine’s internal monologue at the beginning of the story, something hard to explore on the screen. As I mentioned, there is no ambulance scene. The story ends with the crew noticing the mangled engine. Bloch’s version is highly enjoyable. Valentine comes across as an outlandish but believable and sympathetic character. For fans of any of the previous versions of Matheson’s 1962 story I would recommend giving this one a read. This is probably the best story in the book.

3.) HELEN
This is probably the worst story in the book. Not terrible but definitely the weak spot of the novelization although this is not so much Bloch’s fault as it is Matheson and Dante's. Bloch opens with a scene not featured in the film. Helen Foley is attending her mother’s funeral in Homewood, her home town. She has a sister, Vivian, whom she is wildly resentful of because Vivian is ignorant and weak, but also because she is pretty, a trait that has gotten her through most of her life. Helen, a teacher, is disgruntled with her job and no longer feels connected to her home town. The scene is several pages long and ends with her talking to her sister while she waits for her mother’s funeral to end so she can skip town.

The next scene features Helen on her way to her new life in Willoughby, punk rock blasting from her car radio. Her internal dialogue races wildly here as she reflects on how despondent kids have become and their obsessions with loud music and video games. This is kind of an early reference to punk rock and to video games, both of which were still relatively clandestine forms of entertainment in 1983. The scene is written well and adds a depth to Helen’s character although the social commentary feels more like Bloch’s than Helen’s.

The rest of the story follows Matheson’s script pretty faithfully. The extra material is interesting and gives Helen, who comes off a bit dull onscreen, a complex personality. Its purpose is likely to explain the ludicrous ending in which Helen promises to teach Anthony how to stop being an omnipotent psychopath and in return he makes pretty flowers bloom for her on the side of the road. Helen no longer feels joy as a teacher. She doesn’t feel as if she is impacting the lives of her students the way she had hoped. She sees Anthony as a broken child who feels unloved and disconnected from everyone, someone just as lost as she is. In agreeing to be his mentor she hopes to also fix herself in the process. The screenplay has never been commercially released, although there are bits and pieces of it floating around the internet. It would be interesting to see if this material was included in Matheson’s screenplay or if it is Bloch’s invention.

On a side note, at one point Serling intended to adapt Bixby’s story into a feature-length film and even completed a full-length screenplay for it before the project stalled.

4.) BLOOM
This is probably the story which varies the most from the film version. George Clayton Johnson felt that his original teleplay was a bit irresponsible in that it failed to portray the reality of the situation. Who was going to take care of these children now? Where would they live? Who would feed them? After being asked if he would be interested in selling the screen rights to Warner Brothers for a film adaptation of his Twilight Zone episode “Kick the Can,” Johnson submitted a short, three-page outline to Frank Marshall and Kathleen Kennedy of Amblin Entertainment. The outline contained an additional sequence which began where the original story ended, with the kids running off into the woods. It follows the kids on their adventure through the woods, running and laughing and soaking in the joy of youth. As the excitement fades they become hungry and tired and frightened. They begin to realize the consequences of their actions. They stumble upon the rest home, unfamiliar to them now, and climb into the warm beds where they are transformed back into their older selves. Matheson kept Johnson’s idea but condensed it for time, eliminating the scenes of the children in the woods. Unbeknownst to Matheson, after he submitted his final draft Spielberg gave it to screenwriter Melissa Mathison for revision. Spielberg had just worked with Mathison on E.T. and felt that she could give the story a softer, whimsical quality. She didn’t change the plot structure much but she did place heavy emphases on Mr. Bloom’s supernatural abilities. In Bloch’s version—and presumably Matheson and Johnson’s—the magic is still a bit ambiguous although it is assumed that Bloom does have something to do with it. She also rewrote the scene with the children, saturating it with syrupy-sweet dialogue and cheap visual gimmicks. This, in combination with Jerry Goldsmith’s overly-sentimental music, Scatman Crother’s very awkward performance, the archetypal supporting characters, and Spielberg’s unusually whimsical direction, makes this the worst segment of the film. Matheson and Johnson were both unhappy with it.

Bloch’s version also features a dream montage which occurs just before Bloom wakes everyone to go play outside. In it, Bloch goes inside the minds of nearly every character to give the reader a glimpse into their dreams. Mrs. Dempsey dreams of her late husband. Mr. Agee imagines himself as Douglas Fairbanks, fighting crime in Sherwood Forrest. Mr. Mute dreams of mole rats. Mr. Weinstein wonders whether Mr. Bloom is crazy or not but figures it doesn’t matter either way. The sequence is a nice touch and helps to segue into the “magic” scene which follows.

Bloch took an almost unwatchable segment of the film and turned it into a highly enjoyable story. His version feels fresh and full of energy. He keeps the pace lively with his signature brand of tongue-in-cheek humor but manages to hold on to the warm nostalgia of Johnson’s original story. It comes recommended.

It’s not a book that is going to change lives. It has flaws and its share of negative reviews. But after having it on my shelf for several years I finally decided to give it a read and was pleasantly surprised at how much I liked it. So if you are a fan of either the show or the movie I would definitely recommend picking up a copy. It still sells for relatively cheap on Amazon and eBay and finding a copy at a used bookstore or library sale is still fairly common. If you don’t like it you will not have wasted much money and you will own a cool piece of pop culture that any diehard Twilight Zone fan would appreciate.

If you’ve read Bloch’s novelization feel free to comment and let us know what you thought!

Grateful acknowledgement is made to the following:

Internet Speculative Fiction Database.

Archive of American Television: