The Abridged Encyclopedia of Children’s

Horror Fiction
Compiled by DimensionBucket
Contents

1 Anthologies 1
1.1 Scary Stories to Tell in the Dark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.2 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.3 Film adaptation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Scary Stories for Sleep-overs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.2 Hallmarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.3 Scary Stories for Sleep-overs series (1991–1999) . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.4 Scary Stories for Sleep-overs: Novel series (1996–1997) . . . . . . . . . . . . . . . . . . . . . 2
1.2.5 Scary Mysteries for Sleep-overs series (1996–1997) . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.3 Dare to Be Scared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.3.1 Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.3.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.3.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.4 In a Dark, Dark Room and Other Scary Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.4.1 Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.4.2 Referenced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5 Spooky Stories for a Dark and Stormy Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5.1 Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.5.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.6 Grimms’ Fairy Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.6.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.6.2 Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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1.6.3 List of fairy tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1.6.4 No longer included in the last edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
1.6.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.6.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.6.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.7 List of Goosebumps books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.7.1 Goosebumps Original Series (1992-1997) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.2 Tales to Give You Goosebumps (1994-1997) . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.3 Give Yourself Goosebumps (1995-2000) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.4 Goosebumps Presents (1996-1998) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.5 Goosebumps Haunted Library (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.6 Goosebumps Autobiographies (1997-1998) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.7 Goosebumps Triple Header (1997-1998) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.8 Goosebumps Series 2000 (1998-2000) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.9 Goosebumps Gold (Planned 2001) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.10 Goosebumps Graphix (2006-2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.11 Goosebumps HorrorLand (2008-2012) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.12 Goosebumps Most Wanted (2012-Present) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.13 Goosebumps: The Movie books (2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.14 Misc. Goosebumps books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.15 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.7.16 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.8 Bert Fegg’s Nasty Book for Boys and Girls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.8.1 Style of humour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.8.2 Authors and contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.8.3 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.8.4 Later editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.8.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.8.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.9 Short & Shivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.9.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.9.2 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.9.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.9.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.10 Spine Chillers (books) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.10.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.10.2 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.10.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
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1.10.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.11 Struwwelpeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.11.1 Background and publication history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.11.2 Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
1.11.3 Music, film and stage adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
1.11.4 Media influences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.11.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.11.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.11.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.12 Dracula’s Guest and Other Weird Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.12.1 Contents of the collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.12.2 Dracula’s Guest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.12.3 “The Burial of the Rats” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1.12.4 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1.12.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.12.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.13 Tales for the Midnight Hour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.13.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.13.2 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.13.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
1.13.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2 Novels & Series 23

2.1 Abarat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.1.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.1.2 Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.1.3 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.1.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.1.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.2 Coraline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.2.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.2.2 Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2.2.3 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
2.2.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.2.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.3 Fear Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.3.1 Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2.3.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2.3.3 Film adaptation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
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2.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2.4 Johnny Dixon (series) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2.4.1 Novels in Johnny Dixon series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.4.2 Series bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.4.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.4.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.4.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.5 The Halloween Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.5.1 Plot summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.5.2 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5.3 Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5.4 Adaptation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5.5 Disneyland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.6 Lord of the Flies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.6.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.6.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.6.3 Allegorical relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.6.4 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2.6.5 Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2.6.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.6.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.6.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.7 The House with a Clock in Its Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.7.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.7.2 Other books in the Lewis Barnavelt Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.7.3 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.7.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.8 The Invisible Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.8.1 Plot summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.8.2 Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
2.8.3 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.8.4 In other media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
2.8.5 Scientific accuracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2.8.6 Origins and moral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2.8.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2.8.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
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2.8.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

2.9 The Babysitter (novel series) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2.9.1 The Babysitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2.9.2 The Babysitter II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2.9.3 The Babysitter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.9.4 The Babysitter IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.9.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.10 The Thief of Always . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.10.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.10.2 Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
2.10.3 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.10.4 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.10.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.10.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.11 The Witches (book) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.11.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.11.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.11.3 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.11.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2.12 The Turn of the Screw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2.12.1 Plot summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2.12.2 Major themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
2.12.3 Literary significance and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
2.12.4 Adaptations and reworkings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
2.12.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
2.12.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
2.12.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

3 Short Stories 54
3.1 The Legend of Sleepy Hollow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.1.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.1.2 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
3.1.3 Film and television variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
3.1.4 Stage and music adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
3.1.5 Audio adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.1.6 Geographic impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.1.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
3.1.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
3.1.9 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
vi CONTENTS

3.1.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

3.2 The Lottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.3 Dramatizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
3.2.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
3.2.5 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
3.2.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
3.3 The Monkey’s Paw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.2 Versions in other media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.3 Variations, parodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4 The Most Dangerous Game . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4.1 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4.2 Adaptations and in popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3.4.3 Real-life parallels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3.4.4 Zodiac Killer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.4.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.4.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.4.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5 The New Mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.1 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.6 The Raven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.6.1 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3.6.2 Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
3.6.3 Publication history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
3.6.4 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
3.6.5 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
3.6.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
3.6.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
3.6.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
3.6.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
CONTENTS vii

3.7 The Tell-Tale Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

3.7.1 Plot summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
3.7.2 Publication history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3.7.3 Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3.7.4 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
3.7.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
3.7.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
3.8 The Yellow Wallpaper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
3.8.1 Plot synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
3.8.2 Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
3.8.3 Media adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
3.8.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
3.8.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
3.8.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

4 Authors & Illustrators 89

4.1 Bram Stoker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.1.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.1.2 Early career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.1.3 Lyceum Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.1.4 Writings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
4.1.5 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
4.1.6 Beliefs and philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
4.1.7 Posthumous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
4.1.8 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
4.1.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
4.1.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
4.2 Alvin Schwartz (children’s author) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
4.2.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
4.2.2 The Scary Stories Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
4.2.3 Other books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
4.2.4 Compilations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.2.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.2.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.3 Clive Barker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.3.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.3.2 Writing career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.3.3 Film work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
4.3.4 Visual art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
viii CONTENTS

4.3.5 Comic books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

4.3.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.3.7 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.3.8 Video games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.3.9 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.3.10 Critical studies of Clive Barker’s work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.3.11 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.3.12 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.3.13 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.4 Edgar Allan Poe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.4.1 Life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
4.4.2 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
4.4.3 Literary style and themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
4.4.4 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
4.4.5 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
4.4.6 Selected list of works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
4.4.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
4.4.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
4.4.9 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
4.4.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
4.5 H. G. Wells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
4.5.1 Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
4.5.2 Political views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
4.5.3 Religious views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
4.5.4 Literary influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
4.5.5 Representations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
4.5.6 Literary papers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
4.5.7 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
4.5.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
4.5.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
4.5.10 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
4.5.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
4.6 Edward Gorey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
4.6.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
4.6.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
4.6.3 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
4.6.4 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
4.6.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
CONTENTS ix

4.6.6 Pseudonyms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

4.6.7 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
4.6.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
4.6.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
4.6.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
4.7 John Bellairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
4.7.1 Death and afterward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
4.7.2 Illustrators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
4.7.3 Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
4.7.4 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.7.5 Published books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.7.6 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.7.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.7.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.7.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.8 Gahan Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.8.1 Life and work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4.8.2 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
4.8.3 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
4.8.4 Blabber, Blabber, Blabber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.8.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.8.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.8.7 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.8.8 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.8.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.9 Kurt Vonnegut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
4.9.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
4.9.2 Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
4.9.3 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
4.9.4 Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
4.9.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
4.9.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
4.9.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
4.9.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
4.10 Neal Shusterman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
4.10.1 Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
4.10.2 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
4.10.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
x CONTENTS

4.10.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

4.11 R. L. Stine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
4.11.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
4.11.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
4.11.3 Best selling author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
4.11.4 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
4.11.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
4.11.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
4.11.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.11.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.11.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.12 Ray Bradbury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
4.12.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
4.12.2 Influences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
4.12.3 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
4.12.4 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
4.12.5 Cultural contributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
4.12.6 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
4.12.7 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
4.12.8 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
4.12.9 Adaptations to other media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
4.12.10 Awards and honors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
4.12.11 Documentaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
4.12.12 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
4.12.13 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
4.12.14 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
4.13 Theodore Sturgeon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
4.13.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.13.2 Sturgeon’s Law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
4.13.3 Life and family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
4.13.4 Novels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.13.5 Short stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.13.6 Autobiography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
4.13.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
4.13.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
4.13.9 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.13.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

5 Other 185
CONTENTS xi

5.1 Point Horror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

5.1.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
5.1.2 Literary criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
5.1.3 Offshoots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
5.1.4 Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
5.1.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
5.2 The Addams Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
5.2.1 Premise and background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
5.2.2 Adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
5.2.3 Characters and portrayers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
5.2.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
5.2.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
5.3 The Doubtful Guest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.3.1 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.3.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.3.3 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.3.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.4 The Gashlycrumb Tinies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
5.4.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
5.4.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

6 Text and image sources, contributors, and licenses 198

6.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
6.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
6.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Chapter 1

Anthologies

1.1 Scary Stories to Tell in the Dark tent of producing it as a potential feature film.[5] It was an-
nounced in 2014 that writer John August will pen the film
[6]
Scary Stories to Tell in the Dark is a series of three chil- for CBS Films.
dren’s books written by Alvin Schwartz and illustrated by
Stephen Gammell. The titles of the books are Scary Stories
to Tell in the Dark (1981), More Scary Stories to Tell in the 1.1.4 See also
Dark (1984), and Scary Stories 3: More Tales to Chill Your
Bones (1991). • The Hearse Song – a song included in book one of the
series.

1.1.1 Overview • Urban legend

Schwartz drew heavily from folklore and urban legends as • In a Dark, Dark Room and Other Scary Stories
the topic of his stories, researching extensively and spending
more than a year on writing each book.[1] The first volume • Scary Stories for Sleep-overs
was published in 1981, and the books have subsequently
been collected in both a box set and a single volume. There • Tales for the Midnight Hour
is also an audiobook version of each book, read by George
S. Irving. The audiobooks are presented in unabridged for- • Short & Shivery
mat with the exception of a handful of missing stories from
the first book.
This series is listed as being the most challenged series 1.1.5 References
of books from 1990–1999[2] and seventh most challenged
from 2000–2009[3] by the American Library Association [1] Schwartz, Alvin; Vardell, Sylvia (1987). “Profile: Alvin
Schwartz”. Language Arts 64 (4): 426–432.
for its violence. The surreal and nightmarish illustrations
contained within are also a frequently challenged compo-
[2] “100 most frequently challenged books: 1990–1999 | ala.
nent of the original books.
org/bbooks". Ala.org. Retrieved 2013-09-23.
To celebrate the books’ 30th anniversary in 2011, Harper
Collins re-released them with new illustrations from Brett [3] “Top 100 Banned/Challenged Books: 2000-2009 | ala.org/
Helquist, the illustrator of A Series of Unfortunate Events. bbooks". Ala.org. Retrieved 2013-09-23.
This has come under severe criticism from fans of Gam-
mell’s illustrations, citing that they are not as effective or as [4] “Scary Stories to Tell in the Dark: Gammell vs. Helquist”.
Adventuresinpoortaste.com. 2011-12-18. Retrieved 2013-
scary as the originals.[4]
09-23.

[5] “CBS Films Nabs ‘Scary Stories To Tell In The Dark’ Pitch
1.1.2 Books From ‘Saw’ Scribes”. Deadline.com. Retrieved 2013-12-04.

1.1.3 Film adaptation [6] "'Scary Stories to Tell in the Dark' Will Get Rewritten
by 'Frankenweenie' Writer John August”. DTheMovieNet-
CBS Films acquired the rights to the series, with the in- work.com. Retrieved 2014-11-18.

1
2 CHAPTER 1. ANTHOLOGIES
1.2 Scary Stories for Sleep-overs
Scary Stories for Sleep-overs is a series of scary children’s 1999.
books written by R.C. Welch, Q.L. Pearce various authors
throughout the series and illustrated by Ricardo Delgado,
Bartt Warbuton, Dwight Been and others. The series was
enormously popular, publishing millions of copies and ten
initial volumes between the years of 1991 and 1999. The
series even produced several one-shot novels and a spin-off
series, Scary Mysteries for Sleep-overs. Reaching its peak
popularity in the mid-nineties, this was Price Stern Sloan's
answer to Scary Stories to Tell in the Dark.[1][2][3]
1.2.1 Overview
Reprint of the 1st book in the series, now numbered.
A handful of stories from the first and fourth books in the se-
ries have since been released on audiobook in cassette form.
The series spawned a compilation book, The Scary Stories
for Sleep-overs Almanac, three individual novels, Scary Sto- [1] http://www.amazon.com/
ries for Sleep-overs: A Novel, and a spin-off series, Scary
Mysteries for Sleep-overs. A boxed set was released, con-
taining many of the stories from the series. Taking a cue
from Scary Stories to Tell in the Dark, this series was also
among the most challenged series of books from 1990 to
[4][5]
1.2.2 Hallmarks
Usually released one a year, one selected author would
write 11 anthology-style stories per volume. Each illus-
trator would create at least one dark illustration per story.
The series hit a stride in the mid-nineties when author Q.L.
Pearce was selected to write the bulk of the series, starting
with the second volume. The books were soon re-printed
with each book clearly labeled with a number. After the
release of the 7th volume, the books were shortened to 7
or 8 stories per volume and continued to swap authors each
year until the series ended in 1999.
Most stories featured young, troubled protagonists who
would find themselves facing a paranormal situation or
antagonist against their better judgment. Most stories would
feature a twist ending, leaving the fate of the main charac-
ter dead, trapped or uncertain. This device was used most
often as a moral tool for readers. Most of the suspense
came from dark story-telling, which left room for uncer-
tainty from story to story.
1.2.3 Scary Stories for Sleep-overs series
(1991–1999)
1.2.4 Scary Stories for Sleep-overs: Novel
series (1996–1997)
1.2.5 Scary Mysteries for Sleep-overs series
(1996–1997)
1.2.6 See also
• Price Stern Sloan
• Scary Stories to Tell in the Dark
• Tales for the Midnight Hour
• Short & Shivery
1.2.7 See also
1.2.8 References
Scary-Stories-Sleep-overs-R-Welch/dp/084312914X/
ref=sr_1_2?s=books&ie=UTF8&qid=1349943152&sr=
1-2&keywords=scary+stories+for+sleepovers
1.3. DARE TO BE SCARED 3

[2] Pearce, Q.L.; Warburton, B. (1992). More scary stories for Margaret, Lindsay tells the caller she never liked her, she
sleep-overs. Price Stern Sloan. ISBN 9780843134513. Re- just wanted her ring, then hangs up. While Lindsay’s at her
trieved 2015-06-24. friend’s house, Missy, she gets another call from her Aunt
Margaret who says she’s coming back to get her ring. This
[3] “Scary Stories for Sleep-overs series by R.C. Welch”.
goodreads.com. Retrieved 2015-06-24.
time the call was from her father’s number, she guesses it
was her little brothers trying to mess with her. When Lind-
[4] “Scary Stories for Sleep-Overs 1 by R. C. Welch | say hears footsteps behind a door, she thinks it’s Margaret.
9780843129144 | Paperback | Barnes & Noble”. barnesand- While the door is still closed, Missy says she’s on the other
noble.com. Retrieved 2015-06-24. side, laughing at Lindsay. Mad at Missy, Lindsay opens the
door, but it wasn't Missy who was clenching a phone cov-
[5] “Juvenile Series and Sequels: Title: Scary Stories...Sleep-
ered in mud.
Overs | mymcpl.org - Mid-Continent Public Library”. mym-
cpl.org. Retrieved 2015-06-24.
4. The Double-Dare

1.3 Dare to Be Scared Four boys have their own club and they run through woods
everyday that are supposedly filled with evil spirits. A boy
Dare to Be Scared: Thirteen Stories to Chill and Thrill is named Greg hangs with them a lot, but the boys only like
a 2003 children’s horror short story collection by Robert D. him for his computer games. Against his will, they make
San Souci and illustrated by David Ouimet, consisting of him run through the woods, but while he’s running through,
thirteen stories. It is the first book in the Dare to be Scared sap is spread on him and he’s transformed into a terrible tree
series, which consists of four books. monster. Upset, he finds the four boys, and spreads sap on
them also.

1.3.1 Stories
5. Space Is the Place
1. campfire tale
In Mark’s town, weird lights have appeared in the sky, be-
It is about a “dream” where a boy named Sammy is on va- lieved to be aliens. Mark’s mother wants to leave the town,
cation and is looking for the hotel he’s staying at and finds against Mark’s wishes. They arrive at the bus station to
vampires. Then he gets to the hotel and wakes his parents leave. The bus was supposed to arrive in five minutes but
up and tells them, and they say, “Were they as big as these?" instead Mark and his mom wait for one hour. Finally, it
And they flash their giant teeth, revealing that they are vam- arrives. Surprisingly, the bus was new with a fresh coat of
pires too. Sammy starts running and he felt that they were paint, unlike the other buses. The driver was hidden in a
chasing after him and that he never woke up. compartment. The inside of the bus is shiny, comfortable
and new. Mark’s mom is delighted. They soon take off. The
ride begins smoothly and comfortably, but then the passen-
2. The Dark, Dark House gers complain that the bus has passed their intended desti-
nation. Then the bus rises into the sky. They soon panic as
After being dared by his friends, a boy named Peter must go they find out the driver is an alien and they are in a UFO
in a creepy, supposedly haunted house and write his name
on a chalkboard to prove he was there. As he is in the house,
he hears strange noises. A werewolf touches his shoulder 6. Ants
then chases Peter out of the house and all the way to his own
house, with the last lines (which is the wolf man’s) being, Kyle lies to his mom, saying that he’s going to see a Dis-
“What’s the matter? Don't you like me?" ney movie, when he’s going to see a horror film called Jun-
gle Jaws of Death, about killer ants. At the theater, while
watching the previews, a horror movie called Frightmaster
3. The Caller is coming soon and it’s about things that crawl out of your
nightmares and come to life. After watching the movie and
A girl name Lindsay has a beautiful ring given from her going home, Kyle begins to feel and see killer ants every-
Aunt Margaret, who died. Lindsay had pretended to like where. While in bed, killer ants crawl to him. Scared and
her Aunt because she only wanted her ring. Lindsay’s fa- shaky, the Frightmaster is in Kyle’s head and says, “They're
ther loses his cell phone while at the funeral. When Lindsay just figments of your imagination, like me. But, then, you
gets a call from an unknown caller, who says it’s her Aunt always did have too much imagination.”
4 CHAPTER 1. ANTHOLOGIES

7. The Halloween Spirit on his neck, as if it were about to fall off. He can't get out
of the cart and the ride goes on and on, never stopping, Just
A girl named Keesha is forced by her mother to take as he had wished for.
her younger sister, Jonelle, trick-or-treating on Halloween.
Keesha’s friends are all at the park, Keesha’s desired desti-
nation, however Jonelle insists that their mother restricted 10. Smoke
the two girls from going. Keesha defies their mother’s
wishes and drags a reluctant Jonelle along with her. Jonelle Katie’s parents died in a house that was on fire. She wakes
doesn't want to stay at the park, while Keesha does. Jonelle up in her grandparents home. She never met her grandfa-
runs back home to tell on Keesha. Keesha and her friends ther, and she only met her grandmother when she was 6.
begin to pay attention to a girl named Cassandra, who calls Her memory is blurry. She asks her grandparents if she
for a spirit to come. No one believes in ghosts and spec- can go back to the house and find their ghosts, to say she
tral beings, making Cassandra angry. Cassandra’s attempt loved them since the last thing she said to them was that she
at summoning a ghost seems to have worked, until it is re- hated them, because they wouldn't let her spend the night
vealed that Jonelle is the “ghost”. As Keesha takes Jonelle at a friend’s house. Her grandparents refuse. Katie then
home, the younger girl doesn't speak as if she doesn't ex- sneaks out of the house and goes to her old house. There is
ist, confusing Keesha. When they arrive home, Keesha’s a heavy scent of burnt roses. She finds her parents’ ghosts
mother is furious at her for going to the park and Keesha and tells them she loves them. They spend a sad and touch-
sees Jonelle sitting at a table and is confused when she looks ing moment. Her grandparents arrive, revealing they too
back at the girl next to her. The girl with Keesha transforms are ghosts and so is Katie. Her memory becomes clear and
into a genuine witch who takes Keesha away. remembers that her grandfather died before she was born,
and her grandmother died when she was 6.

8. The Bald Mountain Monster

11. Mrs. Moonlight (Senora Claro de Luna)
Three kids, Nick, Sarah, and Angel are on a trip with their
A spoiled Spanish girl named Maria Luisa is staying with
parents to explore interesting mountains. The kids meet a
her grandmother while her mother is on business. She
man who tells a legend of a strange winged creature who
breaks things and blames it on anything but herself, when
flies to children and eats them. If anyone gets in the crea-
she knows she did it. Her grandmother tells her if she con-
ture’s shadow, bad luck comes to them. Sarah goes off into
tinues to be bad, a spirit called Mrs. Moonlight will come
a cave and gets trapped. Nick goes after her and then they
and take her away, which is what she does with all bad chil-
both end up stuck. They see the winged creature in there,
dren. Maria Luisa doesn't believe her, until she’s actually
which turns out to be a pterosaur, and are chased by it. Fi-
taken away by Mrs. Moonlight.
nally getting out of the cave, they take Nick’s dad’s camera
tripod and use it as a lever to push boulders on the crea-
ture, scaring it away. They tell Angel and their parents what 12. Hungry Ghosts
happened, but only Angel believes them, until the creature’s
shadow flies over everyone. A boy named Michael and his uncle visit a whole bunch
of paintings that were about Michael’s ancestors who were
tortured and starved to death because of the government.
9. Playland Michael then begins to feel their pain, literally. While on a
boat, going home, Michael’s soul flies out of his body and
Alec loves the amusement park, Playland. But unfortu- is replaced with his ancestor's, whose hunger is no more.
nately, it’s about to be replaced by a new one. His favorite
ride is the haunted house. He makes a wish that Playland
would never go away and that he could ride the haunted 13. Bakotahl
house again and again. Alec goes to Playland one more time
with his friend, Brian. They visit the automaton wish witch Marty and his friends Wayne, Mojo, and Connor chase an
and Alec asks if the wish would come true. The wish witch Indian boy off a cliff. When the boy lands on the ground
promises it would. Then, Alec and Brian ride the haunted and dies, Marty tells his friend to ignore the situation. The
house. When riding the haunted house, it was supposed boy’s twin brother whispers the word “Bakotahl” to Marty.
to stop but it didn't. Then, Brian falls off of the ride and Bakotahl was a spirit that caused bad things to happen to
gets crushed to death. Alec tried getting the ride operator’s people who did bad things. After school, and earthquake
attention, but he was busy chatting. The ride goes faster, happens causing Wayne to fall off a cliff, dying. Mojo be-
faster and faster. Alec is dizzy, as his head swings loosely lieves Bakotahl killed Wayne. Marty and Connor don't be-
1.5. SPOOKY STORIES FOR A DARK AND STORMY NIGHT 5

lieve him. That night, Connor calls Marty telling him Mojo 1.4.2 Referenced
died in a sand storm when an RV crashed into the car he
was in with his parents. Connor comes over to Marty’s and
they break into a fight, since Connor wanted to tell the truth 1.5 Spooky Stories for a Dark and
about what they did to the boy. After the boys quit fighting, Stormy Night
a flash flood occurs. The floodwaters then push over a huge
statue of the devil, which Marty’s dad was working on, and
Spooky Stories for a Dark and Stormy Night is a children’s
kills them.
horror anthology compiled by Alice Low and illustrated by
Gahan Wilson. It was published in 1994, and contains nine-
teen stories by various authors. A majority of the collection
1.3.2 See also is based on retelling folktales from around the world, but
some are completely original,[1] such as “Duffy’s Jacket”[2]
and “Good-bye, Miss Patterson.”[3]
• Robert D. San Souci

• Short & Shivery 1.5.1 Table of Contents

• Yearling Books The book opens up with an introduction by Alice Low, fol-
lowed by five chapters. If the titles of each chapter are read
one after another, they form their own brief story: “On a
Windy, Stormy Night... Down a Dark, Deserted Road...
1.3.3 References Stands a Strange and Creepy House... With Creaks and
Howls and... Gotcha!" At the end of the book, there is an
acknowledgments listing.[4]
•

• On a Windy, Stormy Night...

Down a Dark, Deserted Read...

1.4 In a Dark, Dark Room and Stands a Strange and Creepy House
Other Scary Stories
With Creaks and Howls and...

In a Dark, Dark Room and Other Scary Stories is a collec- Gotcha!

tion of horror stories retold for children by Alvin Schwartz.
It was published as part of the I Can Read! series in 1984.
1.5.2 References

[1] Low, Alice (1994). “Introduction”. Spooky Stories for a

1.4.1 Table of Contents Dark and Stormy Night. Hyperion. pp. 6–7. ISBN 0-7868-
0012-7.
Foreword
[2] Low, Alice (1994). “With Creaks and Howls and...: “Duffy’s
1. The Teeth
Jacket"". Spooky Stories for a Dark and Stormy Night. Hy-
2. In the Graveyard perion. pp. 84–93. ISBN 0-7868-0012-7.
3. The Green Ribbon
[3] Low, Alice (1994). “With Creaks and Howls and...: “Good-
4. In a Dark, Dark Room bye, Miss Patterson"". Spooky Stories for a Dark and Stormy
5. The Night It Rained Night. Hyperion. pp. 94–99. ISBN 0-7868-0012-7.

6. The Pirate
[4] Low, Alice (1994). Spooky Stories for a Dark and Stormy
7. The Ghost of John Night (1st ed.).
6 CHAPTER 1. ANTHOLOGIES

1.6 Grimms’ Fairy Tales that the Allied forces warned against them;[4] for instance,
Cinderella with the heroine as racially pure, the stepmother
For the comic series, see Grimm Fairy Tales (comics). as an alien, and the prince with an unspoiled instinct being
Not to be confused with Grimm Tales (disambiguation) or able to distinguish.[5] Writers who have written about the
Grimm’s Fairy Tale Classics. Holocaust have combined the tales with their memoirs, as
Jane Yolen in her Briar Rose.[6]

Children’s and Household Tales (German: Kinder- und The work of the Brothers Grimm influenced other collec-
Hausmärchen) is a collection of German fairy tales first tors, both inspiring them to collect tales and leading them to
published in 1812 by the Grimm brothers, Jacob and similarly believe, in a spirit of romantic nationalism, that the
Wilhelm. The collection is commonly known in English fairy tales of a country were particularly representative of
as Grimm’s Fairy Tales. it, to the neglect of cross-cultural influence. Among those
influenced were the Russian Alexander Afanasyev, the Nor-
wegians Peter Christen Asbjørnsen and Jørgen Moe, the
1.6.1 Composition English Joseph Jacobs, and Jeremiah Curtin, an American
who collected Irish tales.[7] There was not always a pleased
The first volume of the first edition was published in 1812, reaction to their collection. Joseph Jacobs was in part in-
containing 86 stories; the second volume of 70 stories fol- spired by his complaint that English children did not read
lowed in 1815. For the second edition, two volumes were English fairy tales;[8] in his own words, “What Perrault be-
issued in 1819 and a third in 1822, totalling 170 tales. The gan, the Grimms completed”.
third edition appeared in 1837; fourth edition, 1840; fifth Three individual works of Wilhelm Grimm include Alt-
edition, 1843; sixth edition, 1850; seventh edition, 1857. dänische Heldenlieder, Balladen und Märchen ('Old Dan-
Stories were added, and also subtracted, from one edition to ish Heroic Songs, Ballads, and Folktales’) in 1811, Über
the next, until the seventh held 211 tales. All editions were deutsche Runen ('On German Runes’) in 1821, and Die
extensively illustrated, first by Philipp Grot Johann and, af- deutsche Heldensage ('The German Heroic Saga') in 1829.
ter his death in 1892, by German illustrator Robert Lein-
weber.
The first volumes were much criticized because, although 1.6.3 List of fairy tales
they were called “Children’s Tales”, they were not regarded
as suitable for children, both for the scholarly information
included and the subject matter.[1] Many changes through
the editions – such as turning the wicked mother of the first
edition in Snow White and Hansel and Gretel (shown in orig-
inal Grimm stories as Hänsel and Grethel) to a stepmother,
were probably made with an eye to such suitability. They
removed sexual references—such as Rapunzel's innocently
asking why her dress was getting tight around her belly, and
thus naïvely revealing to her stepmother her pregnancy and
the prince’s visits—but, in many respects, violence, partic-
ularly when punishing villains, was increased.[2]
In 1825, the Brothers published their Kleine Ausgabe or
“small edition”, a selection of 50 tales designed for child
readers. This children’s version went through ten editions
between 1825 and 1858.

1.6.2 Influence
The influence of these books was widespread. W. H. Au-
den praised the collection, during World War II, as one of
the founding works of Western culture.[3] The tales them-
selves have been put to many uses. Hitler praised them as
folkish tales showing children with sound racial instincts
seeking racially pure marriage partners, and so strongly Grimm Brothers
1.6. GRIMMS’ FAIRY TALES
Further information: List of fairy tales
The code “KHM” stands for Kinder- und Hausmärchen.
The titles are those as of 1857. Some titles in 1812 were
different. All editions from 1812 until 1857 split the stories
into two volumes.
Volume 1
Frontispiece used for the first volume of the 1840 4th edition
Monument to brothers Grimm on the market place in Hanau. (Hes-
sen, Germany)
• KHM 1: The Frog King, or Iron Heinrich (Der
Froschkönig oder der eiserne Heinrich)
• KHM 2: Cat and Mouse in Partnership (Katze und
Maus in Gesellschaft)
• KHM 3: Mary’s Child (Marienkind)
• KHM 4: The Story of the Youth Who Went Forth to
Learn What Fear Was (Märchen von einem, der auszog
das Fürchten zu lernen)
7
• KHM 5: The Wolf and the Seven Young Kids (Der
Wolf und die sieben jungen Geißlein)
• KHM 6: Faithful John or Trusty John (Der treue Jo-
hannes)
• KHM 7: The Good Bargain (Der gute Handel) (see
Tale 7)
• KHM 8: The Wonderful Musician or The Strange Mu-
sician (Der wunderliche Spielmann)
• KHM 9: The Twelve Brothers (Die zwölf Brüder)
• KHM 10: The Pack of Ragamuffins (Das Lumpen-
gesindel)
• KHM 11: Little Brother and Little Sister (Brüderchen
und Schwesterchen)
• KHM 12: Rapunzel
• KHM 13: The Three Little Men in the Woods (Die
drei Männlein im Walde)
• KHM 14: The Three Spinning Women (Die drei Spin-
nerinnen)
• KHM 15: Hansel and Grethel (Hänsel und Gretel)
8 CHAPTER 1. ANTHOLOGIES
• KHM 16: The Three Snake-Leaves (Die drei
Schlangenblätter)
• KHM 17: The White Snake (Die weiße Schlange)
• KHM 18: The Straw, the Coal, and the Bean (Stro-
hhalm, Kohle und Bohne)
• KHM 19: The Fisherman and His Wife (Von dem Fis-
cher und seiner Frau)
• KHM 20: The Brave Little Tailor or The Valiant Little
Tailor or The Gallant Tailor (Das tapfere Schneider-
lein)
• KHM 21: Cinderella (Aschenputtel)
• KHM 22: The Riddle (Das Rätsel)
• KHM 23: The Mouse, the Bird, and the Sausage (Von
dem Mäuschen, Vögelchen und der Bratwurst)
• KHM 24: Mother Holle or Mother Hulda or Old
Mother Frost (Frau Holle)
• KHM 25: The Seven Ravens (Die sieben Raben)
• KHM 26: Little Red Cap (Rotkäppchen)
• KHM 27: The Bremen Town Musicians (Die Bremer
Stadtmusikanten)
• KHM 28: The Singing Bone (Der singende Knochen)
• KHM 29: The Devil With the Three Golden Hairs
(Der Teufel mit den drei goldenen Haaren)
• KHM 30: The Louse and the Flea (Läuschen und
Flöhchen)
• KHM 31: The Girl Without Hands or The Handless
Maiden (Das Mädchen ohne Hände)
• KHM 32: Clever Hans (Der gescheite Hans)
• KHM 33: The Three Languages (Die drei Sprachen)
• KHM 34: Clever Elsie (Die kluge Else)
• KHM 35: The Tailor in Heaven (Der Schneider im
Himmel)
• KHM 36: The Magic Table, the Gold-Donkey, and
the Club in the Sack (“Tischchen deck dich, Goldesel
und Knüppel aus dem Sack” also known as “Tischlein,
deck dich!")
• KHM 37: Thumbling (Daumsdick) (see also Tom
Thumb)
• KHM 38: The Wedding of Mrs. Fox (Die Hochzeit
der Frau Füchsin)
• KHM 39: The Elves (Die Wichtelmänner)
• The Elves and the Shoemaker (Erstes Märchen)
• Second Story (Zweites Märchen)
• Third Story (Drittes Märchen)
• KHM 40: The Robber Bridegroom (Der Räuber-
bräutigam)
• KHM 41: Herr Korbes
• KHM 42: The Godfather (Der Herr Gevatter)
• KHM 43: Frau Trude
• KHM 44: Godfather Death (Der Gevatter Tod)
• KHM 45: Thumbling’s Travels (see also Tom Thumb)
(Daumerlings Wanderschaft)
• KHM 46: Fitcher’s Bird (Fitchers Vogel)
• KHM 47: The Juniper Tree (Von dem Machandel-
boom)
• KHM 48: Old Sultan (Der alte Sultan)
• KHM 49: The Six Swans (Die sechs Schwäne)
• KHM 50: Little Briar-Rose (see also Sleeping Beauty)
(Dornröschen)
• KHM 51: Foundling-Bird (Fundevogel)
• KHM 52: King Thrushbeard (König Drosselbart)
• KHM 53: Little Snow White (Schneewittchen)
• KHM 54: The Knapsack, the Hat, and the Horn (Der
Ranzen, das Hütlein und das Hörnlein)
• KHM 55: Rumpelstiltskin (Rumpelstilzchen)
• KHM 56: Sweetheart Roland (Der Liebste Roland)
• KHM 57: The Golden Bird (Der goldene Vogel)
• KHM 58: The Dog and the Sparrow (Der Hund und
der Sperling)
• KHM 59: Frederick and Catherine (Der Frieder und
das Katherlieschen)
• KHM 60: The Two Brothers (Die zwei Brüder)
• KHM 61: The Little Peasant (Das Bürle)
• KHM 62: The Queen Bee (Die Bienenkönigin)
• KHM 63: The Three Feathers (Die drei Federn)
• KHM 64: The Golden Goose (Die goldene Gans)
1.6. GRIMMS’ FAIRY TALES 9

• KHM 65: All-Kinds-of-Fur (Allerleirauh)

• KHM 66: The Hare’s Bride (Häschenbraut)

• KHM 67: The Twelve Huntsmen (Die zwölf Jäger)

• KHM 68: The Thief and His Master (De Gaudeif un

sien Meester)

• KHM 69: Jorinde and Joringel (Jorinde und Joringel)

• KHM 70: The Three Sons of Fortune (Die drei Glück-

skinder)

• KHM 71: How Six Men got on in the World (Sechse

kommen durch die ganze Welt)

• KHM 72: The Wolf and the Man (Der Wolf und der
Mensch)

• KHM 73: The Wolf and the Fox (Der Wolf und der
Fuchs)

• KHM 74: Gossip Wolf and the Fox (Der Fuchs und
die Frau Gevatterin)

• KHM 75: The Fox and the Cat (Der Fuchs und die
Katze)
• KHM 76: The Pink (Die Nelke)
Frontispiece used for the second volume of the 1840 4th edition.
The portrait by Ludwig Emil Grimm bears resemblance to the sto-
ryteller Dorothea Viehmann.

• KHM 77: Clever Grethel (Die kluge Gretel)

Volume 2
• KHM 78: The Old Man and his Grandson (Der alte
Großvater und der Enkel)
• KHM 79: The Water Nixie (Die Wassernixe)
• KHM 80: The Death of the Little Hen (Von dem Tode
des Hühnchens)
• KHM 81: Brother Lustig (Bruder Lustig)
• KHM 82: Gambling Hansel (De Spielhansl)
• KHM 83: Hans in Luck (Hans im Glück)
• KHM 84: Hans Married (Hans heiratet)
• KHM 85: The Gold-Children (Die Goldkinder)
• KHM 86: The Fox and the Geese (Der Fuchs und die
Gänse)
• KHM 87: The Poor Man and the Rich Man (Der Arme
und der Reiche)
• KHM 88: The Singing, Springing Lark (Das singende
springende Löweneckerchen)
• KHM 89: The Goose Girl (Die Gänsemagd)
• KHM 90: The Young Giant (Der junge Riese)
• KHM 91: The Gnome (Dat Erdmänneken)
• KHM 92: The King of the Gold Mountain (Der König
vom goldenen Berg)
• KHM 93: The Raven (Die Raben)
• KHM 94: The Peasant’s Wise Daughter (Die kluge
Bauerntochter)
• KHM 95: Old Hildebrand (Der alte Hildebrand)
• KHM 96: The Three Little Birds (De drei Vügelkens)
10 CHAPTER 1. ANTHOLOGIES

• KHM 97: The Water of Life (Das Wasser des Lebens)
• KHM 98: Doctor Know-all (Doktor Allwissend)
• KHM 99: The Spirit in the Bottle (Der Geist im Glas)
• KHM 100: The Devil’s Sooty Brother (Des Teufels
rußiger Bruder)
• KHM 101: Bearskin (Bärenhäuter)
• KHM 102: The Willow Wren and the Bear (Der Za-
unkönig und der Bär)
• KHM 103: Sweet Porridge (Der süße Brei)
• KHM 104: Wise Folks (Die klugen Leute)
• KHM 122: Donkey Cabbages (Der Krautesel)
• KHM 123: The Old Woman in the Wood (Die alte im
Wald)
• KHM 124: The Three Brothers (Die drei Brüder)
• KHM 125: The Devil and His Grandmother (Der
Teufel und seine Großmutter)
• KHM 126: Ferdinand the Faithful and Ferdinand the
Unfaithful (Ferenand getrü und Ferenand ungetrü)
• KHM 127: The Iron Stove (Der Eisenofen)
• KHM 128: The Lazy Spinner (Die faule Spinnerin)

• KHM 105: Tales of the Paddock (Märchen von der • KHM 129: The Four Skillful Brothers (Die vier kun-
Unke) streichen Brüder)

• KHM 106: The Poor Miller’s Boy and the Cat (Der • KHM 130: Little One-Eye, Little Two-Eyes, and Lit-
arme Müllersbursch und das Kätzchen) tle Three-Eyes (Einäuglein, Zweiäuglein und Dreiäu-
glein)
• KHM 107: The Two Travelers (Die beiden Wanderer)
• KHM 131: Fair Katrinelje and Pif-Paf-Poltrie (Die
• KHM 108: Hans My Hedgehog (Hans mein Igel) schöne Katrinelje und Pif Paf Poltrie)
• KHM 109: The Shroud (Das Totenhemdchen) • KHM 132: The Fox and the Horse (Der Fuchs und das
Pferd)
• KHM 110: The Jew Among Thorns (Der Jude im
Dorn) • KHM 133: The Shoes that were Danced to Pieces (Die
zertanzten Schuhe)
• KHM 111: The Skillful Huntsman (Der gelernte
Jäger) • KHM 134: The Six Servants (Die sechs Diener)
• KHM 112: The Flail from Heaven (Der Dreschflegel • KHM 135: The White and the Black Bride (Die weiße
vom Himmel) und die schwarze Braut)
• KHM 113: The Two Kings’ Children (Die beiden
Königskinder)
• KHM 114: The Cunning Little Tailor or The Story of
a Clever Tailor (vom klugen Schneiderlein)
• KHM 115: The Bright Sun Brings it to Light (Die klare
Sonne bringt’s an den Tag)
• KHM 116: The Blue Light (Das blaue Licht)
• KHM 117: The Willful Child (Das eigensinnige Kind)
• KHM 118: The Three Army Surgeons (Die drei Feld-
scherer)
• KHM 119: The Seven Swabians (Die sieben
Schwaben) Iron John

• KHM 120: The Three Apprentices (Die drei Handw-

erksburschen) • KHM 136: Iron John (Eisenhans)

• KHM 121: The King’s Son Who Feared Nothing (Der • KHM 137: The Three Black Princesses (De drei
Königssohn, der sich vor nichts fürchtete) schwatten Prinzessinnen)
1.6. GRIMMS’ FAIRY TALES
• KHM 138: Knoist and his Three Sons (Knoist un sine
dre Sühne)
• KHM 139: The Maid of Brakel (Dat Mäken von
Brakel)
• KHM 140: My Household (Das Hausgesinde)
• KHM 141: The Lambkin and the Little Fish (Das
Lämmchen und das Fischchen)
• KHM 142: Simeli Mountain (Simeliberg)
• KHM 143: Going a Traveling (Up Reisen gohn) ap-
peared in the 1819 edition
• KHM 143 in the 1812/1815 edition was Die
Kinder in Hungersnot (the starving children)
• KHM 144: The Donkey (Das Eselein)
• KHM 145: The Ungrateful Son (Der undankbare
Sohn)
• KHM 146: The Turnip (Die Rübe)
• KHM 147: The Old Man Made Young Again (Das
junggeglühte Männlein)
• KHM 148: The Lord’s Animals and the Devil’s (Des
Herrn und des Teufels Getier)
• KHM 149: The Beam (Der Hahnenbalken)
• KHM 150: The Old Beggar Woman (Die alte Bettel-
frau)
• KHM 151: The Twelve Idle Servants (Die zwölf
faulen Knechte)
• KHM 151: The Three Sluggards (Die drei Faulen)
• KHM 152: The Shepherd Boy (Das Hirtenbüblein)
• KHM 153: The Star Money (Die Sterntaler)
• KHM 154: The Stolen Farthings (Der gestohlene
Heller)
• KHM 155: Looking for a Bride (Die Brautschau)
• KHM 156: The Hurds (Die Schlickerlinge)
• KHM 157: The Sparrow and His Four Children (Der
Sperling und seine vier Kinder)
• KHM 158: The Story of Schlauraffen Land (Das
Märchen vom Schlaraffenland)
• KHM 159: The Ditmarsch Tale of Lies (Das dietmar-
sische Lügenmärchen)
• KHM 160: A Riddling Tale (Rätselmärchen)
11
• KHM 161: Snow-White and Rose-Red
(Schneeweißchen und Rosenrot)
• KHM 162: The Wise Servant (Der kluge Knecht)
• KHM 163: The Glass Coffin (Der gläserne Sarg)
• KHM 164: Lazy Henry (Der faule Heinz)
• KHM 165: The Griffin (Der Vogel Greif)
• KHM 166: Strong Hans (Der starke Hans)
• KHM 167: The Peasant in Heaven (Das Bürli im Him-
mel)
• KHM 168: Lean Lisa (Die hagere Liese)
• KHM 169: The Hut in the Forest (Das Waldhaus)
• KHM 170: Sharing Joy and Sorrow (Lieb und Leid
teilen)
• KHM 171: The Willow Wren (Der Zaunkönig)
• KHM 172: The Sole (Die Scholle)
• KHM 173: The Bittern and the Hoopoe (Rohrdommel
und Wiedehopf)
• KHM 174: The Owl (Die Eule)
• KHM 175: The Moon (Brothers Grimm) (Der Mond)
• KHM 176: The Duration of Life (Die Lebenszeit)
• KHM 177: Death’s Messengers (Die Boten des Todes)
• KHM 178: Master Pfreim (Meister Pfriem)
• KHM 179: The Goose-Girl at the Well (Die Gänse-
hirtin am Brunnen)
• KHM 180: Eve’s Various Children (Die ungleichen
Kinder Evas)
• KHM 181: The Nixie of the Mill-Pond (Die Nixe im
Teich)
• KHM 182: The Little Folks’ Presents (Die Geschenke
des kleinen Volkes)
• KHM 183: The Giant and the Tailor (Der Riese und
der Schneider)
• KHM 184: The Nail (Brothers Grimm) (Der Nagel)
• KHM 185: The Poor Boy in the Grave (Der arme
Junge im Grab)
• KHM 186: The True Bride (Die wahre Braut)
• KHM 187: The Hare and the Hedgehog (Der Hase und
der Igel)
12
• KHM 188: Spindle, Shuttle, and Needle (Spindel, We- 1.6.4 No longer included in the last edition
berschiffchen und Nadel)
• 1812 KHM 6 Von der Nachtigall und der Blindschle-
• KHM 189: The Peasant and the Devil (Der Bauer und
der Teufel)
• KHM 190: The Crumbs on the Table (Die Brosamen
auf dem Tisch)
• KHM 191: The Sea-Hare (Das Meerhäschen)
• KHM 192: The Master Thief (Der Meisterdieb)
• KHM 193: The Drummer (Der Trommler)
• KHM 194: The Ear of Corn (Die Kornähre)
• KHM 195: The Grave Mound (Der Grabhügel)
• KHM 196: Old Rinkrank (Oll Rinkrank)
• KHM 197: The Crystal Ball (Die Kristallkugel)
• KHM 198: Maid Maleen (Jungfrau Maleen)
• KHM 199: The Boots of Buffalo Leather (Der Stiefel
von Büffelleder)
• KHM 200: The Golden Key (Der goldene Schlüssel)
The children’s legends (Kinder-legende)
first appeared in the G. Reimer 1819 edition at the end of
volume 2
• KHM 201: Saint Joseph in the Forest (Der heilige
Joseph im Walde)
• KHM 202: The Twelve Apostles (Brothers Grimm)
(Die zwölf Apostel)
• KHM 203: The Rose (Die Rose)
• KHM 204: Poverty and Humility Lead to Heaven (Ar-
mut und Demut führen zum Himmel)
• KHM 205: God’s Food (Gottes Speise)
• KHM 206: The Three Green Twigs (Die drei grünen
Zweige)
• KHM 207: The Blessed Virgin’s Little Glass (Mutter-
gottesgläschen) or Our Lady’s Little Glass
• KHM 208: The Little Old Lady (Das alte Mütterchen)
or The Aged Mother
• KHM 209: The Heavenly Marriage (Die himmlische
Hochzeit) or The Heavenly Wedding
• KHM 210: The Hazel Branch (Die Haselrute)
• KHM 211: In a Glass Grimmly
CHAPTER 1. ANTHOLOGIES
iche (The nightingale and the slow worm) also (The
Nightingale and the Blindworm)
• 1812 KHM 8 Die Hand mit dem Messer (The hand
with the knife)
• 1812 KHM 22 Wie Kinder Schlachtens miteinander
gespielt haben (The Children Who Played Slaughter-
ing)
• 1812 KHM 27 Der Tod und der Gänsehirt (Death and
the Goose Keeper)
• 1812 KHM 33 Der gestiefelte Kater (Puss in Boots)
• 1812 KHM 37 Von der Serviette, dem Tornister, dem
Kanonenhütlein und dem Horn (Of the napkin, the
knapsack, the Cannon guarding flax, and the Horn)
• 1812 KHM 43 Die wunderliche Gasterei (The strange
Inn) (The Wonderly Guesting Manor)
• 1812 KHM 54 Hans Dumm (Foolish Hans)
• 1812 KHM 62 Blaubart (Bluebeard)
• 1812 KHM 66 Hurleburlebutz
• 1812 KHM 70 Der Okerlo (The Okerlo)
• 1812 KHM 71 Prinzessin Mäusehaut (Princess Mouse
Skin)
• 1812 KHM 72 Das Birnli will nit fallen (The Fruit Will
Not Fall)
• 1812 KHM 73 Das Mörderschloss (The Murder Cas-
tle)
• 1812 KHM 77 Vom Schreiner und Drechsler (Of The
Carpenter and Turner)
• 1812 KHM 82 Die drei Schwestern (The Three Sis-
ters)
• 1812 KHM 85A Schneeblume (Snow Flower)
• 1812 KHM 85D Vom Prinz Johannes (Fragment) (Of
Prince Johannes)
• Die Prinzessin auf der Erbse (Princess and the Pea)
• Der Faule und der Fleißige (The sluggard and the dili-
gent)
• Der gute Lappen (Fragment) (The good rag)
• Die heilige Frau Kummernis (The holy woman Kum-
mernis)
1.7. LIST OF GOOSEBUMPS BOOKS 13

• Die Krähen (The Crows) 1.6.7 External links

• Der Löwe und der Frosch (The Lion and the Frog)
• Der Räuber und seine Söhne (The Robber and His
Sons)
• Der Soldat und der Schreiner (The Soldier and the
Carpenter)
• Die treuen Tiere (The faithful animals)
• Das Unglück (The Accident)
• Der wilde Mann (The Wild Man)
• The Original 1812 Grimm A web site for the Original
1812 Kinder und Hausmärchen featuring references
and other useful information related to the 1812 book
in English.
• SurLaLune Fairy Tale site on the Grimms featuring
English translations of the Grimms’ notes
• Selection of Grimm’s Fairy Tales in English and Ger-
man
• Grimm’s Tales at Gutenberg Project

1.6.5 References • Grimm family and publication timeline

[1] Maria Tatar, The Hard Facts of the Grimms’ Fairy Tales,
p15-17, ISBN 0-691-06722-8
[2] Maria Tatar, “Reading the Grimms’ Children’s Stories and
Household Tales” p. xxvii-iv, Maria Tatar, ed. The Anno-
tated Brothers Grimm, ISBN 0-393-05848-4
[3] Maria Tatar, “Reading the Grimms’ Children’s Stories and
Household Tales” p. xxx, Maria Tatar, ed. The Annotated
Brothers Grimm, ISBN 0-393-05848-4
[4] Maria Tatar, "-xxxix, Maria Tatar, ed. The Annotated Broth-
ers Grimm, ISBN 0-393-05848-4
[5] Lynn H. Nicholas, Cruel World: The Children of Europe in
the Nazi Web p 77-8 ISBN 0-679-77663-X
• The Grimm Brothers’ Children’s and Household Tales
classified by Aarne-Thompson type
• 200th Anniversary of Grimms’ Fairy Tales, commem-
orative Google Doodle.
• Grimm’s Fairy Tales National Geographic
• Complete collection of Grimms’ Fairy Tales, early En-
glish version
• Grimm’s Fairy Tales The complete collection of
Grimm’s Household Tales along with alternative trans-
lations.

[6] Maria Tatar, “Reading the Grimms’ Fairy Stories and
Household Tales” p. xlvi, Maria Tatar, ed. The Annotated
Brothers Grimm, ISBN 0-393-05848-4
[7] Jack Zipes, The Great Fairy Tale Tradition: From Stra-
parola and Basile to the Brothers Grimm, p 846, ISBN 0-
393-97636-X
[8] Maria Tatar, p 345-5, The Annotated Classic Fairy Tales,
ISBN 0-393-05163-3
• Grimmstories.com All Grimm’s Fairy Tales available
freely in English, German, Dutch, Spanish, Danish,
Italian and French.
• Grimm’s Fairy Tales Collection hosted by the Baldwin
Library of Historical Children’s Literature at the Uni-
versity of Florida
• Grimms’ Fairy Tales public domain audiobook at
LibriVox

1.6.6 Bibliography
• Grimm Brothers; Margarate Hunt (Translator) 1.7 List of Goosebumps books
(1944). The Complete Grimm’s Fairy Tales. New
York: Pantheon Books. ISBN 0394494156. This is a list of books from the Goosebumps book series
written by R. L. Stine and published by Scholastic. The
• Grimm, Jacob; Grimm, Wilhelm (2014). Zipes, Jack,
first book, Welcome to Dead House was published in July
ed. The Original Folk and Fairy Tales of the Brothers
1992. Various spin-off series were written by Stine, in-
Grimm: the complete first edition. Princeton: Prince-
cluding Goosebumps Series 2000 (published from 1998 to
ton University Press. ISBN 9780691160597.
2000), Goosebumps Gold (which was never released), Give
• Loo, Oliver (2014). The Original 1812 Grimm Fairy Yourself Goosebumps (1995 to 2000) and Goosebumps Hor-
Tales. A New Translation of the 1812 First Edi- rorLand (2008 to present). More than 300 million Goose-
tion Kinder- und Hausmärchen Collected through the bumps books have been sold,[1] making it the bestselling
Brothers Grimm I (200 Year Anniversary ed.). ISBN series of all time for several years.[2] At one point, Goose-
9781312419049. bumps sold 4 million books a month.[3]
14 CHAPTER 1. ANTHOLOGIES

1.7.1 Goosebumps Original Series (1992- Stine intended to write a sequel to The Haunted Mask II
1997) (The Haunted Mask Lives!), a sequel to Welcome to Dead
House (Happy Holidays from Dead House) and a sequel to
Main article: Goosebumps (Original series) Slappy’s Nightmare (Slappy New Year, a title later used for
a Goosebumps HorrorLand book).
A few titles are now out-of-print, but most of the origi-
nal series books (all but five: 24, 47, 60, 61 and 62) were 1.7.10 Goosebumps Graphix (2006-2015)
reprinted by Scholastic between September 2003 and June
2007. In addition, 22 books were reissued from May 2008 This series features artists’ interpretations of select books
to November 2011 as part of the Classic Goosebumps series into graphic novels.
to accompany the Goosebumps HorrorLand series.

1.7.11 Goosebumps HorrorLand (2008-2012)

1.7.2 Tales to Give You Goosebumps (1994-
1997) Main article: Goosebumps HorrorLand

1.7.3 Give Yourself Goosebumps (1995-2000)

Main article: Give Yourself Goosebumps 1.7.12 Goosebumps Most Wanted (2012-
Present)

Main article: Goosebumps Most Wanted

1.7.4 Goosebumps Presents (1996-1998)

The books in the original Goosebumps series that were made

into episodes of the Goosebumps television series were sub- 1.7.13 Goosebumps: The Movie books (2015)
sequently rereleased in a series called Goosebumps Presents.
The main difference between the books in this series and
1.7.14 Misc. Goosebumps books
their original publications is that the Goosebumps Presents
editions contained photos from the corresponding episodes.
18 books were released from 1996 - 1998. 1.7.15 References
[1] White, Michael (May 15, 2008). “Sony Acquires Movie
Rights to `Goosebumps’ Children’s Books”. Bloomberg. Re-
1.7.5 Goosebumps Haunted Library (1996) trieved on November 25, 2010.

1.7.6 Goosebumps Autobiographies (1997- [2] Foerstel, Herbert. “Banned in the U.S.A.: a reference
1998) guide to book censorship in schools and public libraries”.
Greenwood Press, 2002. p. 222.

1.7.7 Goosebumps Triple Header (1997-1998) [3] Dugan, Jeanne (November 4, 1996). “GOOSEBUMPS:
THE THING THAT ATE THE KIDS' MARKET”.
1.7.8 Goosebumps Series 2000 (1998-2000) BusinessWeek. Retrieved on November 25, 2010.

[4] “Parachute Publishing and HarperCollins Children’s Books

Main article: Goosebumps Series 2000
Announce a New Publishing Deal With Best-selling Au-
thor R.L. Stine”. Findarticles.com. 2000-01-17. Retrieved
2010-08-19.

1.7.9 Goosebumps Gold (Planned 2001) [5] “Goosebumps Gold Series”. Timjacobus.com. Retrieved
2010-08-19.
One of two book series by R. L. Stine that were planned to
be released some time in 2001 (the other being The Night-
mare Room),[4] these books appeared on series illustrator 1.7.16 External links
Tim Jacobus’s website[5] and marketing sites but unlike The
Nightmare Room series, were never released. In this series, • Official website at Scholastic Press
1.8. BERT FEGG’S NASTY BOOK FOR BOYS AND GIRLS 15

1.8 Bert Fegg’s Nasty Book for Boys 1.8.3 Content

and Girls Among the topics covered in the book are:

Bert Fegg’s Nasty Book for Boys And Girls is a humorous

book first published by Methuen in 1974 which purports to
have been written by a psychopathic character, Dr. Fegg.
In fact, the book is the work of Terry Jones and Michael
Palin, who adapted a range of material from scripts writ-
ten for the television comedy series, Monty Python’s Flying
Circus. Some material was later used in Palin’s 1977 TV
series, Ripping Yarns. The first edition was sold bearing a
sticker on the front cover which read “A Monty Python Ed-
ucational Product”.
The book satirises elements of educational text books, as
well as annuals, which were popular hardcover publications
for children featuring short stories, comic strips, and games,
often based upon television series and films of the day.

The West Bromley Fighting Haddock

1.8.1 Style of humour

The book uses the characteristic absurdist humour simi-
lar to Monty Python and relies on the use of non-sequitur,
parody, anarchic humour, juvenile references to bodily
functions and black comedy-style descriptions of gory vi-
olence for comedic effect. A fictional character, Dr. Bert
Fegg, is presented as the author of the book. His blood-
thirsty, psychopathic character is depicted in constant con-
flict with the publishers, as they attempt to raise the moral
tone of the book and censor violent content.
The exchange between author and publishers is presented
through textual interjections such as “That’s enough – the
Publishers”, in the style often used in the satirical maga-
zine Private Eye. Dr. Fegg’s angry comments are scrawled
handwriting printed on the pages.
Recurring jokes throughout the book include a number of
parody advertisements for exotic household gadgets, ap-
pearances by the sinister West Bromley Fighting Haddock,
and passing references to “the Bournemouth Killings”.
1.8.2 Authors and contributors
Python writers Terry Jones and Michael Palin wrote the
content, with artwork provided by several British illustra-
tors. Contributors to the book include British comics artist
Frank Bellamy (A Cowboy Story), cartoonists Martin Hon-
eysett and Lolly Honeysett, and Paul Buckle, an illustra-
tor who worked on a number of instructional football skills
books in the 1970s.
• The Wonderful World of Nature – descriptions of
several fictional animals, such as the Patagonian Burst-
ing Rabbit and the West Bromley Fighting Haddock
• Across the Andes by Frog – a burlesque of a travel
diary in a mock-heroic style; this material was later
used in the TV series Ripping Yarns (1977)
• Soccer My Way by the Supremes – a parody of
football tactics books featuring the popular singing
groups the Supremes and Smokey Robinson and the
Miracles, illustrated by Paul Buckle
• Interesting Machines – illustrated in the style of
Heath Robinson, this page describes a range of fantas-
tical devices including the “Tally-Ho” Automatic Bed
Wetter and the “Hygena” Automatic Nose Picker.
• The Famous Five Go Pillaging – a short story which
parodies of the writing style of Enid Blyton; five chil-
dren witness the collapse of Roman imperialism and
their friends and family are slaughtered by 9000 invad-
ing Vikings.
• Great Men of History – in fact a collection of non-
sensical poems about three women: Queen Elizabeth
I, Queen Boadicea and Lady Godiva
• A Cowboy Story – a pastiche of a Western comic
strip, in which cowboy “Kid” Masterton’s horse de-
velops bronchial pneumonia and is taken to a clinic
for treatment; illustrations are by British comics artist
Frank Bellamy.
16 CHAPTER 1. ANTHOLOGIES

• Aladdin and his Terrible Problem – a humorous books, published from 1987-1998 and written by author
pantomime script following the exploits of Aladdin Robert D. San Souci (also known for writing various other
and his sidekick, Pisso the Alcoholic Dog. The script scary children’s books, including Dare to Be Scared: Thir-
ends abruptly with “Curtain. End of Act Two. Theatre teen Stories to Chill and Thrill. The popular anthology se-
goes out of business.” The original hardcover featured ries spawned several sequels throughout an 11-year span.
a page of paper dolls of the play’s characters that, in Each book contained 30 tales from America and around
theory, could be cut out and used to perform the play. the world, including classics by various famous authors
throughout history.[1]
• How to Destroy this Book – a final exhortation by
Dr. Fegg to his young readers to wanton destruction,
censored by the publishers. 1.9.1 Overview
• The original UK edition also included references to a
Selected from international ghost folklore, each volume
faux contest whereby readers were invited to look for
contains 30 stories, specifically retold by author Robert
a “deliferate mistale” [sic] located “somewhat” in the
D. San Souci for younger readers. Each book contains a
book.
mixture of classic and contemporary tales, including sev-
• The book climaxes with a two-page, gory illustration eral American classics, all accompanied by illustrations by
of Bert Fegg chopping open a monster with an axe Katherine Coville and Jacqueline Rogers. Highlights in-
(presented in the style of Terry Gilliam's animations), clude stories by well-known authors including The Broth-
followed by profuse apologies by the book’s publishers ers Grimm, Nathaniel Hawthorne, Washington Irving and
and a final scrawled rant by Fegg. Charles Dickens.[2]
The series produced several sequels and were later collected
into a compilation book, Giant Short & Shivery. Audiobook
1.8.4 Later editions versions of the first three volumes have since been released
on cassette and compact disc, narrated by Mark Hammer.
Expanded and revised editions of the book appeared as Dr.
Fegg’s Nasty Book of Knowledge in the US in 1976 and Dr. School Library Journal called the series “An absolute de-
Fegg’s Encyclopeadia (sic) of all World Knowledge, in the light... Young readers will gobble up these thirty thrilling
UK in 1984. snacks and beg for more.”[3]

1.8.5 Bibliography 1.9.2 Books

• Bert Fegg’s Nasty Book for Boys and Girls, with Terry 1.9.3 See also
Jones (1974) ISBN 0-413-32740-X
• Robert D. San Souci
• Dr. Fegg’s Nasty Book of Knowledge, with Terry Jones
(1976) ISBN 0-425-03084-9 • Dare to Be Scared

• Bert Fegg’s Encyclopeadia (sic) of all World Knowl- • Yearling Books

edge, with Terry Jones (1984) ISBN 0-413-56430-4
• Scary Stories to Tell in the Dark
• Scary Stories for Sleep-overs
1.8.6 External links
• Tales for the Midnight Hour
• Terry Jones Books – PythOnline’s Daily Llama

• Books by Terry Jones 1.9.4 References

• Nasty Frank – a review of Bellamy’s illustrations
1.9 Short & Shivery
Short & Shivery, also known as Short & Shivery: Thirty
Chilling Tales, is a series of scary short-story children’s
[1] http://www.amazon.com/s/ref=nb_sb_sabc?url=
search-alias%3Dstripbooks&pageMinusResults=
1&suo=1350147344425#/ref=nb_sb_noss_1?url=
search-alias%3Dstripbooks&field-keywords=short shiv-
ery&sprefix=short%20shi&rh=n%3A283155%2Ck%3Ashort%20shivery
[2] http://www.goodreads.com/search?utf8=%E2%9C%93&
query=short+shivery
1.11. STRUWWELPETER 17

[3] http://www.amazon.com/
Terrifying-Taste-Short-Shivery-Thirty/dp/044041878X/
ref=sr_1_4?s=books&ie=UTF8&qid=1350152171&sr=
1-4&keywords=short+shivery

1.10 Spine Chillers (books)

Spine Chillers is a series of horror anthology children’s nov-
els written by Jim Razzi. Jacqueline Rogers provided the
series with the cover illustrations while Joan Holub created
the internal illustrations. While Jim Razzi wrote many scary
stories books for children, the series only lasted for four vol-
umes and ceased publication in 1991.[1]

1.10.1 Overview
Most stories featured young protagonists who would usually
find themselves unwittingly facing a paranormal situation
or antagonist. While each story usually ended on a happy
note, some stories would feature a twist ending, creating a
last-minute “jump” scare. The books are currently out of
print.[2]

1.10.2 Books
Struwwelpeter in a 1917 edition.
1.10.3 See also
• Grosset & Dunlap
• Scary Stories to Tell in the Dark
• Scary Stories for Sleep-overs 1.11.1 Background and publication history
• Tales for the Midnight Hour
• Short & Shivery Hoffmann wrote Struwwelpeter in reaction to the lack of
good children’s books. Intending to buy a picture book as a
Christmas present for his three-year-old son, Hoffmann in-
1.10.4 References stead wrote and illustrated his own book.[1] In 1845 he was
persuaded by friends to publish the book anonymously as
[1] “Books by Jim Razzi”. Goodreads Inc.
Lustige Geschichten und drollige Bilder mit 15 schön kolori-
[2] “Books by Jim Razzi”. Goodreads Inc. erten Tafeln für Kinder von 3–6 Jahren (Funny Stories and
Whimsical Pictures with 15 Beautifully Coloured Panels for
Children Aged 3 to 6). For third edition, published in 1858,
1.11 Struwwelpeter the title changed to Struwwelpeter, the name of the character
in the first story. The book became popular among children
Der Struwwelpeter (1845) (or Shockheaded Peter) is a throughout Europe, and, writes author and researcher Penni
German children’s book by Heinrich Hoffmann. It com- Cotton, the pictures and characters[1]
showed a great deal of
prises ten illustrated and rhymed stories, mostly about originality and directness.
children. Each has a clear moral that demonstrates the Struwwelpeter has been translated into several languages. In
disastrous consequences of misbehavior in an exaggerated 1891, Mark Twain wrote his own translation of the book but
way. The title of the first story provides the title of the because of copyright issues, Twain’s “Slovenly Peter” was
whole book. not published until 25 years after his death in 1935.[2]
18 CHAPTER 1. ANTHOLOGIES

ensuing chaos, the hare’s child is burned by hot coffee

and the hunter falls into a well.
6. In “Die Geschichte vom Daumenlutscher” (The Story
of the Thumb-Sucker), a mother warns her son not to
suck his thumbs. However, when she goes out of the
house he resumes his thumb sucking, until a roving
tailor appears and cuts off his thumbs with giant scis-
sors.
7. “Die Geschichte vom Suppen-Kaspar” (The Story of the
Soup-Kaspar) begins as Augustus, a healthy, strong
boy, proclaims that he will no longer eat his soup. Over
the next five days he wastes away and dies.
8. In “Die Geschichte vom Zappel-Philipp” (The Story of
the Fidgety Philip), a boy who won't sit still at dinner
accidentally knocks all of the food onto the floor, to
his parents’ great displeasure.
9. “Die Geschichte von Hans Guck-in-die-Luft” (The
Story of Johnny Head-in-Air) concerns a boy who ha-
bitually fails to watch where he’s walking. One day he
walks into a river; he is soon rescued, but his writing-
book drifts away.
10. In “Die Geschichte vom fliegenden Robert” (The Story
of the Flying Robert), a boy goes outside during a
storm. The wind catches his umbrella and lifts him
high into the air. The story ends with the boy sailing
into the distance.
Nikolas, as he is about to dunk three boys in his inkstand. Illustra-
tion from a 1917 edition.

1.11.2 Stories

1. “Struwwelpeter” describes a boy who does not groom

himself properly and is consequently unpopular.

2. In “Die Geschichte vom bösen Friederich” (The Story

of Bad Frederick), a violent boy terrorizes animals and
people. Eventually he is bitten by a dog, who goes on
to eat the boy’s sausage while he is bedridden.

3. In “Die gar traurige Geschichte mit dem Feuerzeug”

(The Dreadful Story of the Matches), a girl plays with
matches and burns to death.
Zappel-Philipp. Illustration from the 1845 edition.
4. In “Die Geschichte von den schwarzen Buben” (The
Story of the Black Boys), Saint Nicholas catches three
boys teasing a dark-skinned boy. To teach them a les-
son, he dips the three boys in black ink. 1.11.3 Music, film and stage adaptations
5. “Die Geschichte von dem wilden Jäger” (The Story of In 1955, a live action film based on the book was made
the Wild Huntsman) is the only story not primarily fo- directed by Fritz Genschow. In this adaptation there is
cused on children. In it, a hare steals a hunter’s musket a “happy” ending where the characters’ bad deeds are re-
and eyeglasses and begins to hunt the hunter. In the versed.
1.11. STRUWWELPETER 19

Shockheaded Peter (1998) is a musical that combines ele-

ments of pantomime and puppetry with musical versions of
the poems with the songs generally following the text.[3]
Little Suck-a-Thumb (1992), is a psychosexual interpre-
tation of the infamous cautionary tale from Heinrich
Hoffman’s storybook. The short film by writer/director
David Kaplan stars Cork Hubbert (The Ballad of the Sad
Café), Evelyn Solann, and Jim Hilbert as the Great Tall
Scissorman.[4]
You Suck (2008), is a short film made with shadow
puppets by writer/director Richard Mansfield. The film
had two sequels which featured more characters from
the Struwwelpeter You only Suck twice (2009)and Mother
Sucker (2010). All three films have been combined into an-
thology film Sucking Hell (2015)

1.11.4 Media influences

Stamp with two characters, issued on Hoffmann’s 200th birthday

Chinese boy named Peter who refuses to eat a swallow’s

nest served to him by his father, and dies of starvation five
months later.
In a 1991 edition of the Thames Television detective series
Van der Valk, entitled Doctor Hoffman’s Children, the de-
tective, played by Barry Foster solves a series of murders
Struwwelpeter Soup rim bowl featuring the story of fidgety Phillip after finding the book in the bedroom of his house, when
and on the edge the story of the Soup-Kaspar his wife relates the tale of the scissorman to their grand-
daughter. The murders were all done in the style of events
[5]
W. H. Auden refers to the Scissor-Man in his 1930’s poem in the book.
“The Witnesses” (also known as “The Two”): Brief references are made to the book in the film, Woman
in Gold (2015), when the central character reminisces about
And now with sudden swift emergence her youth in Vienna during the Anschluss.
Come the women in dark glasses, the hump- The Office (U.S. TV series) references the book in Sea-
backed surgeons son 2, Episode 18: "Take Your Daughter to Work Day"
And the Scissor Man. (2006). Dwight Shrute reads “the Story of the Thumb-
Sucker” to the children, but is interrupted by a horrified
Adolf Hitler was parodied as a Struwwelpeter caricature in Michael Scott.[6]
1941 in a book called Struwwelhitler, published in Britain Comic book writer Grant Morrison references “Die
under the pseudonym Dr. Schrecklichkeit (Dr. Horrors). Geschichte vom Daumenlutscher” in the first story arc of
The “Story of Soup-Kaspar” is parodied in Astrid Lind- his Doom Patrol run with the recurring line, “The door flew
gren's Pippi Longstocking (1945), with a tall story about a open, in he ran / The great, long, red-legged scissorman.”
20 CHAPTER 1. ANTHOLOGIES

1.11.5 References 1.12.1 Contents of the collection

[1] Cotton, Penni (2000). Picture Books Sans Frontières. Tren-
1.12.2 Dracula’s Guest
tham Books. p. 11. ISBN 1-85856-183-3.
[2] Ashton (1995). "Fetching the jingle along: Mark Twain’s Origin
Slovenly Peter" (PDF). Children’s Literature Association
Quarterly. Retrieved 2011-12-23. It is widely believed that “Dracula’s Guest” is actually the
[3] Elyse Sommer (2005). “Shockheaded Peter Makes a Come-
deleted first chapter from the original Dracula manuscript,
back”. CurtainUp. Retrieved 2009-02-19. which the publisher felt was superfluous to the story.[2] In
the preface to the original edition of Dracula’s Guest and
[4] "Little Suck-a-Thumb: A cautionary tale”. Malaprop Pro- Other Weird Stories, Stoker’s widow Florence wrote, “To
ductions. 2009. Retrieved 2009-05-14. his original list of stories in this book, I have added an hith-
[5] https://www.youtube.com/watch?v=85enGz_V8uA Van erto unpublished episode from Dracula. It was originally
Der Valk 1991, season 4 episode 1, Doctor Hoffmans excised owing to the length of the book, and may prove of
Children, where the book is used to solve the murders. interest to the many readers of what is considered my hus-
band’s most remarkable work.”[3]
[6] Take Your Daughter to Work Day (The Office)
Leslie S. Klinger, who had access to Stoker’s original Drac-
ula manuscript[4] while researching his 2008 book The New
1.11.6 Further reading Annotated Dracula, saw evidence of “Dracula’s Guest” hav-
ing been deleted from the manuscript, such as a deleted
• Ashton, Susanna M.; Petersen, Amy Jean (Spring sentence of Harker commenting that his throat is “still sore
1995). "'Fetching the Jingle Along' – Mark Twain’s from the licking of the gray wolf’s file-like tongue”[5] and
Slovenly Peter”. The Children’s Literature Association the first and second chapters of the finished novel being la-
Quarterly 20 (1): 36–41. beled in the manuscript as “ii”[6] and “iii”.[7] Klinger ulti-
• Carpenter, Humphrey, and Mari Prichard. (1984). mately concludes the following:
The Oxford Companion to Children’s Literature. New
York: Oxford University Press. ISBN 0-19-211582-0 And so what may we make of ["Dracula’s
Guest"]? Without the name “Dracula” appear-
ing in the title and [Dracula’s] message [sent to
1.11.7 External links the narrator], there would be very little to con-
nect this traveler’s tale with [the novel Dracula].
• The English Struwwelpeter, or, Pretty stories and The style is completely different; the narrator
funny pictures, Internet Archive (Ebook and Texts shares few characteristics with Jonathan Harker;
Archive), including downloadable versions. and the action somehow fails to connect the story
• set forth in [Dracula]. However, there are nu-
merous references in the [Dracula] Manuscript
• Struwwelpeter: Merry Tales and Funny Pictures at to some version of the tale eventually published as
Project Gutenberg “Dracula’s Guest.” Most likely, a different draft
— one that identified the narrator as Harker —
• Der Struwwelpeter, German original on wikisource
was included in ... an early version of [the Drac-
(illustrated).
ula manuscript]. It may be that Stoker’s publisher
• Struwwelpeter-Museum in Frankfurt, Germany (Ger- requested that the book be shortened, or the pub-
man) lisher (or Stoker) may have felt that the “stylis-
tic” aspects of the narrative were more important
• Struwwelpeter public domain audiobook at LibriVox than its veracity. For whatever reason, the ma-
terial was excised, and only later did Stoker re-
turn to the material and work it into its published
1.12 Dracula’s Guest and Other form.[8]
Weird Stories
Plot summary
Dracula’s Guest and Other Weird Stories is a collection of
short stories by Bram Stoker, first published in 1914, two “Dracula’s Guest” follows an Englishman (whose name is
years after Stoker’s death. never mentioned but is presumed to be Jonathan Harker)
1.12. DRACULA’S GUEST AND OTHER WEIRD STORIES
on a visit to Munich before leaving for Transylvania. It is Film, TV, and other adaptations
Walpurgis Night, and in spite of the hotelier’s warning to
not be late back, the young man later leaves his carriage
and wanders toward the direction of an abandoned “unholy”
village. As the carriage departs with the frightened and su-
perstitious driver, a tall and thin stranger scares the horses
at the crest of a hill.
Upon reaching a desolate valley after a few hours, it begins
to snow and as a dark storm gathers intensity, the English-
man takes shelter in a grove of cypress and yew trees. The
Englishman’s location is soon illuminated by moonlight to
be a cemetery, and he finds himself before a marble tomb
with a large iron stake driven through the roof, the inscrip-
tion reads: Countess Dolengen of Gratz / in Styria / sought
and found death / 1801. Inscribed on the back of the tomb
“graven in great Russian letters” is: The dead travel fast.
The Englishman is disturbed to be in such a place on such
a night and as the storm breaks anew, he is forced by hail
to shelter in the doorway of the tomb. As the Englishman
avoids the pelting hail, the bronze door of the tomb opens
under his weight and a flash of forked lightning shows the in-
terior - and a “beautiful woman with rounded cheeks and red
lips, seemingly sleeping on a bier”. The force of the follow-
ing thunder peal throws the Englishman from the doorway
(experienced as “being grasped as by the hand of a giant”)
as another lightning bolt strikes the iron spike, destroying
the tomb and the now screaming woman inside.
The Englishman’s troubles are not quite over, as he painfully
regains his senses from the ordeal, he is repulsed by a feel-
ing of loathing which he connects to a warm feeling in his
chest and a licking at this throat. The Englishman sum-
mons courage to peek through his eyelashes and discovers
a gigantic wolf with flaming eyes is attending him.
Military horsemen are the next to wake the semi-conscious
man, chasing the wolf away with torches and guns. Some
horsemen return to the main party and Harker after the
chase, reporting that they had not found 'him' and that the
Englishman’s animal is: “A wolf - and yet not a wolf”. They
also note that blood is on the ruined tomb, yet the English-
man’s neck is unbloodied. “See comrades, the wolf has
been lying on him and keeping his blood warm”. Later, the
Englishman finds his neck pained when a horseman com-
ments on it. 1.12.3 “The Burial of the Rats”
When the Englishman is taken back to his hotel by the men,
“The Burial of the Rats” was adapted in 1995 as a movie
he is informed that it is none other than his expectant host
by Roger Corman's film company and as a comic book by
Dracula that has alerted his employees, the horsemen, of
Jerry Prosser and Francisco Solano Lopez.
“dangers from snow and wolves and night” in a telegram
received by the hotel in the time the Englishman was away.
21
• David O. Selznick bought the film rights to “Dracula’s
Guest” and later re-sold them to Universal Studios.
Universal’s film Dracula’s Daughter (1936) was osten-
sibly based on the story, although it uses nothing from
the plot.[9]
• Vampyros Lesbos (1971), an erotic horror film di-
rected by Jesús Franco, was “inspired” by Bram
Stoker’s short story.
• A radio drama adaptation of “Dracula’s Guest” was
produced in 1999 by the Radio Tales series for
National Public Radio.
• Best Sellers Illustrated released “Dracula’s Guest”
(with accompanying illustrations by comic veteran
Dick Giordano) along with seven other Stoker stories
in 2006.
• Bram Stoker’s Dracula’s Curse (2006), a film by The
Asylum, takes its title from the alternate name for
“Dracula’s Guest” but bears little resemblance to the
actual story by Bram Stoker.
• Bram Stoker’s Dracula’s Guest (2008), is a low budget
film that, other than sharing the same title, has nothing
in common with Stoker’s tale.
• Dracula was adapted as a five-part comic book minis-
eries from Dynamite Entertainment. The minis-
eries, titled The Complete Dracula (2009), incorpo-
rates “Dracula’s Guest” into the story.[10]
• Robot Comics published a comic book adaptation by
Stephen Antczak, James Bassett, and Steven Sanders
in 2010.[11]
• Textbook Stuff published an unabridged audio reading
of the story in 2010, alongside “The Judge’s House”
and “A Gypsy Prophecy”. It was read by Peter Guin-
ness.[12]
1.12.4 Notes
[1] von Ruff, Al. “The Internet Speculative Fiction Database”.
Newsarama.com. Retrieved 2012-12-21.
22 CHAPTER 1. ANTHOLOGIES

[2] Miller, Elizabeth. “20 Common Misconceptions About 1.13.1 Overview

Bram Stoker and His Novel Dracula". Retrieved 2010-07-
22. The series was written for a younger audience, but was told
much darker than many books of the time. With the ex-
[3] Ross, Jack (2010-05-21). “Dracula’s Guest”. Retrieved
2010-07-22. ception of the first volume, each book contained 13 sto-
ries, usually involving youths trying to find their way out of
[4] Klinger, page xii spooky/paranormal situations.
[5] Klinger, page 39, note 99 In 1992, the first book in the series was released on
audiobook in cassette form.
[6] Klinger, page 9, note 1
The series has since been republished in 2005, with new
[7] Klinger, page 40, note 1 cover art, in a 2-volume collection.[2]
[8] Klinger, page 515, note 27.

[9] Skal, pp. 196–98 1.13.2 Books

[10] Brady, Matt (2009-01-30). “Moore & Reppion on 'The
1.13.3 See also
Complete Dracula'". Newsarama.com. Retrieved 2010-07-
22.
• Scholastic Books
[11] “Dracula’s Guest free mobile comic introduces Stoker to a
new generation” (Press release). Robot Comics. 2010-03- • Scary Stories to Tell in the Dark
19. Retrieved 2010-07-22.
• Scary Stories for Sleep-overs
[12] http://www.textbookstuff.com/tsch002/
• Short & Shivery

1.12.5 References 1.13.4 References

• Stephen Hawking first argued about its
authenticity.Klinger, Leslie S. (2008) The New
Annotated Dracula. W.W. Norton & Co.. ISBN
0-393-06450-6.
• Skal, David J. (1993). The Monster Show: A Cul-
tural History of Horror. Penguin Books. ISBN 0-14-
024002-0.
[1] http://www.goodreads.com/search?utf8=%E2%9C%93&
query=tales+for+the+midnight+hour
[2] http://www.amazon.com/
Tales-Midnight-Judith-Bauer-Stamper/dp/0590453432/
ref=sr_1_1?s=books&ie=UTF8&qid=1350220445&sr=
1-1&keywords=tales+for+the+midnight+hour#_

1.12.6 External links

• Bram Stoker Online – Full text and PDF versions of
the entire collection.
• Dracula’s Guest & Other Weird Tales public domain
audiobook at LibriVox

1.13 Tales for the Midnight Hour

Tales for the Midnight Hour is a series of scary children’s
books written by Judith Bauer Stamper. This anthology
horror series served as the precursor to various other sim-
ilar works, including Scary Stories to Tell in the Dark and
Scary Stories for Sleep-overs. Published by Scholastic's
Point Horror banner, this popular series spawned 3 sequels
and lasted from 1977-1991.[1]
Chapter 2

Novels & Series

2.1 Abarat destined to conclude these. The story also introduces her
chief antagonists: the sorcerer known as Christopher Car-
This article is about the fantasy novel. For the series, see rion, his grandmother Mater Motley, and the industrialist
The Books of Abarat. Rojo Pixler, all of whom seek to dominate the Abarat.

Abarat (2002) is a fantasy novel written and illustrated by 2.1.2 Setting

Clive Barker, the first in Barker’s The Books of Abarat se-
ries. It is aimed primarily at young adults. The eponymous Main article: The Books of Abarat § Islands of the Abarat
Abarat is a fictional archipelago which is the setting for the
majority of the story.
The Abarat series is set on the “Islands of Abarat”, of which
The title image contains an ambigram. The paintings in each is based around a time of day (except the last island,
the book are done with oils. Barker had already completed which is the “25th hour”). These islands are mounted in
300 paintings before he started working on the first book.[1] the Sea of Izabella, an ocean sometimes personified by the
By most accounts, Barker realised early that the story he characters. Together, they compose what is described as
wanted to tell could not be contained in one book.[2] The “a limitless world” encompassing “chaotic diversity” called
American Library Association picked Abarat as one of its Abarat.
Best Books for Young Adults.[3]

2.1.3 Critical reception

2.1.1 Plot
Abarat focuses on Candy Quackenbush, a teenage girl frus-
trated with her life in Chickentown, Minnesota. After an ar-
gument with her teacher over a school project, Candy leaves
the school and goes to the edge of town, where she sees
the remains of a lighthouse. She then encounters a mas-
ter thief named John Mischief, whose brothers live on his
horns. Because he is pursued by a sinister creature named
Mendelson Shape, Mischief sends Candy to light the lamp
in the lighthouse, which summons an ocean known as the
Sea of Izabella from a parallel world. After giving her a key
to protect and extinguishing the light, Mischief and Candy
ride the seas to Abarat. A group of creatures carry them
to a nearby island where Candy is separated from him. On
the island, Candy learns that the Abarat consists of twenty-
five islands, each occupying a different hour of the day, and
was formerly connected to Candy’s world before the har-
bour’s destruction by Abaratian authorities. Thereafter the
story follows her adventures as she discovers the crises af-
fecting the Abarat, and gains intimations that she may be
In 2002, Abarat was nominated for the 2002 Bram Stoker
Award for Best Work for Young Readers,[4] and won 2nd
place in the 2003 Locus Poll for the Best Young Adult
Novel.
Publishers Weekly reviewed it as "...The author’s imagina-
tion runs wild as he conjures some striking imagery (“Dark
threads of energy moved through her veins and leaped from
her fingertips” says one of the three women in the open-
ing scene) and cooks up a surreal stew of character por-
traits (rendered in bold colours and brushwork, they resem-
ble some of Van Gogh’s later work). But much of the novel
feels like a wind-up for the books to follow and, after this
rather unwieldy 400-page ride, readers may be disappointed
by so many unresolved strands of the plot."
School Library Journal said "...Barker is obviously more
comfortable in the Abarat than he is in our more mundane
world; the chapters that take place in Chickentown don't
seem fully developed. Once Candy is safely in the fantasti-
cal realm, however, the story takes off. The rendering of the

23
24 CHAPTER 2. NOVELS & SERIES

Abarat’s locales, cultures, and mythology, combined with the Hugo Award for Best Novella,[2] the 2003 Nebula Award for
author’s own full-color illustrations and well-realized char- Best Novella,[3] and the 2002 Bram Stoker Award for Best
acters, allows readers to become quickly immersed in this Work for Young Readers.[4] It has been compared to Lewis
beautiful and frightening world. In spite of a less-than- Carroll's Alice’s Adventures in Wonderland and was adapted
credible, almost preternatural calm in the face of the bizarre, into a 2009 stop-motion film directed by Henry Selick.
Candy makes a fine protagonist, displaying strength, vulner-
ability, and a lack of the forced spunkiness displayed by
some adventurous heroines. This first book in a series of 2.2.1 Plot
four sets the stage nicely for what is sure to be a rollicking,
epic ride." Coraline Jones and her parents move into an old house that
has been divided into flats. The other tenants include Miss
Spink and Miss Forcible, two elderly women retired from
2.1.4 References the stage, and Mr. Bobo, initially referred to as “the crazy
old man upstairs”, who claims to be training a mouse circus.
[1] Pauley, Kimberly (November 2004). “Authors: Interviews:
The flat beside Coraline’s is unoccupied.
Clive Barker”. YA & Kids Books Central. Retrieved 4
November 2008. One rainy day Coraline discovers a locked door in the for-
mal living room. Her mother unlocks the door, which at
[2] Winter, Douglas E. (2002). Clive Barker: The Dark Fantas-
one point led to the apartment next door, and they discover
tic. Harper Colllins. ISBN 0-06-621392-4.
that it has been bricked up. Coraline goes to visit her new
[3] “2003 Best Books for Young Adults”. American Library neighbors and Mr. Bobo relates to her a message from his
Association. Retrieved 10 October 2009. mice: “Don't go through the door". Coraline has tea with
Miss Spink and Miss Forcible and Miss Spink spies dan-
[4] “Past Stoker Nominees & Winners”. Horror Writers Asso- ger in Coraline’s future after reading her tea leaves. She
ciation. Retrieved 25 October 2009.
then gives her a lucky stone with a hole in the middle. The
ladies explain that the stone is supposed to be “good for bad
things”.
2.1.5 External links
Despite these warnings, Coraline decides to unlock the door
• Barker, Clive- Abarat, HarperCollins publishers, 2002 when she is home by herself. This time, she finds the brick
wall behind the door gone. In its place is a long hallway
• The Official Clive Barker Resource that leads to a flat identical to her own but inhabited by the
• The Official HarperCollins Abarat site “Other Mother” and “Other Father”. They seem to look
like her parents, except that in place of eyes, they have shiny
• The Beautiful Moment – The Official Clive Barker black buttons. The Other Mother, however, is notably taller
Website for All Ages – Official site celebrating the and thinner than her real mother. Her black hair seems to
work of Clive Barker for younger readers – features move by itself, her skin is paper-white, and her nails are long
Abarat and The Thief of Always. and red. In this “Other World”, Coraline finds everything
to be more interesting than in her world: the Other mother
• Official Site of the Books of Abarat cooks food that she actually enjoys, both of her Other Par-
ents pay more attention to her, her toy box is filled with an-
• Revelations – The Official Clive Barker Online Re-
imate toys that can move and fly, and the Other Miss Spink
source – Includes a full bibliography, filmography and
and Miss Forcible perform a never-ending act in their flat.
frequently updated news.
She even finds that the feral black cat that wanders around
the house in the real world can talk. The cat identifies itself
as the same cat that lives in the real world, and possesses the
2.2 Coraline ability to travel through the gaps between the two worlds.
Although intentionally rude and unhelpful for the greater
This article is about the novel. For the film adaptation, see part of the conversation, it briefly praises her for bringing
Coraline (film). For other uses, see Coraline (disambigua- “protection”, then vanishes.
tion). After Coraline returns to the copy of her flat, the Other
Mother offers Coraline the opportunity to stay in the Other
Coraline /ˈkɒrəlaɪn/[1] is a dark fantasy, children’s novella World forever, but to do so, Coraline must allow buttons
by British author Neil Gaiman, published in 2002 by to be sewn into her eyes. Coraline is horrified and returns
Bloomsbury and Harper Collins. It was awarded the 2003 through the door to her home. Upon her return to her apart-
2.2. CORALINE
ment, Coraline finds that her real parents are missing. They
do not return the next day, and the black cat wakes her and
takes her to a mirror in her hallway, through which she can
see her trapped parents. They signal to her by writing “Help
Us” on the glass, from which Coraline deduces the Other
Mother has kidnapped them. Though frightened of return-
ing, Coraline goes back to the Other World to confront the
Other Mother and rescue her parents. In the garden, Cora-
line is prompted by the cat to challenge the Other Mother, as
“her kind of thing loves games and challenges”. The Other
Mother tries to convince Coraline to stay, but Coraline re-
fuses, and is locked within a small space behind a mirror as
punishment.
In the small dark closet space, she meets three ghost chil-
dren. Each had in the past let the "beldame" (the Other
Mother) sew buttons over their eyes. They tell Coraline
how the Other Mother eventually grew bored with them,
and eventually they died and she cast their spirits aside, but
they are trapped there because she has kept their souls. If
their souls can be rescued from the Other Mother, then the
ghosts can pass on. The ghost children implore Coraline to
escape and avoid their fate.
After the Other Mother releases Coraline from the mirror,
Coraline proposes a game: if she can find the ghost chil-
dren’s souls and her parents then she, her parents, and the
ghost children may go free. If she loses then Coraline will
let the Other Mother sew the buttons into her eyes and be-
come a loving daughter to her.
Coraline searches through the Other World and overcomes
the Other Mother’s obstacles by using her wits and Miss
Spink’s lucky stone to find the marble-like souls of the ghost
children and to deduce that her parents are imprisoned in
a snow globe on the mantelpiece. The ghost children warn
her that even if Coraline wins, the Other Mother will not let
them go, so Coraline tricks the Other Mother by announc-
ing that she knows her parents are hidden in the passage-
way between the worlds. The Other Mother cannot resist
gloating by opening the door to show Coraline that her par-
ents are not there. When the Other Mother opens the door
Coraline throws the cat at the Other Mother, grabs the snow
globe, and escapes to the real world with the key, and the
Cat quickly follows. While escaping, Coraline forces the
door shut on the Other Mother’s hand. Back in her home,
Coraline falls asleep on a chair. She is awoken by her par-
ents who have no memory of the events.
That night, Coraline has a dream in which she meets the
three children at a picnic. The children are dressed in
clothes from different periods and one seems to have wings.
They warn her that her task is still not done: the Other
Mother hates her and will try to get the key back to open
the door between the worlds. Coraline realizes that the
Other Mother’s severed hand is after her and devises a plan
25
to catch it. She goes to the old well in the woods by her
house, luring the Other Mother’s hand there with the key,
and tricks the Other Mother’s hand into falling down the
bottomless well by setting up a picnic over the well and leav-
ing the key on the sheet she uses as a tablecloth. The hand
runs for the key and falls down the well.
2.2.2 Characters
• Coraline Jones – The young explorer. She is curi-
ous, intelligent, resourceful, and courageous. Coraline
is often irritated by rain, crazy grown-ups (as they all
seem to be), and not being taken seriously because of
her young age. She’s described as being “small for her
age,” but Coraline is not afraid to face anyone; she is
the most adventurous person in the book.
• Mrs. Jones – Coraline’s mother. She is very busy
most of the time, and sometimes a little inattentive,
but she loves and cares about Coraline. She is nice,
and helpful, though Coraline considers her to be rather
boring. Coraline also gets annoyed with her real
mother because she doesn't seem to want to let Cora-
line “fit in”.
• Mr. Jones – Coraline’s father. He works at his house
on the computer. He cares about Coraline very much
and is kind, brave, and helpful. He makes interesting
food creations that Coraline strongly dislikes. He, too,
is usually too busy to spend time with Coraline.
• The Cat- A black cat from Coraline’s world. The cat
acts as a mentor to Coraline and guides her through her
journey. He claims to have no name, explaining that
cats do not need names to tell each other apart. Unlike
many of the characters in the novel, he does not have
an “Other World” counterpart, saying that unlike other
creatures in the world, cats can “keep themselves to-
gether”. He moves freely from one world to the other,
although he seems to be only able to talk in the Other
World. He is very sarcastic, though helpful to Cora-
line. He’s defiant of the Other Mother, but seems
to tremble at the thought of being stuck in the Other
Mother’s world. He befriends Coraline and helps her
escape from the Other Mother, though Coraline also
uses him as a weapon without his permission.
• The Other Mother – The creature that created much
of the Other World and the main villain of the novel.
She looks similar to Coraline’s real mother but taller
and thinner, with long black hair that seems to move
by itself, black button eyes, paper-white skin, and ex-
tremely long, twitchy fingers with long dark red nails.
26 CHAPTER 2. NOVELS & SERIES

During the course of the novel, she grows taller, thin-
ner, and paler, looking less and less like Coraline’s
mother. She cannot create, but only copy, twist and
change things from the real world when constructing
her version of it. She collects children, with whom
she quickly becomes bored or frustrated, and impris-
ons them behind a magical mirror, slowly sucking the
life from them. In the film her true form is a spidery,
skeletal creature. She is referred to several times as
“the beldam", a Middle English word meaning “grand-
mother,” “ugly old woman,” or “hag”, and also used
to refer to creatures of fairy. However, the French
for “Belle-dame” is “Beautiful lady”. There are con-
notations to “Belle-mère” which literally translates as
“Beautiful Mother” but means “Step-mother” which
applies to the “other mother”.{cn}
• The three ghost children – A trio of children who
were previous victims of the Other Mother: two girls
and one boy. The boy is described as having a dirty
face and red trousers. One of the girls has brown hair,
a pink blouse and a pink skirt. The other has a brown
bonnet and brown dress. They were trapped by the
other mother at different times before Coraline, and
reside in the dark space behind the mirror. After hav-
ing their souls restored, they go to the afterlife, but not
before meeting Coraline for a last time, in a dream
where she picnics with them. Here, she sees their true
appearances and they thank her for freeing them from
the Other Mother. In an under-noted fact, one of the
girls apparently has fairy wings.

• The Other Father – A creation of the Other Mother, 2.2.3 Adaptations

the Other Father is used to help trick Coraline into
staying in the Other Mother’s world. Like her real fa- Film
ther, he has a study and sits there during the day and
will not talk to Coraline for long. He does not work, Main article: Coraline (film)
however; he merely occupies the study, as he is not
permitted to talk to Coraline by himself. He is much With the help of the animation studio Laika, director Henry
more fun than Coraline’s real father and always tries Selick released a stop motion film adaptation in 2009, to
to be cheerful and fun in front of Coraline. In real- generally positive reviews. At the 82nd Academy Awards,
ity, the Other Father is sad and nervous. The Other the film was nominated for Best Animated Feature. In the
Mother ends up punishing him for revealing too much film, Coraline is depicted as having short blue hair and
to Coraline—she transforms him into a grub-like crea- freckles. Henry Selick added a new character, Wyborn
ture, and orders the Other Father to trap Coraline so “Wybie” Lovat, who is an annoyance at first to Coraline
she cannot win her challenge, but Coraline escapes. in the real world but she grows to like him. In the Other
world he cannot speak, but is an ally to Coraline. At the
• Miss April Spink and Miss Miriam Forcible – A end of the film, Coraline reaches out to help Wybie tell his
pair of retired actresses who live in the flat under grandmother what is behind the little door.
Coraline’s. They own many ageing Scotties, such as
Hamish, Angus, and Jock, and talk in theater jargon,
often referencing their time as actresses. They recog-
nize the danger Coraline is in after reading her for- Graphic novel
tune through tea leaves and give her a stone with a
hole in it to help protect her. In the Other World they A graphic novel adaptation, published in 2008, was illus-
are young, pretty, and perform continuously in front trated by P. Craig Russell and lettered by Todd Klein.[5]
of many different dogs, who, in the Other World, are
anthropomorphic.
Musical
• Mr. Bobo – A retired circus performer living in the
flat above Coraline’s; he is commonly referred to as the
Crazy Old Man Upstairs. Over the course of the book Main article: Coraline (musical)
he claims to be training mice to perform in a mouse
circus, and often brings Coraline messages from them, A theatrical adaptation, with music and lyrics by Stephin
though at first Coraline doubts he even has mice to Merritt and book by David Greenspan, premiered on 6 May
train, and doesn't listen to what he says to be messages 2009, produced by MCC Theater and True Love Produc-
from the mice. His counterpart in the Other World tions Off-Broadway at The Lucille Lortel Theatre.[6] Nine-
trains rats, and is in fact made of rats. (In the film year-old Coraline was played by an adult, Jayne Houdyshell,
adaptation, this character is named Mr. Bobinsky.) and the Other Mother was played by David Greenspan.[6]
2.3. FEAR STREET 27

Video game 2.3 Fear Street

Main article: Coraline (video game) Fear Street is a teenage horror fiction series written by
American author R. L. Stine, starting in 1989. In 1995,
A video game adaptation, based on the film, was published a series of books inspired by the Fear Street series, called
and developed by D3 Publisher of America. The game was Ghosts of Fear Street, was created for younger readers, and
released on 27 January 2009 for the PlayStation 2, Nintendo were more like the Goosebumps books in that they featured
DS and Wii platforms and contains features such as playing paranormal adversaries (ghosts, vampires, monsters, aliens,
as Coraline, interacting with other characters, and playing etc.) and sometimes had twist endings.
minigames. The game received mostly negative reviews. R. L. Stine stopped writing Fear Street after penning the
Fear Street Seniors spin-off in 1999. In summer 2005, he
brought Fear Street back with the three-part Fear Street
2.2.4 References Nights miniseries.
[1] “The theatrical trailer for Coraline". Retrieved 8 December As of 2010, over 80 million copies of Fear Street have been
2010. sold.[2]
R. L. Stine revived the book series in October 2014.[3] In
[2] “The Hugo Awards : 2003 Hugo Awards”. World Science
Fiction Society. Retrieved 25 October 2009.
October 2015, it was reported a film based on the series was
being developed.
[3] “The Nebula Awards”. Science Fiction and Fantasy Writers
of America. Archived from the original on 28 August 2008.
Retrieved 25 October 2009. 2.3.1 Setting
[4] “Past Stoker Nominees & Winners”. Horror Writers Asso- The Fear Street books take place in the fictional city of
ciation. Retrieved 25 October 2009. Shadyside, Ohio, and feature average teenagers, who are
elders to the Goosebumps preteens, who encounter malig-
[5] Smith, Zack (19 August 2008). “P. Craig Russell – Adapting
Coraline and More”. Newsarama. Retrieved 27 October nant, sometimes paranormal, adversaries. While some of
2011. the Fear Street novels have paranormal elements, such as
ghosts, others are simply murder mysteries. Although the
[6] Blankenship, Mark (7 June 2009). “The Score and the Story, Goosebumps books have a few deaths, the deaths presented
Inseparable”. New York Times. pp. AR4. in Fear Street, particularly the sagas, are far more gruesome,
with more blood and gore.
The title of the series comes from the name of a fictional
2.2.5 External links street in Shadyside, which was named after the Fear fam-
ily. Their name was originally spelled as Fier, however af-
• Chapter One
ter being told that the family was cursed and that the letters
• Audiobook page from publisher, with audio excerpt could be rearranged to spell “fire”, Simon Fier changed it to
Fear in the 19th century. The curse survived, however, and
• Coraline video interview Simon and his wife, Angelica, brought it with them when
they moved to Shadyside sometime after the Civil War. It
• “The Other Mother” Guardian review by Philip Pull- all started in Puritan times when Benjamin and Matthew
man Fier had an innocent girl and her mother, Susannah and
Martha Goode, burned at the stake for allegedly practic-
• Rudd, David "An Eye for an 'I': Neil Gaiman’s Cora- ing witchcraft. The father and husband, William Goode,
line and the Question of Identity" Children’s Literature put the curse on the Fiers to avenge their deaths, bringing
and Education 39(3), 2008, pp. 159–168 misery and death to the previously mentioned family. Al-
though a fire allegedly burned the last of the Fears, the series
• The Lesson of Coraline – Business Week article about features some surviving Fears and suggests that one of the
Polyjet Matrix in Coraline animation brothers survived. These events are described in the Fear
Street Sagas, a spinoff of the main series.
• Coraline at the Internet off-Broadway Database
Similar to the Goosebumps series, the characters change in
• Coraline Blu-ray 2D & 3D disc review by Christian each book, although some characters still live on and are
Hokenson mentioned (or show up) multiple times. Some of the pre-
28 CHAPTER 2. NOVELS & SERIES

vious novel plots are also mentioned in later books, and
some characters appear in multiple stories (for instance
Cory Brooks, hero of The New Girl is mentioned and shows
up several times during the later novels). The plot for the
books occur between the late 80’s and early 90’s, although
multiple novels occur within the same chronological year
they take place. All books released are also released in the
Shadyside chronological timeline it occurs.
[2] Luisa Gerasimo e.a. in The Teacher’s Calendar of Famous
Birthdays page 8, on R. L. Stine: “That year he also created
Fear Street, the first horror series for teenagers, which sold
80 million copies.” (2003)
[3] Bosman, Julie (2013-10-24). “R.L. Stine to Revive 'Fear
Street' Series”. The New York Times.
[4] “Best-Selling Books Database”. USA Today. Retrieved
2010-11-25.

[5] Collins; Latham (1993), 146.

2.3.2 Release
[6] Bosman, Julie (2013-10-24). “R.L. Stine to Revive 'Fear
Main article: List of Fear Street books Street' Series”. The New York Times.

[7] Strickland, Ashley (September 30, 2014). "'Fear Street':

The first Fear Street book, The New Girl was published in R.L. Stine and the return of teen horror”. CNN. Retrieved
1989. Various spin-off series were written, including the December 21, 2014.
Fear Street Sagas and Ghosts of Fear Street. As of 2003, [8] Doll, Jen (October 31, 2013). “R.L. Stine on Reviving Fear
more than 80 million Fear Street books have been sold.[2] Street and Why He Loves Twitter”. Vulture. Retrieved De-
Individual books appeared in many bestseller lists, includ- cember 21, 2014.
ing the USA Today[4] and Publishers Weekly bestseller list.[5]
[9] Ius, Dawn (January 1, 2014). “Special to the Big Thrill: R.L.
After a hiatus, R. L. Stine revived the book series in Octo- Stine and the Return of Fear Street by Dawn Ius”. The Big
ber 2014.[6] Stine had attempted to write a new Fear Street Thrill. Retrieved December 21, 2014.
novel for years, but publishers were not interested. Some
[10] “Party Games”. Kirkus Reviews. July 15, 2014. Retrieved
publishers thought that young adult literature has changed
December 21, 2014.
since Fear Street was first published, since the new world
of young adult literature is dominated by dystopian worlds [11] “Don't Stay Up Late”. Macmillan Publishers. Retrieved De-
and paranormal elements.[7] After Stine told his followers cember 21, 2014.
on Twitter that there were no publishers interested in reviv-
[12] Sneider, Jeff (October 9, 2015). "‘Goosebumps’ Author
ing Fear Street, Kat Brzozowski, an editor at St. Martin’s
R.L. Stine’s ‘Fear Street’ Books Headed to Big Screen (Ex-
Press, contacted him. Initially, the publisher bought three clusive)". TheWrap. Retrieved October 9, 2015.
[8]
new books, but it was later announced that six new books
would be published in the series.[9]
• Booklists at R. L. Stine’s Official Site
Party Games, the first book, was first published on Septem-
ber 30, 2014, in hardcover.[10] The novel is Stine’s first
Fear Street novel since the last book in the Fear Street 2.4 Johnny Dixon (series)
Nights series was published in 2005.[8] The novel was fol-
lowed by Don't Stay Up Late, which was published in April
2015.[11] Stine says the new books will be longer, more adult Johnny Dixon is a fictional American boy featured in a se-
and more violent, to reflect how young adult literature has ries of twelve children’s gothic horror novels, 1983 to 1999,
changed since Fear Street was first published.[7] written by John Bellairs or his successor Brad Strickland.
In each book, 13-year-old Johnny and his group of friends
face and overcome evil forces usually bent on ending the
world.[1][2][3] Alternatively, Johnny Dixon is the book se-
2.3.3 Film adaptation
ries (“Johnny Dixon and the Professor” in ISFDB).[4]
On October 9, 2015, it was reported a film based on the se- The series is set in the early 1950’s. Johnny lives with his pa-
ries was being developed by 20th Century Fox and Chernin ternal grandparents in Duston Heights, Massachusetts; his
Entertainment.[12] mother died of cancer some time prior to the beginning of
the series, and his father is a fighter pilot in the United States
Air Force during the Korean War. Johnny’s best friend, his-
2.3.4 References tory professor Roderick Childermass, lives across the street.
In “The Mummy, the Will and the Crypt”, Johnny meets
[1] Bosman, Julie (2013-10-24). “R.L. Stine to Revive 'Fear a boy his own age, Byron Q. “Fergie” Ferguson, at a Boy
Street' Series”. The New York Times. Scout camp. Thenceforth, Johnny, Fergie, and Professor
2.4. JOHNNY DIXON (SERIES)
Childermass (who is typically referred to as simply “the pro- The Trolley to Yesterday (1989)[10]
fessor”) are the three principal characters of the series.
2.4.1 Novels in Johnny Dixon series
The Curse of the Blue Figurine (1983)[5]
Dedication: “To Gerry, who knows about ushabtis.”
Johnny Dixon is plunged into a terrifying
mystery-adventure when he removes a blue fig-
urine called an ushabti from a church.
The Mummy, the Will, and the Crypt (1983)[6]
Dedication: “For Candice, a fellow writer and a good
friend.”
Twelve-year-old Johnny Dixon and his friend
Professor Childermass look for the hidden will
left by an eccentric cereal tycoon who wished to
make life difficult for his heirs after his own death
by suicide. First appearance of Johnny’s contem-
porary friend, Byron “Fergie” Ferguson.
The Spell of the Sorcerer’s Skull (1984)[7]
No dedication
When Johnny Dixon takes a tiny skull from
a haunted dollhouse, demonic forces are un-
leashed, capturing Professor Childermass and
leading Johnny on a harrowing chase to a de-
serted island off the coast of Maine.
The Revenge of the Wizard’s Ghost (1985)[8]
Dedication: “In memory of my grandfather John
Monk.”
While thirteen-year-old Johnny Dixon lies dying,
possessed by an evil spirit, Professor Childermass
and Fergie journey to an abandoned tomb in up-
state New York in search of a way to free him.
The Eyes of the Killer Robot (1986)[9]
No dedication
Thirteen-year-old Johnny Dixon is put in jeop-
ardy when he and Professor Childermass try to
find a robot made many years ago by an evil wiz-
ard named Evaristus Sloan.
29
Dedication: “For Richard, Beth, and Toby. -- Nobody
succeeds without help.”
Johnny Dixon and Professor Childermass dis-
cover a trolley capable of time travel, which
transports them back to Constantinople in 1453
as the Turks are invading the Byzantine Empire.
The Chessmen of Doom (1989)[11]
No dedication
Johnny Dixon, Fergie, and Professor Childer-
mass comply with a strange will left by the pro-
fessor’s brother, which requires them to spend the
summer at a desolate estate where they encounter
a madman bent on destroying the world.
The Secret of the Underground Room (1990)[12]
Dedication: “To Lyla, a good friend in a difficult time.”
When Father Higgins disappears, Johnny Dixon
and Professor Childermass discover disturbing
clues which lead them to England and an en-
counter with a long-dead knight.
The Drum, the Doll, and the Zombie (1994)[13]
Dedication: “Thanks to Jeanne Sharp, reader and advi-
sor. Thanks to those who helped: Gregory Nicoll, Steve
Neshiem, Wendy Webb.”
When thirteen-year-old Johnny Dixon and his
friend Professor Childermass try to save the life
of the elderly Dr. Coote, they find themselves
facing the forces of a menacing voodoo cult.
The Hand of the Necromancer (1996)[14]
Dedication: “In memory of Fred Johnson, a wonderful
teacher, a wonderful friend.”
Thirteen-year-old Johnny Dixon and his friend
Professor Childermass battle an evil wizard for
possession of a bewitched hand that can be used
to rule the world.
30
The Bell, the Book, and the Spellbinder (1997)[15]
Dedication: “For Jonathan Abucejo and Steve Ericson,
defenders of the faith.”
When Fergie falls under the spell of an evil sor-
cerer, Johnny Dixon and Professor Childermass
risk their own lives to save him.
The Wrath of the Grinning Ghost (1999)[16]
Dedication: “For Phyllis Fogelman.”
When a malevolent creature tries to claim his fa-
ther as its latest victim, thirteen-year-old Johnny
Dixon and Professor Childermass brave the
netherworld itself to save him.
2.4.2 Series bibliography
One Johnny Dixon book was outlined by Bellairs
and completed by Strickland.
2.4.3 See also
• Lewis Barnavelt (series)
• Anthony Monday (series)
2.4.4 References
[1] Bell, Bob: “Bellairs’ Book Fast-Paced Thriller”, Edmonton
Journal, November 12, 1986.
[2] “BookPicks: Kids’ Books”, Herald-Journal, May 12, 2004.
[3] Clendineng, Sarah: “What’s Happening @ Your Library:
Halloween Reads”, Fort Madison Daily Democrat, October
24, 2007.
[4] Johnny Dixon and the Professor series listing at the Internet
Speculative Fiction Database (ISFDB). Retrieved 2015-08-
17. Select a title to see its linked publication history and Halloween, only to discover that a ninth friend, Pipkin,
general information. Select a particular edition (title) for has been whisked away on a journey that could determine
more data at that level, such as a front cover image or linked
contents.
[5] Bellairs, John. The Curse of the Blue Figurine. Dial Books they pursue their friend across time and space through
for Young Readers, 1983. ISBN 0803712650
[6] Bellairs, John. The Mummy, the Will, and the Crypt. Dial
Books for Young Readers, 1983. ISBN 0803700296
[7] Bellairs, John. The Spell of the Sorcerer’s Skull. Dial Books role that the fear of death, spooks, and the haunts has played
for Young Readers, 1984. ISBN 0803701209
CHAPTER 2. NOVELS & SERIES
[8] Bellairs, John. The Revenge of the Wizard’s Ghost. Dial
Books for Young Readers, 1985. ISBN 0803701705
[9] Bellairs, John. The Eyes of the Killer Robot. Dial Books for
Young Readers, 1986. ISBN 0803703244
[10] Bellairs, John. The Trolley to Yesterday. Dial Books for
Young Readers, 1989. ISBN 0803705816
[11] Bellairs, John. The Chessmen of Doom. Dial Books for
Young Readers, 1989. ISBN 0803707509
[12] Bellairs, John. The Secret of the Underground Room. Dial
Books for Young Readers, 1990. ISBN 0803708645
[13] Bellairs, John. Completed by Brad Strickland. The Drum,
the Doll, and the Zombie. Dial Books for Young Readers,
1994. ISBN 0803714629
[14] Strickland, Brad. The Hand of the Necromancer. Dial
Books for Young Readers, 1996. ISBN 0803718292
[15] Strickland, Brad. The Bell, the Book, and the Spellbinder.
Dial Books for Young Readers, 1997. ISBN 0803718314
[16] Strickland, Brad. The Wrath of the Grinning Ghost. Dial
Books for Young Readers, 1999. ISBN 0803722222
2.4.5 External links
• Johnny Dixon series at fan site Bellairsia (bellair-
sia.com)
2.5 The Halloween Tree
For the animated film, see The Halloween Tree (film).
The Halloween Tree is a 1972 fantasy novel by American
author Ray Bradbury which traces the history of Samhain
and Halloween.
2.5.1 Plot summary
A group of eight boys set out to go trick-or-treating on
whether he lives or dies. Through the help of a myste-
rious character named Carapace Clavicle Moundshroud,
Ancient Egyptian, Ancient Greek, and Roman cultures,
Celtic Druidism, Notre Dame Cathedral in Medieval Paris,
and The Day of the Dead in Mexico. Along the way, they
learn the origins of the holiday that they celebrate, and the
in shaping civilization. The Halloween Tree itself, with
2.6. LORD OF THE FLIES 31

its many branches laden with jack-o'-lanterns, serves as a • The Halloween Tree at the Internet Movie Database
metaphor for the historical confluence of these traditions.

2.5.2 Background 2.6 Lord of the Flies

The novel originated in 1967 as the screenplay for an unpro- For the 1963 film, see Lord of the Flies (1963 film). For
duced collaboration with animator Chuck Jones. In 1992, the 1990 film, see Lord of the Flies (1990 film). For other
Bradbury wrote and narrated a feature-length animated ver- uses, see Lord of the Flies (disambiguation).
sion of the novel for television, for which he won an Emmy
Award. A longer limited-edition “author’s preferred text” Lord of the Flies is a 1954 dystopian novel by Nobel Prize-
of the novel, compiled and edited by Donn Albright, was winning English author William Golding about a group of
published in 2005. This edition also included both the 1967 British boys stuck on an uninhabited island who try to gov-
and 1992 screenplays.[1] ern themselves with disastrous results. Its stances on the
Bradbury dedicated The Halloween Tree to Man'Ha Dom- already controversial subjects of human nature and individ-
basle (1898–1999), a French writer and translator who was ual welfare versus the common good earned it position 68
the maternal grandmother of the actress and singer Arielle on the American Library Association’s list of the 100 most
Dombasle and the wife of Maurice Garreau-Dombasle, a frequently challenged books of 1990–1999.[2] The novel is
French ambassador to Mexico. a reaction to the youth novel The Coral Island by R. M. Bal-
lantyne.
Published in 1954, Lord of the Flies was Golding’s first
2.5.3 Illustrations novel. Although it was not a great success at the time—
selling fewer than 3,000 copies in the United States during
The Halloween Tree is illustrated by Joe Mugnaini, one of 1955 before going out of print—it soon went on to become
Bradbury’s many collaborators over the years. Mugnaini a best-seller. It has been adapted to film twice in English,
illustrated many novels with Bradbury, and Bradbury also in 1963 by Peter Brook and 1990 by Harry Hook, and once
owned many examples of Mugnaini’s artwork. in Filipino (1976).
In 2005 the novel was chosen by TIME magazine as one of
2.5.4 Adaptation the 100 best English-language novels from 1923 to 2005.[3]
It was awarded a place on both lists of Modern Library 100
Bradbury wrote the script for a 1993 feature-length ani- Best Novels, reaching number 41 on the editor’s list, and 25
mated television film based on the book. His script for The on the reader’s list. In 2003, the novel was listed at number
Halloween Tree won the 1994 Emmy Award for Outstand- 70 on the BBC's survey The Big Read.[4]
ing Writing in an Animated Program.

2.6.1 Background
2.5.5 Disneyland
The book indicates that it takes place in the midst of an un-
On October 31, 2007, Bradbury attended the presentation specified nuclear war. Some of the marooned characters are
of a Halloween Tree at Disneyland in California, to be in- ordinary students, while others arrive as a musical choir un-
cluded as part of its annual park-wide Halloween decora- der an established leader. Most (with the exception of the
tions every year. choirboys) appear never to have encountered one another
before. The book portrays their descent into savagery; left
to themselves in a paradisiacal country, far from modern
2.5.6 References civilisation, the well-educated children regress to a primi-
tive state.
[1] Bradbury, Ray (2005). The Halloween Tree. Colorado
Springs, Col.: Gauntlet Press. ISBN 1-887368-80-9. At an allegorical level, the central theme is the conflict-
ing human impulses toward civilization—living by rules,
peacefully and in harmony—and toward the will to power.
2.5.7 External links Themes include the tension between groupthink and indi-
viduality, between rational and emotional reactions, and be-
• The Halloween Tree title listing at the Internet Specu- tween morality and immorality. How these play out, and
lative Fiction Database how different people feel the influences of these, form a
32 CHAPTER 2. NOVELS & SERIES

major subtext of Lord of the Flies. The name “Lord of the the signal fire, see the corpse of the fighter pilot and his
Flies” is a literal translation of Beelzebub, from 2 Kings parachute in the dark. Mistaking the corpse for the beast,
1:2-3, 6, 16. they run to the cluster of shelters that Ralph and Simon
have erected and warn the others. This unexpected meet-
ing again raises tensions between Jack and Ralph. Shortly
2.6.2 Plot thereafter, Jack decides to lead a party to the other side of
the island, where a mountain of stones, later called Cas-
In the midst of a wartime evacuation, a British plane crashes tle Rock, forms a place where he claims the beast resides.
on or near an isolated island in a remote region of the Pacific Only Ralph and Jack’s sadistic supporter Roger agree to go;
Ocean. The only survivors are boys in their middle child- Ralph turns back shortly before the other two boys. When
hood or preadolescence. Two boys—the fair-haired Ralph they arrive at the shelters, Jack calls an assembly and tries
and an overweight, bespectacled boy nicknamed “Piggy”— to turn the others against Ralph, asking for them to remove
find a conch, which Ralph uses as a horn to call all the sur- him from his position. Receiving little support, Jack, Roger,
vivors to one area. Due largely to the fact that Ralph ap- and another boy leave the shelters to form their own tribe.
pears responsible for bringing all the survivors together, he This tribe lures in recruits from the main group by provid-
is quickly elected their “chief”, though he does not receive ing a feast of cooked pig and its members begin to paint
the votes of the members of a boys’ choir, led by the red- their faces and enact bizarre rituals including sacrifices to
headed Jack Merridew. Ralph asserts three primary goals: the beast.
to have fun, survive, and to maintain a smoke signal that Simon, likely an epileptic,[5][6] wanders off on his own to
could alert passing ships to their presence on the island. The think and finds a severed pig head, left by Jack as an offering
boys declare that whoever holds the conch shall also be able to the beast. Simon envisions the pig head, now swarming
to speak at their formal gatherings and receive the attentive with scavenging flies, as the "Lord of the Flies" and believes
silence of the larger group. that it is talking to him. The pig’s head tells Simon that
Jack organises his choir group into a hunting party responsi- the boys themselves “created” the beast and claims that the
ble for discovering a food source. Ralph, Jack, and a quiet, real beast is inside them all. Simon also locates the dead
dreamy boy named Simon soon form a loose triumvirate parachutist who had been mistaken for the beast, and is the
of leaders. Though he is Ralph’s only confidant, Piggy is sole member of the group to recognize that the “monster” is
quickly made into an outcast by his fellow “biguns” (older merely a human corpse. Simon, hoping to tell others of the
boys) and becomes an unwilling source of laughs for the discovery, finds Jack’s tribe in the island’s interior during
other children. Simon, in addition to supervising the project a ritual dance and, mistaken for the beast, is killed by the
of constructing shelters, feels an instinctive need to protect frenzied boys. Ralph, Piggy, Sam, and Eric feel guilty that
the “littluns” (younger boys). they, too, participated in this murderous “dance.”
The semblance of order quickly deteriorates as the major- Jack and his band of “savages” decide that they should pos-
ity of the boys turn idle, giving little aid in building shel- sess Piggy’s glasses, the only means of starting a fire on the
ters, and begin to develop paranoias about the island, refer- island, so they raid Ralph’s camp, confiscate the glasses,
ring to a supposed monster, the “beast”, which they believe and return to their abode on Castle Rock. Ralph, now de-
to exist on the island. Ralph insists that no such beast ex- serted by most of his supporters, journeys to Castle Rock
ists, but Jack, who has started a power struggle with Ralph, to confront Jack and secure the glasses. Taking the conch
gains control of the discussion by boldly promising to kill and accompanied only by Piggy, Sam, and Eric, Ralph finds
the beast. At one point, Jack summons all of his hunters the tribe and demands that they return the valuable object.
to hunt down a wild pig, drawing away those assigned to Turning against Ralph, the tribe takes Sam and Eric captive
maintain the signal fire. A ship travels by the island, but while Roger drops a boulder from his vantage point above,
without the boys’ smoke signal to alert the ship’s crew, the killing Piggy and shattering the conch. Ralph manages to
ship continues by without stopping. Angered by the failure escape, but Sam and Eric are tortured until they agree to
of the boys to attract potential rescuers, Ralph considers re- join Jack’s tribe.
linquishing his position, but is convinced not to do so by The following morning, Jack orders his tribe to begin a
Piggy. manhunt for Ralph. Jack’s savages set fire to the forest while
One night, an aerial battle occurs over the island while Ralph desperately weighs his options for survival. Follow-
the boys sleep, during which a dead fighter pilot is ejected ing a long chase, most of the island is consumed in flames.
from his plane. His body drifts down to the island in his With the hunters closely behind him Ralph trips and falls.
parachute; both get tangled in a tree near the top of the He looks up at a uniformed adult - a naval officer whose
mountain. Later on, while Jack schemes against Ralph, party has landed from a passing warship to investigate the
twins Sam and Eric, now assigned to the maintenance of fire. Ralph bursts into tears over the death of Piggy and the
2.6. LORD OF THE FLIES 33

“end of innocence”. Infected by his emotion, Jack and the the island”.[13] His intellect benefits the group only through
other children, filthy and unkempt but suddenly reverting Ralph; he acts as Ralph’s adviser. He cannot be the leader
to their true ages, also spontaneously erupt into sobs. Af- himself because he lacks leadership qualities and has no
ter expressing disappointment that “British boys” had fallen rapport with the other boys. Piggy relies on the power of
into such feral behaviour, the officer awkwardly turns away social convention. He believes that holding the conch gives
to give them a moment to pull themselves together. him the right to be heard. He believes that upholding social
conventions produces results.
Piggy asserts that “Life ... is scientific”.[14] Ever the prag-
2.6.3 Allegorical relationships
matist, Piggy complains, “What good're you doing talking
like that?"[15] when Ralph brings up the highly charged is-
Ralph
sue of Simon’s death at their hands. Piggy tries to keep life
scientific despite the incident, “searching for a formula”[16]
When he and the others arrive on the island, Ralph quickly
to explain the death. He asserts that the assault on Simon
becomes the chief of the group, not by any harsh, overt, or
[7] was an accident, and justifiable because Simon asked for it
physical action, but by being elected. Ralph is described
[8] by inexplicably crawling out of the forest into the ring.[16]
as having “the directness of genuine leadership”. Ralph’s
first big decision is that they have “got to decide if this is an Piggy is so intent on preserving some remnant of civilization
island”.[9] After Ralph, Jack, and Simon discover that they on the island that, after Jack’s tribe attacks Ralph’s group,
are truly “on an uninhabited island”,[10] Ralph suggests that he assumes they “wanted the conch”,[17] when, in fact, they
a fire be lit because “if a ship comes near the island they have come for Piggy’s glasses[17] in order to make fire. Even
may not notice us”.[11] However, towards the end of the up to the moment of his death, Piggy’s perspective does not
book he forgets the initial reason for maintaining the fire. shift in response to the reality of their situation. Because
This is representative of the debilitating effects corruption his eminently intellectual approach to life is modelled on the
has on even the most benevolent of men. Ralph may seem attitudes and rules of the authoritative adult world, he thinks
to mean well, but often his obsession with being popular everyone should share his values and attitudes as a matter of
overcomes him and he resorts to bullying Piggy to regain course. When Ralph and Piggy confront Jack’s tribe about
his power. Therefore, Ralph can be understood to symbol- the stolen spectacles, Piggy asks “Which is better—to have
ize mankind’s optimistic ambition to self-govern despite its rules and agree, or to hunt and kill? ... law and rescue, or
historical record of failure and abuse of power. Still, in the hunting and breaking things up?"[18] as if there is no doubt
midst of all the island’s chaos, Ralph has a tendency to be that the boys would choose his preference.
polite, selfless and logical in the tensest of moments; for
example, when the children are obliged to investigate Cas-
tle Rock, Ralph takes the lead despite being afraid of “the The Conch
beast”. Ralph is sometimes perceived as partially being a
literary tool to aid the audience’s realisation of inner evil When first blown, it calls the children to an assembly, where
throughout the duration of the novel; “Ralph wept for the Ralph is elected leader. They agree that only the boy hold-
end of innocence”. ing the conch may speak at meetings to forestall arguments
and chaos, and that it should be passed around to those who
Just as mankind has demonstrated its limitations in effective wish to voice their opinion. The conch symbolises effec-
self-governing, Ralph embodies good intentions in the im- tive democracy and, like Ralph, civility and order within
plementation of reason, but ultimately fails to execute these the group. When Piggy is killed, the conch is smashed into
plans soundly. Ralph’s refusal to resort to violence through- pieces,[18] signalling the end of order and the onset of chaos.
out the novel is counterpoised by Jack’s inherent love of vi- Originally the conch is portrayed as being very vibrant and
olence. colourful, but as the novel progresses, its colours begin to
fade, the same way society begins to fade on the island.
Piggy
Jack Merridew
Piggy has poor eyesight, asthma, and is overweight.[12] He is
the most physically vulnerable of all the boys. He appears to
Jack epitomises the worst aspects of human nature when
be of working-class background, as evidenced by his non- unrepressed or un-tempered by society. Like Ralph, Jack is
standard Cockney speech,[13] but he is the most intellectual
a natural leader. Unlike Ralph, Jack appeals to more primal
of the boys, frequently appealing to reason. By frequentlydesires in the children and relies on his status as leader of
quoting his aunt, he provides the only female voice. the choirboys to justify his authority. Although his way of
Piggy has been described as “the only adult-type figure on behaving is neither disruptive nor violent at the beginning
34
of the book, he does, at that time, express an unquenchable joys hurting others and is only restrained when the rules of
desire to hunt and kill a pig and spends hours in solitude society exist.[24]
traversing the island.
Beginning with his self nomination as hunter, Jack even-
tually degenerates into the beast he is consumed with slay-
ing. The first time Jack has an opportunity to kill a pig,
he cannot, “because of the enormity of the knife descend-
ing and cutting into living flesh; because of the unbear-
able blood”.[19] After this hesitation, for which he is most
ashamed, Jack’s blood lust grows more and more irrational,
to the point where he abandons the fire (and causes the boys
to miss a potential rescue) in order to hunt. During Jack’s
metamorphosis, he begins to paint his face with clay and
earth, masking his humanity from the pigs and inspiring ter-
rible awe amongst the boys.
Jack’s transition puts him on a collision course with Ralph’s
elected authority. As Jack leaves and takes the majority of
the boys with him, lured by the promises of meat, play, and
freedom, there has arisen a clear dividing line between the
two. Jack represents the irrational nature of the boys, while
Ralph represents rationality. Under Jack’s rule, the baseness
of human nature is unleashed, and he initiates a period of
inter-tribal violence, punishing other children, inciting the
frenzy that leads to the murder of Simon, and torturing the
twins until they submit to his authority.
The tale ends with Jack leading many of the boys in a fren-
zied attempt to kill Ralph. At this time, the last remain-
ing vestiges of civilization are gone, and Ralph’s demise is
only prevented by the abrupt and unexpected arrival of a
naval officer, who is disappointed by the savage nature of
the British boys.[20]
Roger
Roger, at first, is a simple “bigun” who is having fun during
his stay on the island. Along with Maurice, he destroys the
sand castles made by three small children. While Maurice
feels guilt for kicking sand into a child’s eye, Roger begins
to emerge as a sadist as he throws stones at one of the boys.
The book states that Roger threw the stones to miss and
felt the presence of civilization and society preventing him
from harming the children.[21] Later, once he feels that all
aspects of conventional society are gone, he is left alone to
his animal urges. During a pig hunt, Roger shoves a sharp-
ened stick up the animal’s rectum while it is still alive.[22] He
kills Piggy with a boulder that was no longer aimed to miss
and becomes the executioner and torturer of Jack’s tribe.
He also tortures Sam and Eric into joining Jack’s tribe. In
the final hunt for Ralph at the end of the novel, Roger is
armed with “a stick sharpened at both ends,”[23] indicating
his intentions of killing Ralph and offering his head as a
sacrifice to the “beast”. He represents the person who en-
CHAPTER 2. NOVELS & SERIES
Simon
Simon is a character who represents peace and tranquillity
and positivity, and perhaps mystic or religious impulses. He
is often seen wandering off by himself in a dreamy state and
is prone to fits of fainting and hallucination, likely epileptic
in nature. He is in tune with the island and often experi-
ences extraordinary sensations when listening to its sounds.
He loves the nature of the island. He is positive about the
future. He has an extreme aversion to the pig’s head, the
“Lord of the Flies”, which derides and taunts Simon in a
hallucination. After this experience, Simon emerges from
the forest to tell the others that the “beast” that fell from the
sky is actually a deceased parachutist caught on the moun-
tain. He is brutally killed by the boys, who ironically mis-
take him for the beast and kill him in their “dance” in which
they “ripped and tore at the beast”. It is implied that Ralph,
Piggy, Sam, and Eric partake in the killing. The final words
that the “Lord of the Flies” had said to Simon vaguely pre-
dicted that his death was about to occur in this manner. Ear-
lier in the novel Simon himself also predicts his own death
when he tells Ralph that Ralph will “get back all right”,[25]
implying that, of the two of them, only Ralph will be saved.
Simon’s death represents the loss of truth, innocence, and
common sense, and along with Piggy’s death represents the
abandonment of civilization on the island. Simon has also
been interpreted as a Christ figure because of his ability to
see through misconception, unlike the rest of the boys, and
the events he experiences in the book that parallel those of
Jesus’ life.
Naval Officer
Arriving moments before Ralph’s seemingly impending
death, the Royal Navy officer is surprised and disappointed
to learn that the boys’ society has collapsed into chaos. He
states that he would have expected “a better show”[26] from
British children. The sudden looming appearance of an
adult authority figure instantly reduces the savagery of the
hunt to a children’s game. Upon the officer asking who is in
charge, Ralph answers loudly, “I am”,[26] and Jack, who was
previously characterised as a powerful leader, is reduced
to “A little boy who wore the remains of an extraordinary
black cap on his red hair and who carried the remains of a
pair of spectacles at his waist”.[26] In the last sentence, the
officer, embarrassed by the distress of the children, turns
to look at the cruiser from which his party has landed—a
symbol of his own adult war.
2.6. LORD OF THE FLIES 35

The Beast Beelzebub.

The Beast represents the latent savagery within all human

beings. It is first mentioned by a “littlun,” and the notion 2.6.4 Adaptations
is immediately dismissed by Ralph. The Beast is thought
to be within the water and described by the littluns as such. There have been these film adaptations:
Soon after the rumours of the Beast begin to flourish, the
corpse of a fighter pilot, ejected from his aircraft, falls to • Lord of the Flies (1963), directed by Peter Brook
the island. His parachute becomes entangled in the jungle • Alkitrang dugo (1976), a Filipino film, with female cast
foliage in such a way that sporadic gusts of wind cause the members
chute to billow and the body to move as if still alive. Sam
and Eric discover the parachutist in the dark and believe that • Lord of the Flies (1990), directed by Harry Hook
it is the beast. Ralph, Jack, and Roger search for the Beast
• Devolved (2010), written and directed by John Cregan
and encounter it on the mountain. The reality of the Beast is
now firmly established in the boys’ minds. Simon discovers
Nigel Williams adapted the text for the stage. It was de-
the parachutist and realizes that the beast is really only the
buted by the Royal Shakespeare Company in July 1996.
corpse of a man. Jack’s tribe feeds the Beast with the sow’s
The Pilot Theatre Company has toured it extensively in the
head on a stick. This act symbolizes Jack’s willingness to
United Kingdom and abroad.
succumb to the temptation of animalism.
In October 2014 it was announced that the 2011 acclaimed
Simon is the first child on the island to realize that the
production [32] of Lord of the Flies would return to con-
Beast is created by the boys’ fear. He decides that “the
clude the 2015 season at the Regent’s Park Open Air The-
news must reach the others as soon as possible”.[27] Mean-
atre ahead of a major UK tour. The production is to be di-
while, the boys have been feasting and begin to do their
rected by the Artistic Director Timothy Sheader who won
tribal pig-hunting dance. When “the beast stumble[s] in
the 2014 Whatsonstage.com Awards Best Play Revival for
to the horseshoe”,[28] the frenzied, terrified boys “leapt on
To Kill A Mockingbird.
to the beast, screamed, struck, bit, tore”.[29] While this is
going on, the pilot’s dead body finally falls out of the tree In June 2013, BBC Radio 4 Extra broadcast a dramatization
and down the mountain into the sea. It becomes clear that by Judith Adams in four 30-minute episodes directed by
the boys have mistaken Simon for the beast and murdered, Sasha Yevtushenko.[33] The cast included Ruth Wilson as
with Golding describing “Simon’s dead body move[ing] “The Narrator”, Finn Bennett as “Ralph”, Richard Linnel
out towards the open sea”,[30] and on the morning after as “Jack”, Caspar Hilton-Hilley as “Piggy” and Jack Caine
when Ralph tells Piggy, “That was Simon .... That was as “Simon”.
murder”.[15]
• 1: Fire on the Mountain
• 2: Painted Faces
The Lord of the Flies
• 3: Beast from the Air
The eponymous Lord of the Flies exists physically as a pig’s
head that has been cut off by Jack, put on a stick sharpened • 4: Gift for Darkness
at both ends, stuck in the ground, and left as an offering
to the “beast”. Created out of fear, the Lord of the Flies
2.6.5 Influence
is the remnant of a mother sow who, though at one time
loving, protective and innocent, has now become a mani-
Many writers have borrowed plot elements from Lord of the
cally smiling, bleeding image of horror. Endowed with the
Flies. By the early 1960s, it was required reading in many
power of speech, reason and prophecy, it represents an in-
schools and colleges.
telligent, supernatural malevolence with the power to evoke
“the beast”, or, unchecked evil, within all. Near the end of
the book, while Ralph is being hunted down, he strikes the Film
now skeletal pig’s head in a moment of blind anger, caus-
ing it to crack and fall on the ground with a grin “now six Stephen King’s fictional town of Castle Rock, inspired by
feet across”.[31] This act demonstrates both mankind’s frus- the fictional mountain fort of the same name in Lord of the
tration with the manifestation of evil as a consequence of Flies, in turn inspired the name of Rob Reiner's production
his own course of action as well as his inability to defeat company, Castle Rock Entertainment, which produced the
evil. The name “Lord of the Flies” is a literal translation of film Lord of the Flies (1990).[34]
36 CHAPTER 2. NOVELS & SERIES

Literature [2] “100 most frequently challenged books: 1990–1999”.

Stephen King got the name Castle Rock from the fictional
mountain fort of the same name in Lord of the Flies and
used the name to refer to a fictional town that has appeared
in a number of his novels.[35] The book itself appears promi-
nently in his novels Hearts in Atlantis (1999), Misery (1987),
and Cujo (1981).[36]
Stephen King wrote an introduction for a new edition of
Lord of the Flies (2011) to mark the centenary of William
Golding’s birth in 2011.[34]
American Library Association. 2009. Retrieved 16 August
2009.
[3] Grossman, Lev; Lacayo, Richard (6 October 2005). “ALL-
TIME 100 Novels. Lord of the Flies (1955), by William
Golding”. Time. ISSN 0040-781X. Retrieved 10 December
2012.
[4] “BBC – The Big Read”. BBC. April 2003, Retrieved 18
October 2012
[5] James Rupert Baker and Arthur P. Ziegler, eds. (1983).
William Golding’s Lord of the Flies. Penguin. p. xxi.

[6] Rosenfield, Claire (1990). “Men of a Smaller Growth: A

Music
Psychological Analysis of William Golding’s Lord of the
Flies". Contemporary Literary Criticism 58 (Detroit, MI:
The final song on U2's debut album Boy (1980) takes its Gale Research). pp. 93–101.
title, "Shadows and Tall Trees", from Chapter 7 in the
book.[37] [7] Golding, p. 19.

[8] Golding, pp. 21–22.

2.6.6 See also [9] Golding, p. 20.

• A High Wind in Jamaica [10] Golding, p. 31.

[11] Golding, p. 37.

• Batavia (ship)
[12] Golding, p. 3.
• "Das Bus", an episode of The Simpsons with a similar
plot[38] [13] http://www.nubuk.com/literature/lotf01.pdf

• Heart of Darkness (1899), short novel by Joseph Con- [14] Golding, p. 90.
rad [15] Golding, p. 172.

• Island mentality [16] Golding, p. 173.

• State of nature [17] Golding, p. 186.

• The Cement Garden, a 1978 novel by Ian McEwan [18] Golding, p. 200.

[19] Golding, p. 29.

• The Coral Island: A Tale of the Pacific Ocean (1858),
novel by R. M. Ballantyne with a similar premise but [20] Golding.
an opposite perspective
[21] Golding, pp. 64–65.
• Tunnel in the Sky (1955), science fiction novel by [22] Golding, p. 149.
Robert A. Heinlein which presents an opposite view
of human nature, wherein stranded juveniles create the [23] Golding, p. 211.
beginnings of a stable society
[24] Kelly, Maureen. “Character Analysis: Roger.” CliffsNotes on
• Two Years’ Vacation (1888), adventure novel by Jules Lord of the Flies. Web. 8 Mar 2011. http://www.cliffsnotes.
Verne com/study_guide/literature/id-64.html

[25] Golding, p. 121.

• Robbers Cave Experiment
[26] Golding, p. 224

2.6.7 References [27] Golding, p. 162.

[28] Golding, p. 168.

[1] “Bound books – a set on Flickr”. Retrieved 10 September
2012. [29] Golding, p. 169.
2.7. THE HOUSE WITH A CLOCK IN ITS WALLS 37

[30] Golding, p. 170.

[31] Golding, p. 206.

[32] “Lord of the Flies, Open Air Theatre, Regent’s Park, re-
view”. The Telegraph. Retrieved 26 May 2011.

[33] http://www.bbc.co.uk/programmes/b02x5ksf

[34] King, Stephen (2011). “Introduction by Stephen King”.

Faber and Faber. Retrieved 2011-10-12.

[35] Beahm, George (1992). The Stephen King story (Revised

ed.). Kansas City: Andrews and McMeel. p. 120. ISBN
0-8362-8004-0. Castle Rock, which King in turn had got
from Golding’s Lord of the Flies.

[36] Liukkonen, Petri. “Stephen King”. Books and Writ-

ers (kirjasto.sci.fi). Finland: Kuusankoski Public Library.
Archived from the original on 10 February 2015.

[37] Bailie, Stuart (13 June 1992). “Rock and Roll Should Be
This Big!". NME. UK. Retrieved 28 November 2007.

[38] Cohen, David (2006). The Simpsons The Complete Ninth

Season DVD commentary for “Das Bus” (DVD). 20th Cen-
tury Fox.

• Golding, William (1958) [1954]. Lord of the Flies

Historic Cronin House in John Bellairs’ boyhood town of Marshall,
(Print ed.). Boston: Faber & Faber.
MI, was the inspiration for The House with a Clock in Its Walls.

2.6.8 External links 2.7.1 Plot

• Chapter 1: “The Sound of the Shell” of the novel Lord
The book begins when the recently orphaned Lewis Bar-
of the Flies by William Golding on eNotes
navelt moves to the town of New Zebedee, Michigan, to
• Lord of the Flies student guide and teacher resources; live with his mysterious uncle Jonathan Barnavelt. Jonathan
themes, quotes, characters, study questions turns out to be a mediocre, though well-intentioned,
warlock, while his next-door neighbor and good friend,
• Reading and teaching guide from Faber and Faber, the Florence Zimmermann, is a far more powerful good witch.
book’s UK publisher Jonathan’s house was previously owned by Isaac and Se-
lenna Izard, a sinister couple who had dedicated their lives
• An interview with Judy Golding, the author’s daughter, to black magic, and plotted to bring about the end of the
in which she discusses the inspiration for the book, and world. Before dying, Isaac constructed the eponymous
the reasons for its enduring legacy clock that he hid somewhere inside the walls of the house,
• William Golding official website run and administered where it eternally ticks, still attempting to pull the world into
by the William Golding Estate the magical alignment, which would permit him to destroy
it.
Lewis manages to befriend a local boy named Tarby, who
2.7 The House with a Clock in Its is everything he is not—popular, athletic, thin, and so on—
but the two soon begin to drift apart. Lewis tries to win
Walls Tarby back by demonstrating how to raise the dead in the
local cemetery on Halloween but only succeeds in releasing
The House with a Clock in Its Walls is a gothic horror novel Selenna from her tomb. An escalating series of encounters
directed at child readers. It was written by John Bellairs and with the sorceress’ ghost builds to a final confrontation in the
originally published in 1973. The book was illustrated by basement of Jonathan’s house, where Lewis must summon
Edward Gorey. up his courage and prevent her from finishing her husband’s
38 CHAPTER 2. NOVELS & SERIES

work and bringing about Doomsday. was published as a novel the same year. The Invisible Man
As the story ends, Lewis announces that he has found a new of the title is Griffin, a scientist who has devoted himself
friend, a girl named Rose Rita Pottinger. to research into optics and invents a way to change a body’s
refractive index to that of air so that it absorbs and reflects
no light and thus becomes invisible. He successfully car-
2.7.2 Other books in the Lewis Barnavelt Se- ries out this procedure on himself, but fails in his attempt
ries to reverse it.
While its predecessors, The Time Machine and The Island
This is the first in a series of books by John Bellairs. After of Doctor Moreau, were written using first-person narrators,
Bellairs’ death in 1991, author Brad Strickland took over Wells adopts a third-person objective point of view in The
writing the series, which as of 2008 was still in production. Invisible Man.

• The Figure in the Shadows (1975)

• The Letter, the Witch, and the Ring (1976)
• The Ghost in the Mirror (1993)
• The Vengeance of the Witch-Finder (1993)
• The Doom of the Haunted Opera (1995)
• The Specter from the Magician’s Museum (1998)
• The Beast Under the Wizard’s Bridge (2000)
• The Tower at the End of the World (2001)
• The Whistle, the Grave, and the Ghost (2003)
• The House Where Nobody Lived (2006)
• The Sign of the Sinister Sorcerer (2008)
2.7.3 Adaptations
The book was used as the basis for one of the three seg-
ments in the 1979 television anthology Once Upon a Mid-
night Scary, hosted by Vincent Price.
2.7.4 External links
• Discussion of the book at www.bellairsia.com
• Once Upon a Midnight Dreary at the Internet Movie
Database
2.8 The Invisible Man
For the Ralph Ellison novel, see Invisible Man. For other out to belong to Dr. Kemp, a former acquaintance from
uses, see The Invisible Man (disambiguation).
The Invisible Man is a science fiction novella by H. G. medicine to devote himself to optics. Griffin recounts how
Wells. Originally serialized in Pearson’s Weekly in 1897, it he invented chemicals capable of rendering bodies invisible,
2.8.1 Plot summary
A mysterious man, Griffin, arrives at the local inn of the
English village of Iping, West Sussex, during a snowstorm.
The stranger wears a long-sleeved, thick coat and gloves; his
face is hidden entirely by bandages except for a fake pink
nose; and he wears a wide-brimmed hat. He is excessively
reclusive, irascible, and unfriendly. He demands to be left
alone and spends most of his time in his rooms working with
a set of chemicals and laboratory apparatus, only venturing
out at night. While Griffin is staying at the inn, hundreds of
strange glass bottles (that he calls his luggage) arrive. Many
local townspeople believe this to be very strange. He be-
comes the talk of the village.
Meanwhile, a mysterious burglary occurs in the village.
Griffin has run out of money and is trying to find a way
to pay for his board and lodging. When his landlady de-
mands that he pay his bill and quit the premises, he reveals
part of his invisibility to her in a fit of pique. An attempt
to apprehend the stranger is frustrated when he undresses
to take advantage of his invisibility, fights off his would-be
captors, and flees to the downs.
There Griffin coerces a tramp, Thomas Marvel, into be-
coming his assistant. With Marvel, he returns to the village
to recover three notebooks that contain records of his ex-
periments. When Marvel attempts to betray the Invisible
Man to the police, Griffin chases him to the seaside town
of Port Burdock, threatening to kill him. Marvel escapes to
a local inn and is saved by the people at the inn, but Grif-
fin escapes. Marvel later goes to the police and tells them
of this “invisible man,” then requests to be locked up in a
high-security jail.
Griffin’s furious attempt to avenge his betrayal leads to his
being shot. He takes shelter in a nearby house that turns
medical school. To Kemp, he reveals his true identity: the
Invisible Man is Griffin, a former medical student who left
2.8. THE INVISIBLE MAN
and, on impulse, performed the procedure on himself.
Griffin tells Kemp of the story of how he became invisi-
ble. He explains how he tried the invisibility on a cat, then
himself. Griffin burned down the boarding house he was
staying in, along with all the equipment he used to turn in-
visible, to cover his tracks; but he soon realised that he was
ill-equipped to survive in the open. He attempted to steal
food and clothes from a large department store, and even-
tually stole some clothing from a theatrical supply shop and
headed to Iping to attempt to reverse the invisibility. But
now he imagines that he can make Kemp his secret confed-
erate, describing his plan to begin a “Reign of Terror” by
using his invisibility to terrorise the nation.
Kemp has already denounced Griffin to the local authorities
and is waiting for help to arrive as he listens to this wild pro-
posal. When the authorities arrive at Kemp’s house, Griffin
fights his way out and the next day leaves a note announcing
that Kemp himself will be the first man to be killed in the
“Reign of Terror”. Kemp, a cool-headed character, tries to
organise a plan to use himself as bait to trap the Invisible
Man, but a note that he sends is stolen from his servant by
Griffin.
Griffin shoots and injures a local policeman who comes to
Kemp’s aid with the use of Kemp’s gun. then breaks into
Kemp’s house. Kemp bolts for the town, where the local
citizenry come to his aid. Griffin is seized, assaulted, and
killed by a mob. The Invisible Man’s naked, battered body
gradually becomes visible as he dies. A local policeman
shouts to have someone cover Griffin’s face with a sheet,
then the book concludes.
In the final chapter, it is revealed that Marvel has secretly Janny Hall is the wife of Mr. Hall and the owner of
kept Griffin’s notes, but that he is completely incapable of the Coach and Horses Inn. A very friendly, down-to-earth
understanding them.
2.8.2 Characters
Griffin
Main article: Griffin (The Invisible Man)
Griffin is the surname of the story’s protagonist. His name
is not mentioned until about halfway through the book.
Consumed with his greed for power and fame, he is the
model of science without humanity. A gifted young stu-
dent, he becomes interested in the science of refraction.
During his experiments he accidentally discovers chemicals
(combined with an unspecified kind of radiation) that would
make tissue invisible. Obsessed with his discovery, he tries
the experiment on himself and becomes invisible. How-
ever, he does not know how to reverse the process, and he
slowly discovers that the advantages of being invisible do
39
not outweigh the disadvantages and the problems he faces.
Thus begins his downfall as he takes the road to crime for
his survival, revealing in the process his lack of conscience,
inhumanity and complete selfishness. He progresses from
obsession to fanaticism, to insanity, and finally to his fateful
end.
Dr. Kemp
Dr. Kemp is a scientist living in the town of Port Burdock.
He is a former acquaintance of Griffin, who knew Kemp to
be interested in strange, bizarre aspects of science. Kemp
continues to study science as he hopes to be admitted to
The Royal Society. His scientific temperament makes him
listen to the story Griffin tells him. He does not become
hysterical nor does he behave like the locals. Griffin hopes
Kemp would support him in his evil schemes and help him
live a normal life, but Kemp is too decent to join him. He
is repelled by Griffin’s brutality and considers him insane
and homicidal. He betrays Griffin to the police. He keeps
his cool throughout the plot, when the final hunt for Grif-
fin begins. Kemp helps in the final capture and killing of
Griffin.
In the 1933 Universal film adaptation, Kemp is given the
first name Arthur and is played by William Harrigan. Un-
like the novel, Kemp in the film does not survive to the end
of the story.
Janny Hall
woman who enjoys socialising with her guests, Mrs. Hall
is continually frustrated by the mysterious Griffin’s refusal
to talk with her, and by his repeated temper tantrums. She
vents her frustrations on her maid, Millie, and becomes sus-
picious of Griffin.
Mrs. Hall appears in the 1933 film adaptation, where she
was played by Una O'Connor.
George Hall
George Hall is the husband of Mrs. Hall and helps her run
the Coach and Horses Inn. He was the first person in Iping
to suspect that the mysterious Griffin is invisible: when a
dog bites him and tears his glove, Griffin retreats to his room
and Hall follows to see if he is all right, only to see Griffin
without his glove and handless (or so it appears to Hall).
Mr. Hall appears in the 1933 film adaptation, where his
first name is changed to Herbert; he is seriously injured by
Griffin. He is portrayed by Forrester Harvey.
40
Thomas Marvel
Thomas Marvel is a droll tramp unwittingly recruited to
assist the Invisible Man as his first visible partner. He
carries the Invisible Man’s scientific notebooks and stolen
money. Eventually Marvel grows afraid of his unseen part-
ner and flees to Port Burdock, taking both the notebooks
and the money with him, where he seeks police protection.
Although the Invisible Man is furious and vows revenge,
he becomes preoccupied with hiding from the law and re-
taliating against Dr. Kemp, and Marvel is spared. Marvel
eventually uses the stolen money to open his own inn, which
he calls the Invisible Man, and prospers. The novel ends
with him secretly “marvelling” at Griffin’s notes (though not
comprehending them). It turns out Marvel kept the notes
and only views them when there is nobody around, so no-
body can know Griffin’s secrets — or that Marvel has them.
Marvel does not appear in the 1933 film adaptation, but
does appear in Alan Moore's comics series The League of
Extraordinary Gentlemen.
Col. Adye
Col. Adye is the chief of police in the town of Port Bur-
dock. He is called upon by Dr. Kemp when the Invisible
Man turns up in Kemp’s house. Adye saves Kemp from the
Invisible Man’s first attempt on his life and leads the hunt for
the unseen fugitive. He mostly follows Kemp’s suggestions
in planning the campaign against the Invisible Man. He is
eventually shot by the Invisible Man with Kemp’s revolver.
Upon being shot, Adye is described as falling down and not
getting back up. However, he is mentioned in the epilogue
as being one of those who had questioned Thomas Marvel
about the whereabouts of the Invisible Man’s notebooks,
and it is never made clear whether this occurred prior to his
being shot or if it occurred afterwards and Adye survived.
Dr. Cuss
Dr. Cuss is a doctor living in the village of Iping. Intrigued
by tales of a bandaged stranger staying at the Coach and
Horses Inn, Dr. Cuss goes to see him under the pretence
of asking for a donation to the nurse’s fund. Cuss is scared
away after Griffin pinches his nose with an invisible hand.
Cuss immediately goes to see the Rev. Bunting, who, not
surprisingly, does not believe the doctor’s wild story and is
quite amused to hear it . Later, Cuss and Bunting obtain
the Invisible Man’s notebooks, but these are subsequently
stolen back from them by the invisible Griffin, when he also
takes both men’s clothes.
CHAPTER 2. NOVELS & SERIES
J.A. Jaffers
J.A. Jaffers is a constable in the town of Iping. He is called
upon by George Hall and Janny Hall to arrest Griffin af-
ter they suspect him of robbing the Reverend Bunting. He
quickly overcomes his shock at the discovery that Griffin is
invisible,and is determined to arrest him in spite of this. The
Invisible Man knocks him unconscious in his flight from Ip-
ing.
Jaffers appears in the 1933 film adaptation.
2.8.3 Adaptations
Films and TV series
• The Invisible Man, a 1933 film directed by James
Whale and produced by Universal Pictures. Griffin
was played by Claude Rains and given the first name
“Jack”. One of the Universal horror films of the 1930s,
and it spawned a number of sequels, plus many spin
offs using the idea of an “invisible man” that were
largely unrelated to Wells’s original story and using a
relative of Griffin as a secondary character possess-
ing the invisibility formula. These were; The Invisi-
ble Man Returns (1940) with Vincent Price as Geof-
frey Radcliffe, the film’s Invisible Man; The Invisible
Woman (1940) with Virginia Bruce as the title char-
acter and John Barrymore as the scientist who invents
the invisibility process; Invisible Agent (1942) and The
Invisible Man’s Revenge (1944) both starring Jon Hall
(as different Invisible Men); and Abbott and Costello
Meet the Invisible Man (1951) with Arthur Franz as
Tommy Nelson, a boxer framed for murder who takes
the invisibility formula to find the real killer and clear
his name. Vincent Price also provided the voice of the
Invisible Man at the conclusion of Abbott and Costello
Meet Frankenstein (1948).
• The Invisible Man, a 1958 TV series that ran for two
seasons and centred on espionage. Created by Ralph
Smart.
• The Amazing Transparent Man, a 1960 science fic-
tion/crime thriller about an invisible safecracker.
• Mad Monster Party (1967) included the Invisible Man
(voiced by Allen Swift) as part of the monster ensem-
ble.
• The Invisible Man (1975) featured a sympathetic main
character who used his abilities for good. As with
The Six Million Dollar Man before it, the pilot was
dark in tone, but the regular series that followed was
2.8. THE INVISIBLE MAN
lighter. Doctor Daniel Westin (David McCallum) ren-
ders himself invisible in his lab, while working for the
sinister KLAE corporation.
• Gemini Man, a 1976 TV series using a “DNA Stabi-
lizer” to allow Agent Sam Casey brief periods of in-
visibility.
• The Invisible Woman, a 1983 TV-movie pilot for a
comedy series starring Alexa Hamilton.
• Человек-невидимка (Pronunciation: Chelovek-
• The protagonist of the 2013 film The Book Thief, a
nevidimka; translation: The Invisible Man), a 1984
Soviet movie directed by Aleksandr Zakharov,
with Andrei Kharitonov as Griffin. The plot was
changed: Griffin was shown as a scientist talented
but not understood by his contemporaries, and Kemp
(starring Romualdas Ramanauskas) as a vicious
person who wanted to become a ruler of the world Stage
with Griffin’s help. When Griffin rejected Kemp’s
proposal, the latter did all his best to kill him (and • Ken Hill adapted the book to play form in 1991, and
finally succeeded). The movie remained unknown
to the Western audience because of a violation of
Wells’s copyright.
• The Invisible Man, a 1984 television adaptation in six
parts, shown on BBC 1.
• Amazon Women on the Moon, a 1987 comedy Radio
anthology film featured a spoof titled Son of the In-
visible Man, with Ed Begley, Jr. playing the son of the • The 2001 Radio Tales drama “The Invisible Man” is an
original Invisible Man who believes he is invisible, but
is in fact visible – creating an awkward situation when
he confidently disrobes in front of everyone.
• Memoirs of an Invisible Man, a 1992 modernised ver-
sion of the story, starring Chevy Chase as a man who
is accidentally made invisible and is then hunted by a
government agent who wishes to use him as a weapon.
• Hollow Man, a 2000 film starring Kevin Bacon, and
directed by Paul Verhoeven; this film spawned a 2006
direct-to-video sequel Hollow Man 2 starring Christian
Slater as “Michael Griffin” and directed by Claudio
Fah.
• The Invisible Man, a Sci-Fi Channel television series
that aired from 2000 to 2002. Darien Fawkes (Vincent
Ventresca) is a convicted burglar who is offered free-
dom if he agrees to participate in a secret govern-
ment project directed by his brother and funded by
a secret government agency. Invisibility is achieved 2.8.4 In other media
by implanting a synthetic gland in his brain that se-
cretes “Quicksilver”, a substance that coats his body
and clothes and renders him invisible. The gland is
damaged, and Quicksilver leaks into the host’s brain,
41
causing “Quicksilver Madness”, a state of mental in-
stability in which the host becomes violent and dan-
gerous.
• The Invisible Man (2011) an ongoing animated televi-
sion series produced by Moonscoop which is loosely
based on the book.
• A feature film entitled The Invisible Man is currently in
development. It will be the second remake of a classic
Universal Horror film, following 2010’s The Wolfman.
girl growing up in Nazi Germany, saves a copy of The
Invisible Man from a Nazi book burning and in several
scenes reads parts of it aloud. H. G. Wells was on the
banned authors list in Nazi Germany.
it debuted at Theatre Royal Stratford East in 1991. It
played in the West End in 1993 with Michael N. Har-
bour as Griffin. In November 2010, the play was re-
vived at the Menier Theatre in London running until
February 2011.
adaptation of the novel for National Public Radio.[1]
• In 2009 New York Public Radio's The Jerome L.
Greene Performance Space premiered The Invisi-
ble Man a multimedia audio play written by Arthur
Yorinks. The play takes place during one evening in
a contemporary New York City homeless shelter and
in its minimalist fashion, speaks to not only the timely
subject of homelessness and abandonment, but to the
timeless and tragic existential human condition of in-
visibility. A collage of sound, live voices, and sound
effects was joined by a never-before-heard original pi-
ano score composed and improvised by Michael Ries-
man, director of the Philip Glass Ensemble, in a rare
live musical performance. Lighting, video, and con-
ceptual design were by Mark Stanley, resident light-
ing designer for The New York City Ballet. Arthur
Yorinks directed.
• The character of the Invisible Man, given a full name
of “Hawley Griffin”, appears in the graphic novel The
League of Extraordinary Gentlemen by Alan Moore.
42
Cover of Classics Illustrated issue 153
In the film adaptation, he is replaced with a differ-
ent character named “Rodney Skinner”, and instead
of being the inventor of the formula, he is a thief who
stole the formula. The film novelisation reveals that
the inventor was Hawley Griffin. Skinner was espe-
cially created for the film because of copyright issues
regarding the 1933 Universal film. Skinner is also por-
trayed as a more cheerful and good-natured character,
and unlike Griffin, remains loyal to the League.
• A character in the television series Sanctuary was
named Griffin. He was one of the Five, a team of
scientists who injected themselves with a blood serum
and gained special abilities. His ability was to make
himself transparent at will.
• In 2009, Canadian cartoonist Jeff Lemire released an
Original Graphic Novel for DC Comics/Vertigo titled
"The Nobody". This story was inspired by The Invisi-
ble Man with “John Griffen” as “The Invisible Man”.
There are many other allusions to the book.
• In 2008, the creative team of Doug Moench and Kelley
Jones created a limited series called Batman: The Un-
CHAPTER 2. NOVELS & SERIES
seen. It features Batman fighting against the Invisible
Man.
• The famous cartoon series Tom & Jerry produced an
episode in 1947 called The Invisible Mouse, parodying
the book written by Wells.
• The Invisible Man is Monster in My Pocket No. 46.
In the comic book series, he was allied with the good
monsters. In the animated special, he was rechristened
Dr. Henry Davenport and became leader of the good
monsters.
• Castlevania often has enemies and bosses that refer to
old literature and films. In Castlevania: Portrait of
Ruin, The Invisible Man makes an appearance as an
enemy that dwells in the sewers. His clothes (before he
discards them to stalk players unseen) reference those
in the novel The Invisible Man: he wears a long, thick,
tall-collared coat, gloves, and a wide-brimmed hat. He
also dies in a similar fashion.
• In the book The Wright 3 by Blue Balliett, the Invisible
Man played an important role in the story.
• In the one-shot comic Van Helsing: From Beneath
The Rue Morgue, which presents Van Helsing and Dr.
Moreau, there is a monster created by Dr. Moreau that
is invisible. Van Helsing finds the papers detailing the
invisibility cure and remembers something about an
Englishman who turned invisible in West Sussex.
• In the 1970s, the Invisible Man appeared as a mascot
in television commercials for Scotch Magic Transpar-
ent Tape.
• In Queen B Productions December 2003 issue of
the Elvira Mistress of The Dark comic, an invisi-
ble woman appears in the second story “Mallville”,
a “Smallville” parody, as one of the “Miss Mallville”
beauty contest contestants. She’s only seen by facial
features, her bikini, and sunglasses.
• The British rock band Queen released a song called
"The Invisible Man" as one of their singles from their
1989 album The Miracle.
• Another British rock band called Marillion also has a
song called The Invisible Man. This track opens the
album Marbles, released in 2004.
• In the anime series Naruto, the Second Tsuchikage,
Muu, is probably based on Griffin, the main charac-
ter of “The Invisible Man”, due to his combination of
2.8. THE INVISIBLE MAN 43

bandage-covering appearance and the invisibility tech- and having to starve himself to avoid boluses of undi-
nique he uses to avoid being spotted. gested food hovering in the air.

• In the Monster High media, including video games • In 2014 a five-part web series titled “The Invisible
and web animations, there is a teacher named “Mr. Man” was produced by Waterfoot Films and released
Where”, who dresses in the Invisible Man’s bandages, online.[4] The series is a modern adaptation of Wells’
trench coat, and gloves (however, he usually wears original story set in America.
a beret and sunglasses, as he is the drama teacher).
He is confirmed to be invisible beneath these cover-
ings on more than one occasion, where his sleeves are 2.8.5 Scientific accuracy
shown bunching up to reveal his invisible limbs. He
also seems to have the ability to extend his invisibility, Russian writer Yakov I. Perelman pointed out in Physics
making his clothing disappear as well. Can Be Fun (1913) that from a scientific point of view, a
man made invisible by Griffin’s method should have been
• In addition to Mr. Where in the primary Monster High blind, since a human eye works by absorbing incoming light,
line, in the tie-in novels by Lisi Harrison, there is a not letting it through completely. Wells seems to show some
teenage boy named Billy Phaedin (jokingly called “In- awareness of this problem in Chapter 20, where the eyes of
visiBilly”), in reference to the teenage main characters an otherwise invisible cat retain visible retinas. Nonethe-
being the children of Universal Monsters and other less, this would be insufficient, since the retina would be
historical “monsters”. It’s mentioned repeatedly that flooded with light (from all directions) that ordinarily is
he is usually naked, otherwise he'd just look like float- blocked by the opaque sclera of the eyeball. Also, any im-
ing clothing. In the third novel, a friend attempts to use age would be badly blurred if the eye had an invisible cornea
modern cosmetics to make him visible, with limited and lens.
success, but he ultimately goes back to being invisible However, using some form of weak measurement it would
once these techniques fail in a public setting. be possible to observe photons without absorbing them.
The human eye does not ordinarily work like this but its
[5]
• Buffy the Vampire Slayer featured an episode in its first structure could conceivably be modified so that it did.
season, “Out of Sight, Out of Mind”, that involved a
young teenager who becomes literally invisible due to
her being ignored by her classmates and teachers. At 2.8.6 Origins and moral
the end of the episode, the FBI grab her so that they
can train her and other invisible kids to be assassins. As a moral tale, The Invisible Man can be seen as a modern
version of the "Ring of Gyges" parable by Plato.[6]
• In Team Fortress 2 a set of clothes is wearable by the
Spy called 'The Invisible Rogue' which is based on this 2.8.7 See also
novel.[2]
• Memoirs of an Invisible Man
• Classic Monster Novels Condensed by Joseph Lan-
[3]
• Things Not Seen
zara includes an abridged version of The Invisible
Man by H.G. Wells, along with short adaptations of
Frankenstein by Mary Shelley, and Dracula by Bram 2.8.8 References
Stoker. 2012. New Arts Library. ISBN 978-1-4791-
9322-6. [1] “Welcome to Menier Chocolate Factory Online!". menier-
chocolatefactory.com.
• There is a “The Invisible Man Monument” (1999) in
[2] “The Invisible Rogue”. Team Fortress 2. Valve. Retrieved 4
city of Ekaterinburg (Russia). ( http://www.ekmap.ru/ May 2012.
monuments/132 )
[3] “Classic Monster Novels Condensed: Mary Shelley’s
• In Donald E. Westlake's Smoke, career thief Fred- Frankenstein, Bram Stoker’s Dracula, H. G. Wells’ The In-
visible Man: Joseph Lanzara, Mary Shelley, Bram Stoker,
die Noon is turned invisible by an attempted cure for
H. G. Wells: 9781479193226: Amazon.com: Books”.
cancer by two smoking researchers. The book pays
amazon.com.
homage to aspects of The Invisible Man by having
Noon have to struggle with exposure to the elements [4] “The Invisible Man”. waterfootfilms.com.
44 CHAPTER 2. NOVELS & SERIES

[5] “Photons detected without being destroyed”.
[6] “Philip Holt- H.G. Wells and the Ring of Gyges”. de-
pauw.edu.
2.8.9 External links
due to neglect. Mr. Hagen then offers Jenny a ride home,
but she soon finds out that he is actually taking her out to
a rock quarry that had been deserted for years. When they
get out of the car, Mr. Hagen forces her to move to the edge
of the quarry right beside a deep pit. He tries to push her,
but he misses and falls to his inevitable death.

• Reception
• The Invisible Man at Project Gutenberg
It was listed as the 37th most enjoyable book for boys
• The Invisible Man public domain audiobook at and girls in a 1997 survey on literacy.[2] In their positive
LibriVox review of the novel, Publishers Weekly felt that Stine ef-
fectively built suspense and created an intriguing cast of
• 3 may 2006 guardian article about Milton and characters.[3]
Nicorovici’s invention

• Horror-Wood: Invisible Man films 2.9.2 The Babysitter II

• Complete copy of The Invisible Man by HG Wells in
HTML, ASCII and WORD Plot summary

• Audio review and discussion of The Invisible Man at Jenny Jeffers is going through a period of distress and fear,
The Science Fiction Book Review Podcast as she has narrowly survived a murder attempt by Mr. Ha-
gen, the crazed father of a babysitting charge, who tried
to push her into an abandoned rock quarry. She begins
2.9 The Babysitter (novel series) seeing a psychiatrist, Dr. Schindler, because of continuing
nightmares. In Jenny’s nightmares, Mr. Hagen rises from
the quarry as a zombie to take revenge on Jenny. A dif-
The Babysitter is a novel series by R. L. Stine. The first ferent family has contacted her for her babysitting services,
novel in the series was published in 1989, and it led to es- but Jenny is worried about going back to babysitting after
tablish Stine as a prominent author in the children’s horror her frightening experience, and she isn't sure if she should
genre.[1] The first novel follows a simple premise of a take the job or not. After discussing it with Dr. Schindler,
babysitter who finds she is the next in a series of babysitting she decides that she should go ahead and take the offer. As
victims to a crazed killer. Three sequels of this book were she leaves, Dr. Schindler’s receptionist, Miss Gurney, com-
published: The Babysitter II on July 1991, The Babysitter III pliments Jenny on her shirt.
on October 1993 and The Babysitter IV on June 1995.
When Jenny arrives at the residence, Michael and Rena
Wexner issue a strange warning about their ten-year-old
2.9.1 The Babysitter son, Eli. It seems that he is an egotistical brat with genius
intelligence. Jenny is instructed to just try to stay on his
Plot summary good side. After Eli’s parents leave, Jenny goes upstairs
to Eli’s room, where he boasts that he is a genius. He
Jenny Jeffers, a sixteen year old girl, takes a babysitting job built a computer from a kit, and he even fabricated his own
for a child named Donny. While babysitting, she gets men- telephone that he’s kept secret from his parents. It’s hard
acing phone calls from someone and finds a threatening note for Jenny to tell if he’s just a boastful brat, or if he’s try-
in her backpack. She soon figures out that Donny’s father, ing to push his limits and see how far he can pester Jenny.
Mr. Hagen, was the one making those calls after finding Eli enjoys trying to scare Jenny and tricks her into putting
a stash of newspaper clippings in his closet. Apparently, her hand into a shoebox with a tarantula inside. Later on, a
Donny had a sister when he was younger, but she died in an dead tarantula appears in Jenny’s purse and she blames Eli.
accident when a previous babysitter wasn't paying attention The next morning, Jenny is again babysitting Eli. Before his
to her. mother leaves for the day, Jenny explains what happened
After Chuck, Jenny’s love interest, comes over while she is and they both go to confront Eli. He denies making any
babysitting, Mr. Hagen catches them kissing and becomes practical joke and seems very insulted and mad. He proves
angry, having told Jenny never to invite over friends while this by showing his tarantula cage. All three tarantulas are
she was babysitting, explaining how his daughter had died present. Jenny is still unsure, so Eli then throws a crying
2.10. THE THIEF OF ALWAYS 45

tantrum. Downstairs a few minutes later, Jenny hears a different plot outline, she is terrorized by two murderous
crashing noise from upstairs. She runs up to Eli’s room and ghost children.
finds it in complete disarray. Eli, who is near death, is lying
on the carpet motionless, staring up blankly, with a puddle
of blood under his head. As it turns out, that was practical 2.9.5 References
joke too.
[1] Cullinan, Bernice E.; Person, Diane G. The Continuum En-
The culprit is revealed to be Miss Gurney, Dr. Schlindler’s cyclopedia of Children’s Literature. Continuum International
receptionist, who had earlier complimented her on her shirt. Publishing Group, 2003. p. 753.
Miss Gurney had put the dead tarantula in Jenny’s bag and
takes Jenny to the rock quarry where she had nearly been [2] Millard, Elaine (1997). Differently Literate: Boys, Girls
killed. Miss Gurney and Jenny fall to the bottom of the and the Schooling of Literacy. Routledge. p. 192. ISBN
0750706619.
quarry, which is filled with water, and tries to drown Jenny.
Jenny resists but can't escape. Jenny knows she’s going to [3] “The Baby-Sitter”. Publishers Weekly. Retrieved October
drown, and she begins to faint. Dr. Schindler arrives just in 21, 2012.
time with police and her boyfriend, Cal, and Cal saves her.
Dr. Schlindler explains that the tapes from Jenny’s inter-
view sessions were disappearing, and when he noticed Miss 2.10 The Thief of Always
Gurney was gone, he called the police. Miss Gurney was
earlier a patient of Schindler’s, because of violent jealous
outbursts and attacks. Dr. Schlindler coaxes Gurney out of The Thief of Always is a novel by Clive Barker that was
the quarry, and she is apprehended by police on the side of published in 1992. The book is a fable written for children,
the quarry. Alone, Cal makes a joke about seeing a movie but intended to be read by adults as well. The book’s cover
now that everything is over. Jenny says she does not know was created by Barker and the book contains several black
what is out, and Cal says that a zombie movie is coming out. and white illustrations by the author.
Jenny says he has a sick sense of humor before kissing him.
2.10.1 Plot
2.9.3 The Babysitter III
The Thief of Always starts out by introducing the main char-
acter, Harvey Swick. Harvey Swick is a 10-year-old boy
Plot summary
who finds himself bored with school, uninteresting teachers,
homework, and his day-to-day life. In response to a frus-
Debra Jeffers, the cousin of Jenny Jeffers, now has a
trated plea for change, a man named Rictus flies up to Har-
babysitting job and invites Jenny to spend the summer with
vey’s window and tells him about a kid’s paradise, the Holi-
her. Jenny is shaken because this reminds her of the exact
day House. At the Holiday House, there are all the sweets a
problem she was trying to escape. She dismisses it, deter-
person could ask for, four seasons in a day, Halloween every
mined to recover. Later, Debra begins to experience haunt-
evening, Christmas, with whatever gifts you could wish for,
ing phone calls just like Jenny used to get, and she begins to
every night, and everything else you could dream of. Har-
fear she has brought the terror with her. Debra finds herself
vey reluctantly goes to the house after a week of thinking,
being attacked and tries to find out who is after her. Later,
and enters the house through a wall of mist. Harvey en-
it is revealed that Jenny attacked Debra, as Mr. Hagen had
joys the wonders of the Holiday House, and stays there for
taken over her mind completely. Jenny is then taken away
thirty-one days, becoming friends with Wendell and Lulu,
to be put in a mental institution.
two other kids at the house. There is also a woman, Mrs.
Griffin, who cooks all the meals for the children. She is very
2.9.4 The Babysitter IV nice and sweet. However, he eventually starts to suspect that
the house is not as perfect as it seems. Upon investigation,
Plot summary Harvey discovers that the house’s creator, Mr. Hood, has
sucked all of the children’s souls away and turned them into
After being released from a mental institution, Jenny Jef- fish, imprisoning them in a dark, gloomy lake. After that,
fers moves to another town and reluctantly accepts a new Harvey and Wendell are trapped in the house, and escape
baby-sitting job next door in an attempt to finally put her by following a cat named Blue-Cat through the mist barrier
dark past behind her by overcoming her fear. When unex- that constantly surrounds the property of the house at night.
plainable events begin to happen, she begins to fear her dark When both Harvey and Wendell come home, they soon dis-
past has come back to haunt her. However, in an entirely cover that for every day they spend in the Holiday House,
46
a year has passed in the rest of the world. When Harvey
meets his parents, he thinks he went to the wrong house,
but he is wrong. The moment he sees his mother he real-
izes that something is fishy. His parents also realize who he
is and invite him in. He takes a long nap and then tells them
what happened. At first they don't believe him, but Harvey
tells them it’s true. They go on the search of the House, but
Harvey had forgotten all the roads he took coming home.
It seems like everything is different. They try all day, but
Harvey and his parents can't find the House.
Harvey’s father finally decides to go to the police station.
While he is at the police station, Harvey and his mother are
at home. Harvey’s mother decides to go out shopping and
Harvey goes up to his room. When he is in his room, he
sees Wendell in the street walking towards Harvey’s house.
Wendell tells Harvey that Wendell’s mother is old, fat, and
divorced. Harvey also tells Wendell what happened to him.
They both think about what happened in the Holiday House
and decide that the only way to regain their lost time is to
return to the Holiday House. Upon doing so, Harvey learns
that Hood runs the entire house on magic and illusions.
Harvey defeats Hood by tricking him into using up all of his
magic by wishing for as many things as he can think of as
fast as he can, to drain Hood’s power. When an exhausted
Hood allows Harvey one more wish, Harvey asks for all the
seasons at once, resulting in a furious lightning storm that
burns down the house. Hood seems to perish in the fire,
but he manages to rebuild a body from the debris of the
house, and remarks at Harvey’s courage, contrasting Har-
vey with Wendell, who has succumbed to the House’s lures
and wishes to stay forever in a trance. Hood then offers
Harvey, whom he calls A Thief of Always, the chance to be
a vampire with him and be immortal. Harvey refuses, and
this final confrontation ends when Hood is knocked into the
lake, which has turned into a vortex (or whirlpool) and sucks
him in. The children all leave the remains of the house to
go back to their respective times.
2.10.2 Characters
• Harvey Swick – A 10-year-old boy, who is straw-
haired and brown eyed, and impulsive, is bored with
his everyday life and wishes to go to a place that is a
kids’ paradise. His wish is granted when Rictus enters
through bedroom window and persuades him to come
to this kids’ paradise known as the Holiday House and
agrees to come. When he arrives, Harvey becomes
flabbergasted by the magic and wonders the Holiday
House possessed. Harvey then discovers when he stays
in the world of the Holiday House, all of the years of
his life are stolen by Mr. Hood and he himself has re-
alized that he has stolen the lives of children, including
CHAPTER 2. NOVELS & SERIES
one of his friends Lulu, must put an end to all of the
dark magic of Mr. Hood, destroy the House and all of
its pitiful creatures that hide in its shadows. Harvey is
bored and frustrated with his life in the first chapter,
but he’s very observant, smart, clever, and kind and
does everything to help his friends and the children
become free from the Holiday House and discovers in
the end that there’s nothing more powerful than the
love of his family and friends and is the brightest child
in the story.
• Rictus – One of four servants of Hood’s. Rictus is six
inches taller that Harvey, wears gentlemen’s clothes,
a tall brim hat, and wears spectacles. He’s very thin,
has yellowish skin, and has a grin that can stretch
wider than any grin, resembling the bizarre Cheshire
Cat from Alice’s Adventures in Wonderland. Rictus’s
name means “a fixed grimace or grin.”
• Jive – One of four servants of Hood’s. Jive’s down-
fall occurs when he attempts to change Harvey’s mind
to stay at the Holiday House with pie and ice cream.
Harvey tricks him by saying that the food’s not real,
but Jive unwillingly eats both plates of the pie and ice
cream, which causes him to fall down and crawl on
the stairs as he spews dirt and dust out of his mouth
screaming for his master’s help, and suddenly turns to
a pile of dirt and dust. Jive’s name means “deceitful or
worthless.”
• Marr – One of four servants of Hood’s. A grotesquely
overweight female who is said to resemble a slug. Marr
possesses the unique ability to manipulate human flesh
into whichever shape she desires (similar to how one
would mold clay). Marr’s downfall occurs when Har-
vey forces her to see herself as the wretched slob that
she is. Marr melts into a puddle of brackish, fleshy liq-
uid. Marr’s name is similar to the word “mar” which
means to “impair the appearance of; disfigure.”
• Carna – One of four servants of Hood’s. Carna’s
name could be alluding to the word “carnivore”, which
means “an animal that feeds on flesh.”
• Wendell – A naive, obnoxious boy who loves to be in
the Holiday House and becomes friends with Harvey.
• Lulu – A girl a few years older than Harvey, who’s
been there longer than both he and Wendell. She has
a room full of Christmas presents, hinting she has been
there for many months.
• Mrs. Griffin – The housekeeper, and fantastic cook.
She has been there longer than anyone, and seems to
know more than she lets on.
• Mr. Hood – The owner of the Holiday House and is
a part of the house.
2.11. THE WITCHES (BOOK) 47

• The Holiday House – The place where every day is
perfect, and children can go to live out the rest of their
lives if they are not careful.
• Blue Cat – Owned by Mrs. Griffin.
• Clue Cat – Owned by Mrs. Griffin.
• Stew Cat – Owned by Mrs. Griffin.
• The Beautiful Moment – The Official Clive Barker
Website for All Ages – Official site celebrating the
work of Clive Barker for younger readers – features
Abarat and The Thief of Always
• The Official Clive Barker Website - Revelations - Art
Portfolio: Thief – Gallery of illustrations made for the
book

2.10.3 Reception 2.11 The Witches (book)

The Thief of Always while remaining rather obscure has The Witches is a children’s fantasy novel by the British
received positive reviews from both critics and casual read- writer Roald Dahl. It was published in 1983 by Jonathan
ers alike. Goodreads' readers give the book an approxi- Cape in London, with illustrations by Quentin Blake (like
mate 4.16 out of 5 stars.[1] In one positive review (of which many of Dahl’s works). The story is set partly in Norway
was advertised on some copies of the book) by Publishers and partly in the United Kingdom, featuring the experiences
Weekly it was stated: “In a tale that manages to be both cute of a young boy and his Norwegian grandmother in a world
and horrifying, bestselling novelist and screenwriter Barker where child-hating evil witches secretly exist.
puts the dark side back into childhood fantasy.” The book was adapted into an unabridged audio reading by
Lynn Redgrave (ISBN 0-060-53616-0), a stage play and a
two-part radio dramatisation for the BBC, a 1990 movie
2.10.4 Adaptations directed by Nicolas Roeg and an opera by Marcus Paus and
Ole Paus.
The Thief of Always has been adapted as a bimonthly three-
part comic book, published between January 2005 and May
2005 by IDW Publishing. 2.11.1 Plot
An animated musical version of the novel was planned in
the early 1990s by Paramount Productions. It was to be A seven-year-old boy goes to live with his Norwegian
directed by Robin Budd, and produced by Frank Marshall grandmother after his parents are killed in a car crash. The
and Kathleen Kennedy. Besides adapting the book for the grandmother is a wonderful story teller. He loved all the
screen, Barker was to have been one of the four executive stories, but he was enthralled by the ones about witches,
producers. The project did not eventuate. which she says are horrific creatures who seek to kill human
children. She tells the boy that she knows of five children
A live action adaptation of the novel was negotiated be- who were cursed by witches and tells him how to recognise
tween Seraphim Films and 20th Century Fox on or before them. She also tells about witchophiles, who hunt witches,
4 August 2004.[2] The movie was scheduled for release in which she is retired from, telling of an encounter with a
2010, but as of 2015, no adaption has been made. witch which cost the grandmother her left thumb, but oth-
erwise said her witchophile career was a failure as she never
killed another witch. While witches look and act like human
2.10.5 References women, they are actually “demons in human shape.” They
have bald heads that they hide with wigs, clawed hands that
[1] “The Thief of Always.” Goodreads. https: they usually hide with gloves and toeless feet that make it
//www.goodreads.com/book/show/32638.The_Thief_
extremely painful to wear pretty shoes.
of_Always?from_search=true Web. 25 Oct. 2013.
Per the parents’ will, the boy and his grandmother have to
[2] What’s New with Clive? Retrieved 3 March 2005. return to England, where he was born and was in school,
and where the house he is inheriting is located. The grand-
mother warns the boy to be on his guard, however, since
2.10.6 External links English witches are known to be among the cruelest in the
world. They are particularly notorious for turning children
• Revelations – The Official Clive Barker Online Re- into loathsome creatures so that unsuspecting adults kill
source – Includes a full bibliography, filmography and them. As the boy asks more questions, the grandmother re-
frequently updated news veals that witches in different countries have different cus-
48 CHAPTER 2. NOVELS & SERIES

toms; and that while the witches in each country have close Bruno and the narrator to the dining hall, then he sneaks to-
affiliations with one another, they are not allowed to com- wards the kitchen, holding the potion. He spies the witches
municate with witches from other countries. She warns him coming in to dinner on his way and finally enters the kitchen
to beware of the Grand High Witch, the feared and diaboli- successfully, where he pours the potion into the green pea
cal leader of all of the world’s witches, who each year visits soup intended for the witches’ dinner. On the way back
their councils in every country. from the kitchen, a cook spots the narrator and chops off
Shortly after arriving back in England, while the boy is part of his tail with a carving knife. He crawled up a cook’s
working on the roof of the treehouse he has been building, pants in a panic and the cook tried to catch him by remov-
ing his pants, but he crawled out and eventually returned
he sees a strange woman in black staring up at him with an
eerie smile, and he realizes that she is a witch. When the to grandmother. The witches all turn into mice within a
few minutes, having had massive overdoses. The hotel staff
witch offers him a snake to entice him, he climbs further
up the tree and stays there, not daring to come down un- and the guests all panic and, unknowingly, the staff end up
killing the Grand High Witch and all of England’s witches.
til his grandmother comes looking for him. This persuades
the boy and his grandmother to be especially wary; and he Having returned home, the boy and his grandmother then
carefully scrutinizes all women to determine whether or not devise a plan to get rid of the world of witches. Learning the
they might be witches. location of the Grand High Witch’s Norwegian castle, they
When the grandmother later becomes ill with pneumonia, will travel there and use the potion to change her successor
the doctor orders her to cancel a planned holiday in Nor- and assistants into mice, then release cats to destroy them
way. Instead, they go to a luxury hotel in Bournemouth on before they escape. Using the Grand High Witch’s money-
the southern English coast. The boy goes to train his pet making machine and information on all the other witches
mice in the hotel ballroom when the members of the Royal in various countries, they will then try to track down and
Society for the Prevention of Cruelty to Children show up eradicate them all over the world. The grandmother also
for their annual meeting. The boy quickly realizes that this reveals that as a mouse, the boy will probably only live about
is really the yearly gathering of England’s witches when one another nine years, but the boy does not mind as he does not
of them reaches underneath her hair to scratch at her scalp want to live any longer than his grandmother, and in the end
with a gloved hand. A young woman goes on stage and re- they can both die together.
moves her mask, revealing herself to be the Grand High
Witch. After scolding the English witches for their lack
of progress in eliminating the children, incinerating one of 2.11.2 Reception
them when she talked back about her demands for the death
of every English child within a year, the Grand High Witch
Dahl’s children’s stories have been praised as often as chal-
unveils a master plan. All of England’s witches are to pur-
lenged. For instance, three of Dahl’s stories appear in Pub-
chase sweet shops (with “homemade” money printed from
lisher’s Weekly’s 150 Bestselling Children’s Books of all
her money-making machine) and give away free sweets and
time (until the year 2000).[1] However, The Witches was
chocolates for the grand opening laced with her latest cre-
banned by some libraries due to perceived misogyny.[2] It
ation, “Formula 86 delay action mouse maker”, a magic po-
appears on the American Library Association list of the
tion meant to turn the drinker into a mouse at a specific time
100 Most Frequently Challenged Books of 1990 to 1999,
with a single drop. The intent is that the children’s teachers
at number 22.[3] Some critics consider the book sexist,[4]
can kill the transformed children for them. To demonstrate,
with one stating that the book is how boys learn to become
the Grand High Witch turns a gluttonous child named Bruno
men who hate women.[5] Others see the book as presenting
Jenkins, who is lured to the convention hall by the promise
a more balanced message about learning to see past surface
of free chocolate, into a mouse. Shortly after, the witches
inspirations. One critic considers it an “unlikely source of
smell the narrator’s presence and corner him. The Grand
inspiration for feminists.”[6]
High Witch then pours an entire bottle of Formula 86 down
the narrator’s throat, instantly turning him into a mouse. In 2012 The Witches was ranked number 81 among all-time
children’s novels in a survey published by School Library
The transformed child retains his sentience, personality and
Journal, a monthly with primarily U.S. audience. It was the
even his voice. After tracking down Bruno, the transformed
third of four books by Dahl among the Top 100, more than
boy returns to his grandmother’s hotel room and tells her
any other writer.[7]
what he has learned. He suggests turning the tables on the
witches by slipping the potion into their food. With some
difficulty, he manages to get his hands on a bottle of the po-
tion from the Grand High Witch’s room. After a failed at- 2.11.3 Adaptations
tempt to return Bruno to his parents, the grandmother takes
2.12. THE TURN OF THE SCREW 49

Film version [8] Bishop, Tom (11 July 2005). “Entertainment | Willy
Wonka’s everlasting film plot”. BBC News.
Main article: The Witches (1990 film)
[9] “Hekseopera for barn - Programguide for alle kanaler - TV 2,
NRK, TV3, TVN”. Tv2.no. 18 December 2008. Retrieved
In 1990 (the year Roald Dahl died), the book was adapted 21 October 2013.
into a film starring Anjelica Huston and Rowan Atkinson,
directed by Nicolas Roeg and distributed by Warner Bros.
In the film the boy is named Luke Eveshim, his grandmother 2.12 The Turn of the Screw
Helga Eveshim, and The Grand High Witch Evangeline
Ernst. The most notable difference from the book is that
For other meanings, see Turn of the Screw (disambigua-
the boy is restored to human form at the end of the story
tion).
by the Grand High Witch’s assistant (a character who does
not appear in the book), who had renounced her former evil.
Dahl regarded the film as “utterly appalling” because it con- The Turn of the Screw, originally published in 1898, is a
trasted with the book.[8] gothic ghost story novella written by Henry James.
Due to its original content, the novella became a favourite
Radio drama text of academics who subscribe to New Criticism. The
novella has had differing interpretations, often mutually ex-
In 2008, the BBC broadcast a two-part dramatisation of clusive. Many critics have tried to determine the exact na-
the novel by Lucy Catherine and directed by Claire Grove. ture of the evil hinted at by the story. However, others have
The cast included Margaret Tyzack as the Grandmother, argued that the true brilliance of the novella comes with its
Toby Jones as the Narrator, Ryan Watson as the Boy, Jor- ability to create an intimate confusion and suspense for the
dan Clarke as Bruno and Amanda Laurence as the Grand reader.
High Witch.
2.12.1 Plot summary
Opera
An unnamed narrator listens to Douglas, a friend, read a
The book was adapted into an opera by Norwegian com- manuscript written by a former governess whom Douglas
poser Marcus Paus and his father Ole Paus, who wrote the claims to have known and who is now dead. The manuscript
libretto. It premiered in 2008.[9] tells the story of how the young governess is hired by a
man who has become responsible for his young nephew and
niece after the deaths of their parents. He lives mainly in
2.11.4 References London and is uninterested in raising the children himself.
The boy, Miles, is attending a boarding school, while his
[1] “Private Tutor”. Infoplease.com. Retrieved 21 October
2013. younger sister, Flora, is living at a country estate in Essex.
She is currently being cared for by the housekeeper, Mrs.
[2] Molly Driscoll (28 September 2011). “20 banned books that Grose. The governess’ new employer, Miles and Flora’s un-
may surprise you - “The Witches,” by Roald Dahl”. CSMon- cle, gives her full charge of the children and explicitly states
itor.com. Retrieved 19 March 2014. that she is not to bother him with communications of any
sort. The governess travels to her new employer’s country
[3] “100 most frequently challenged books: 1990–1999 | ala.
org/bbooks". Ala.org. Retrieved 21 October 2013. house, Bly, and begins her duties.
Miles soon returns from school for the summer just after a
[4] Will Self. “Tails of the unexpected | Books”. The Guardian.
letter arrives from the headmaster stating that he has been
Retrieved 19 March 2014.
expelled. Miles never speaks of the matter, and the gov-
[5] Carnevale, Alex. “The Angry Man”. erness is hesitant to raise the issue. She fears there is some
horrible secret behind the expulsion but is too charmed by
[6] Crew, Jemma. “What can we learn from Roald Dahl’s The the adorable young boy to want to press the issue. Soon
Witches?". thereafter, the governess begins to see around the grounds
[7] Bird, Elizabeth (7 July 2012). “Top 100 Chapter Book Poll of the estate the figures of a man and woman whom she
Results”. A Fuse #8 Production. Blog. School Library Jour- does not recognize. These figures come and go at will
nal (blog.schoollibraryjournal.com). Retrieved 26 October without ever being seen or challenged by other members
2015. of the household, and they seem to the governess to be
50
supernatural. She learns from Mrs. Grose that her prede-
cessor, Miss Jessel, and another employee, Peter Quint, had
had a sexual relationship. Prior to their deaths, Jessel and
Quint spent much of their time with Flora and Miles, and
this fact has grim significance for the governess when she
becomes convinced that the two children are secretly aware
of the ghosts’ presence.
Later, without permission, Flora leaves the house while
Miles is playing music for the governess. The governess
notices Flora’s absence and goes with Mrs. Grose in search
of her. They find her in a clearing in the wood, and the
governess is convinced that Flora has been talking to the
ghost of Miss Jessel. When the governess finally confronts
Flora, the girl denies seeing Miss Jessel and demands never
to see the governess again. At the governess’ suggestion
Mrs. Grose takes Flora away to her uncle, leaving the gov-
erness with Miles, who that night at last talks to her about
his expulsion; the ghost of Quint appears to the governess
at the window. The governess shields Miles, who attempts
to see the ghost. The governess tells Miles he is no longer
controlled by the ghost and then finds that Miles has died in
her arms, and the ghost has gone.
2.12.2 Major themes
Throughout his career James was attracted to the ghost story
genre. However, he was not fond of literature’s stereotyp-
ical ghosts, the old-fashioned “screamers” and “slashers”.
Rather, he preferred to create ghosts that were eerie exten-
sions of everyday reality—"the strange and sinister embroi-
dered on the very type of the normal and easy”, as he put
it in the New York Edition preface to his final ghost story,
"The Jolly Corner".
The Turn of the Screw is no exception to this formula. In
fact, some have wondered if he didn't intend the “strange
and sinister” to be embroidered only on the governess’s
mind and not on objective reality. The result has been a
longstanding critical dispute about the reality of the ghosts
and the sanity of the governess. Beyond the dispute, critics
have closely examined James’s narrative technique for the
story. The framing introduction and subsequent first-person
narrative by the governess have been studied by theorists of
fiction interested in the power of fictional narratives to con-
vince or even manipulate readers.
The imagery of The Turn of the Screw is reminiscent of
the Gothic fiction genre. The emphasis on old and myste-
rious buildings throughout the novella reinforces this mo-
tif. James also relates the amount of light present in var-
ious scenes to the strength of the supernatural or ghostly
forces apparently at work. The governess refers directly
to The Mysteries of Udolpho and indirectly to Jane Eyre,
evoking a comparison of the governess not only to Jane According to Leithauser, we are meant to entertain both
CHAPTER 2. NOVELS & SERIES
Eyre's protagonist, but to Bertha, the madwoman confined
in Thornfield.[1]
2.12.3 Literary significance and criticism
The dispute over the ghosts’ reality has had a real effect on
some critics, most notably Edmund Wilson, one of the first
major proponents of the insane governess theory. Wilson
eventually recanted his opinion after considering the gov-
erness’s point-by-point description of Quint. Then John
Silver[2] pointed out hints in the story that the governess
might have gained previous knowledge of Quint’s appear-
ance in non-supernatural ways. This induced Wilson to re-
cant his recantation and return to his original opinion that
the governess was delusional and that the ghosts existed only
in her imagination.
William Veeder sees Miles’s eventual death as induced by
the governess. In a complex psychoanalytic reading, Veeder
concludes that the governess expressed her repressed rage
toward her father and toward the master of Bly on Miles.
Other critics, however, have strongly defended the gov-
erness. They note that James’s letters, his New York Edition
preface, and his Notebooks contain no definite evidence that
The Turn of the Screw was intended as anything other than
a straightforward ghost story, and James certainly wrote
ghost stories that did not depend on the narrator’s imagina-
tion. For example, “Owen Wingrave″ includes a ghost that
causes its title character’s sudden death, although no one ac-
tually sees it. James’s Notebooks entry indicates that he was
inspired originally by a tale he heard from Edward White
Benson, the Archbishop of Canterbury. There are indica-
tions that the story James was told was about an incident
in Hinton Ampner, wherein in 1771 a woman named Mary
Ricketts moved from her home after seeing the apparitions
of a man and a woman, day and night, staring through the
windows, bending over the beds, and making her feel her
children were in danger.[3][4]
Perhaps the critical perspective that best captures James’s
own thinking and methods, given the work’s notably rococo
style, which incessantly qualifies statements and counters
any attempt at straightforward exposition, is that of Brad
Leithauser:
All such attempts to 'solve' the book, however
admiringly tendered, unwittingly work toward its
diminution[; its] profoundest pleasure lies in the
beautifully fussed over way in which James re-
fuses to come down on either side... the book
becomes a modest monument to the bold pursuit
of ambiguity.[5]
2.12. THE TURN OF THE SCREW 51

the proposition that the governess is mad and the proposi- Victorian culture.[8] It was adapted to an opera by Benjamin
tion that the ghosts really do exist, and consider the dreadful Britten, which premiered in 1954,[8] and the opera has been
implications of each. filmed on numerous occasions.[9] The novella was adapted
[10]
James revised the novella substantially over the years. In as a ballet score (1980) by Luigi Zaninelli, and sep-
The Collier’s Weekly Version of The Turn of the Screw, Peter arately as a ballet (1999) by Will Tucket for the Royal
[11]
G. Beidler presents the tale in its original serial form and Ballet. Harold Pinter directed The Innocents (1950), a
presents a detailed analysis of the changes James made over Broadway play which was an adaptation of The Turn of the
[12]
the years. Among many other changes, James changed the Screw, and a subsequent eponymous stage play, adapted
by Rebecca Lenkiewicz was presented in a co-production
children’s ages.[6]
with Hammer at the Almeida Theatre, London, in January
Poet and literary critic Craig Raine, in his essay “Sex in 2013.[13] A new musical theater adaptation of the story had
nineteenth-century literature”, states quite categorically his its world premiere in the Washington DC area in February
belief that Victorian readers would have identified the two 2015.[14]
ghosts as child molesters.[7]
There have been numerous film adaptations of the novel.[10]
The critically acclaimed The Innocents (1961), directed by
Jack Clayton, and Michael Winner's prequel The Nightcom-
2.12.4 Adaptations and reworkings ers (1972) are two particularly notable examples.[8] Other
feature film adaptations include Rusty Lemorande's 1992
eponymous adaptation (set in the 1960s[9] ); Eloy de la Igle-
sia's Spanish-language Otra vuleta de tuerca (The Turn of
the Screw, 1985);[10] Presence of Mind (1999), directed by
Atoni Aloy; and In a Dark Place (2006), directed by Donato
Rotunno.[9] The Others (2001) is not an adaptation but has
some themes in common with James’s novella.[9][15]
Television films have included a 1959 American adapta-
tion as part of Ford Startime directed by John Franken-
heimer and starring Ingrid Bergman;[9][16] the West Ger-
man Die sündigen Engel (The Sinful Angel, 1962),[17] a 1974
adaptation directed by Dan Curtis, adapted by William F.
Nolan;[9] a French adaptation entitled Le Tour d'écrou (The
Turn of the Screw, 1974); a Mexican miniseries entitled
Otra vuleta de tuerca (The Turn of the Screw, 1981);[17] a
1982 adaptation directed by Petr Weigl primarily starring
Czech actors lip-synching;[18] a 1990 adaptation directed
by Graeme Clifford; The Haunting of Helen Walker (1995),
directed by Tom McLoughlin; a 1999 adaptation directed
by Ben Bolt;[9] a low-budget 2003 version written and di-
rected by Nick Millard;[17] the Italian-language Il mistero
del lago (The Mystery of the Lake, 2009); and a 2009 BBC
film adapted by Sandy Welch.[17]
Literary reworkings of The Turn of the Screw identified by
James scholar Adeline R. Tintner include The Secret Garden
(1911), by Frances Hodgson Burnett; “Poor Girl” (1951),
Among the various adaptations and reworkings of James’s by Elizabeth Taylor; The Peacock Spring (1975), by Rumer
novella are The Turn of the Screw, a 1954 opera by Godden; Ghost Story (1975) by Peter Straub; “The Ac-
Benjamin Britten (left, 1968) and The Nightcomers, a cursed Inhabitants of House Bly” (1994) by Joyce Carol
1972 prequel film directed by Michael Winner (right, Oates; and Miles and Flora (1997)—a sequel—by Hilary
photographed 2010) and starring Marlon Brando. Bailey.[19] Further literary adaptations identified by other
authors include Affinity (1999), by Sarah Waters; A Jeal-
The Turn of the Screw has been the subject of numerous ous Ghost (2005), by A. N. Wilson;[20] and Florence &
adaptations and reworkings in a variety of media, and these Giles (2010), by John Harding.[8] In December 1968, the
reworkings and adaptations have, themselves, been anal- ABC daytime drama Dark Shadows featured a storyline
ysed in the academic literature on Henry James and neo- based on The Turn of the Screw. In the story, the ghosts of
52 CHAPTER 2. NOVELS & SERIES

Quentin Collins and Beth Chavez haunted the west wing of [12] Baker, William (2008). Harold Pinter. A&C Black. p. 32.
Collinwood, possessing the two children living in the man- ISBN 9780826499707.
sion. The story led to a year-long story in the year 1897, as
Barnabas Collins traveled back in time to prevent Quentin’s [13] Masters, Tim (23 November 2012). “Hammer takes first
steps on stage in Turn of the Screw”. BBC News. Retrieved
death and stop the possession. Despite his beginnings as a
13 February 2013.
malevolent spirit, Quentin became a very popular character
on the show. [14] Clements, Jennifer (5 February 2015). “Matt Conner and
The Turn of the Screw is occasionally alluded to in the Star Stephen Gregory Smith: creating the new musical Turn of
the Screw at Creative Cauldron”". DC Theatre Scene.
Trek universe. Star Trek: The Next Generation's 7th-season
episodes "Sub Rosa" is a loose science fiction adaptation [15] Skidelsky, William (30 May 2010). “Classics corner: The
of the story, centered around Doctor Beverly Crusher's en- Turn of the Screw”. The Guardian.
counter with a supposed ghost, and featuring minor char-
acters named Quint and Jessel. In two early episodes of [16] Koch, J. Sarah (2002). “A Henry James Filmography”.
Star Trek: Voyager ("Learning Curve" and "Persistence of In Griffin, Susan M. Henry James Goes to the Movies.
Vision"), Captain Kathryn Janeway is briefly seen on the University Press of Kentucky. pp. 335–358. ISBN
holodeck acting out scenes from an untitled gothic novel 9780813133249.
which seems to be an amalgam of The Turn of the Screw [17] Hischak, Thomas S. (2012). American Literature on Stage
and Jane Eyre. and Screen: 525 Works and Their Adaptations. McFarland.
p. 253. ISBN 9780786492794.

2.12.5 References
[1] Kaufmann, Professor Linda. Discourses of Desire. ISBN
0-8014-9510-5. See this book for an argument that Bronte
was actually the source of the tale, through Mary Sedgwick
Benson.
[18] Holland, J. (2006). “Turn of the Screw (review)". Notes 62
(3): 784. doi:10.1353/not.2006.0020.
[19] Tintner, Adeline R. (1998). Henry James’s Legacy: The Af-
terlife of His Figure and Fiction. Louisiana State University
Press. pp. 371-82.

[2] Smith, John (1957). “A Note on the Freudian Reading of [20] Heilmann, Ann. (2010) “The Haunting of Henry James:
'The Turn of the Screw'". American Literature. Jealous Ghosts, Affinities and The Others". In: Rosario
Arias and Patricia Pulham (eds.), Haunting and Spectral-
[3] “Books: How we all came to love a good ghost story”. The ity in Neo-Victorian Fiction: Possessing the Past. Palgrave
Daily Telegraph. Macmillan. pp. 111-130.
[4] The Gale Encyclopedia of the Unusual and Unexplained
(PDF).
Works cited
[5] Leithauser, Brad (October 2012). “Ever scarier on The Turn
of the Screw”. The New Yorker. • The Turn of the Screw: Authoritative Text, Contexts,
Criticism edited by Deborah Esch and Jonathan War-
[6] Henry James. Beidler, Peter G., ed. The Collier’s Weekly
Version of The Turn of the Screw. Collier’s Weekly.
ren (New York: W.W. Norton & Company 1999)
ISBN 0-393-95904-X
[7] Raine, Craig. “Sex in nineteenth-century literature”. In De-
fence of T. S. Eliot. • The Tales of Henry James by Edward Wagenknecht
(New York: Frederick Ungar Publishing Co. 1984)
[8] Dinter, Sandra (2012). “The mad child in the attic: John ISBN 0-8044-2957-X
Harding’s Florence & Giles as a neo-victorian reworking of
The Turn of the Screw" (PDF). Neo-Victorian Studies 5 (1): • The Collier’s Weekly Version of The Turn of the Screw,
60–88. edited by Peter G. Beidler (Seattle: Coffeetown Press,
[9] Haralson, Eric L.; Johnson, Kendall (2009). Critical Com- 2010) ISBN 978-1-60381-018-0
panion to Henry James: A Literary Reference to His Life and
Work. Infobase Publishing. p. 293. ISBN 9781438117270.
2.12.6 Further reading
[10] Brown, Monika (1998). “Film Music as Sister Art: Adap-
tations of 'The Turn of the Screw.'". Mosaic (Winnipeg) 31
Smith, Allan Lloyd. “A Word Kept Back in “The Turn of
(1).
the Screw"". In Clive Bloom (ed), Creepers: British Horror
[11] Jays, David (1 July 2006). "Ballet - From page to stage". and Fantasy in the Twentieth Century. London and Boulder
Financial Times. Accessed 5 January 2015. CO: Pluto Press, 1993, pp. 47–63.
2.12. THE TURN OF THE SCREW 53

2.12.7 External links

• Project Gutenberg text of The Turn of the Screw (1898
book version)

• Author’s preface to the New York Edition text of The

Turn of the Screw (1908)

• Note on the various texts of The Turn of the Screw at

the Library of America web site.

• Synopsis of The Turn of the Screw from the English

Touring Opera

• turnofthescrew.com A History of Its Critical Interpre-

tations 1898-1979 Edward J. Parkinson, PhD

• The Turn of the Screw (1959) at the Internet Movie

Database
• The Innocents (1961) at the Internet Movie Database

• The Innocents (1961) at the TCM Movie Database

• The Turn of the Screw (1999) at the Internet Movie
Database
• Presence of Mind (1999) at the Internet Movie
Database
• The Others (2001) at the Internet Movie Database
Chapter 3
Short Stories
3.1 The Legend of Sleepy Hollow
"The Legend of Sleepy Hollow" is a short story of specu-
lative fiction by American author Washington Irving, con-
tained in his collection of 34 essays and short stories enti-
tled The Sketch Book of Geoffrey Crayon, Gent. Written
while Irving was living abroad in Birmingham, England,
“The Legend of Sleepy Hollow” was first published in 1820.
Along with Irving’s companion piece "Rip Van Winkle",
“The Legend of Sleepy Hollow” is among the earliest ex-
amples of American fiction with enduring popularity, espe-
cially during the Halloween season.
3.1.1 Plot
From the listless repose of the place, and
the peculiar character of its inhabitants, who are
descendants from the original Dutch settlers, this
sequestered glen has long been known by name
of Sleepy Hollow ... A drowsy, dreamy influence
seems to hang over the land, and to pervade the
very atmosphere.
— Washington Irving, The Legend of Sleepy
Hollow
The story is set in 1790 in the countryside around the
Dutch settlement of Tarry Town (historical Tarrytown,
New York), in a secluded glen called Sleepy Hollow. Sleepy
Hollow is renowned for its ghosts and the haunting atmo-
sphere that pervades the imaginations of its inhabitants and
visitors. Some residents say this town was bewitched dur-
ing the early days of the Dutch settlement. Other residents
say an old Native American chief, the wizard of his tribe,
held his powwows here before the country was discovered
by Master Hendrick Hudson. The most infamous spectre in
the Hollow is the Headless Horseman, said to be the ghost
of a Hessian trooper who had his head shot off by a stray
cannonball during “some nameless battle” of the American
Revolutionary War, and who “rides forth to the scene of
battle in nightly quest of his head”.
54
The “Legend” relates the tale of Ichabod Crane, a
lean, lanky and extremely superstitious schoolmaster from
Connecticut, who competes with Abraham “Brom Bones”
Van Brunt, the town rowdy, for the hand of 18-year-old Ka-
trina Van Tassel, the daughter and sole child of a wealthy
farmer, Baltus Van Tassel. Crane, a Yankee and an out-
sider, sees marriage to Katrina as a means of procuring Van
Tassel’s extravagant wealth. Bones, the local hero, vies with
Ichabod for Katrina’s hand, playing a series of pranks on
the jittery schoolmaster, and the fate of Sleepy Hollow’s
fortune weighs in the balance for some time. The tension
between the three is soon brought to a head. On a placid
autumn night, the ambitious Crane attends a harvest party
at the Van Tassels’ homestead. He dances, partakes in the
feast, and listens to ghostly legends told by Brom and the
locals, but his true aim is to propose to Katrina after the
guests leave. His intentions, however, are ill-fated.
After having failed to secure Katrina’s hand, Ichabod rides
home “heavy-hearted and crestfallen” through the woods
between Van Tassel’s farmstead and the Sleepy Hollow set-
tlement. As he passes several purportedly haunted spots,
his active imagination is engorged by the ghost stories told
at Baltus’ harvest party. After nervously passing under
a lightning-stricken tulip tree purportedly haunted by the
ghost of British spy Major André, Ichabod encounters a
cloaked rider at an intersection in a menacing swamp. Un-
settled by his fellow traveler’s eerie size and silence, the
teacher is horrified to discover that his companion’s head
is not on his shoulders, but on his saddle. In a frenzied race
to the bridge adjacent to the Old Dutch Burying Ground,
where the Hessian is said to “vanish, according to rule, in a
flash of fire and brimstone" upon crossing it, Ichabod rides
for his life, desperately goading his temperamental plow
horse down the Hollow. However, to the pedagogue’s hor-
ror, the ghoul clambers over the bridge, rears his horse, and
hurls his severed head into Ichabod’s terrified face.
The next morning, Ichabod has mysteriously disappeared
from town, leaving Katrina to marry Brom Bones, who was
said “to look exceedingly knowing whenever the story of
Ichabod was related.” Indeed, the only relics of the school-
3.1. THE LEGEND OF SLEEPY HOLLOW 55

master’s flight are his wandering horse, trampled saddle,
discarded hat, and a mysterious shattered pumpkin. Al-
though the nature of the Headless Horseman is left open
to interpretation, the story implies that the ghost was re-
ally Brom (an agile stunt rider) in disguise. Irving’s narrator
concludes, however, by stating that the old Dutch wives con-
tinue to promote the belief that Ichabod was “spirited away
by supernatural means,” and a legend develops around his
disappearance and sightings of his melancholy spirit.
3.1.2 Background
The Headless Horseman Pursuing Ichabod Crane (1858) by John
Quidor
tinental Army and occupied by the British. The Ameri-
cans were fortified north of Peekskill, leaving Westchester
County a thirty-mile stretch of scorched and desolated no-
man’s land, vulnerable to outlaws, raiders, and vigilantes.
Besides droves of Loyalist rangers and British light infantry,
Hessian Jägers—renowned sharpshooters and horsemen—
were among the raiders that often skirmished with Patriot
militias.[3] The Headless Horseman, said to be a decapi-
tated Hessian soldier, may have indeed been based loosely
on the discovery of just such a Jäger’s headless corpse found
in Sleepy Hollow after a violent skirmish, and later buried
by the Van Tassel family in an unmarked grave in the Old
Dutch Burying Ground.[4] The dénouement of the fictional
tale is set at the bridge over the Pocantico River in the area
of the Old Dutch Church and Burying Ground in Sleepy
Hollow.
Irving, while he was an aide-de-camp to New York Gov.
Daniel D. Tompkins, met an army captain named Ichabod
Crane in Sackets Harbor, New York during an inspection
tour of fortifications in 1814. He may have patterned the
character in “The Legend” after Jesse Merwin, who taught
at the local schoolhouse in Kinderhook, further north along
the Hudson River, where Irving spent several months in
1809.[5] The inspiration for the character of Katrina Van
Tassel is uncertain, although both Catriena Ecker Van Tes-
sel and her niece Eleanor Van Tassel Brush are buried in
the Sleepy Hollow Cemetery and have been proposed as
models.[6][7][8]

Irving wrote The Sketch Book during a tour of Europe, and

parts of the tale may also be traced to European origins.
Headless horsemen were staples of Northern European
storytelling, featuring in German, Irish (e.g. Dullahan),
Scandinavian (e.g. the Wild Hunt), and English legends
and were included in Robert Burns's "Tam o' Shanter"
(1790), and Bürger's Der wilde Jäger, translated as The
Wild Huntsman (1796). Usually viewed as omens of ill-
fortune for those who chose to disregard their apparitions,
these specters found their victims in proud, scheming per-
sons and characters with hubris and arrogance.[1] One par-
ticularly influential rendition of this folktale was recorded
by the German folklorist Karl Musäus.[2] Ichabod Crane, Respectfully Dedicated to Washington Irving.
William J. Wilgus (1819–53), artist Chromolithograph, c. 1856
During the height of the American Revolutionary War,
Irving writes that the country surrounding Tarry Town The story was the longest one published as part of The
“was one of those highly-favored places which abound with Sketch Book, which Irving issued using the pseudonym
chronicle and great men. The British and American line “Geoffrey Crayon” in 1820.[9] Alongside "Rip Van Win-
had run near it during the war; it had, therefore, been the kle", “The Legend of Sleepy Hollow” is one of Irving’s
scene of marauding, and infested with refugees, cow-boys, most anthologized, studied, and adapted sketches. Both
and all kinds of border chivalry.” stories are often paired together in books and other rep-
After the Battle of White Plains in October 1776, the coun- resentations, and both are included in surveys of early
try south of the Bronx River was abandoned by the Con- American literature and Romanticism.[10] Irving’s depic-
56
tions of regional culture and his themes of progress versus
tradition, supernatural intervention in the commonplace,
and the plight of the individual outsider in a homogeneous
community permeate both stories and helped to develop a
unique sense of American cultural and existential selfhood
during the early nineteenth century.[11]
3.1.3 Film and television variations
Will Rogers in The Headless Horseman (1922)
Notable film and television variations include:
• The Headless Horseman (1922) was a silent version di-
rected by Edward Venturini, and starring Will Rogers
as Ichabod Crane. It was filmed on location in New
York’s Hudson River Valley.
• The Adventures of Ichabod and Mr. Toad (1949), di-
rected by James Algar, Clyde Geronimi and Jack Kin-
ney, was produced by Walt Disney Productions and
narrated by Bing Crosby. It is an animated cartoon
adaptation of the story, paired with a similar treatment
of Kenneth Grahame's The Wind in the Willows. The
climactic ride is more extended than in the original
story, and the possibility is stressed that the visually
impressive Horseman is in fact a ghost rather than a
human in disguise. Later the Sleepy Hollow portion
of the film was separated from the companion film,
and shown separately as The Legend of Sleepy Hollow
in 1958.
• The Scooby-Doo Show aired “The Headless Horseman
of Halloween” in 1976.
• A short animated version produced in 1972 was nar-
rated by John Carradine and was shown in theaters a
year later with Charlotte’s Web.
CHAPTER 3. SHORT STORIES
• The Legend of Sleepy Hollow (1980), was a televi-
sion film directed by Henning Schellerup. It aired on
NBC, was filmed in Utah, and starred Jeff Goldblum
as Ichabod Crane, Meg Foster as Katrina, and Richard
Butkus as Brahm Bones. Executive producer Charles
Sellier was nominated for an Emmy Award for his
work on the movie.[12] The film is not closely adapted
from the original story, depicting Crane as a skeptic
regarding ghosts and the supernatural, although it fore-
shadows Tim Burton's similar 1999 treatment.
• “The Legend of Sleepy Hollow” (1985), an episode of
Shelley Duvall’s Tall Tales and Legends, starred Ed Be-
gley, Jr. as Ichabod Crane, Beverly D'Angelo as Kat-
rina Van Tassel, Tim Thomerson as Brom and Charles
Durning as Doffue Van Tassel, who is also the narra-
tor. It was produced and hosted by Shelley Duvall.
• In 1988 PBS and Rabbit Ears Productions produced a
multi-award winning animated adaptation and a subse-
quent book depicting the Irving story. Illustrations, di-
rection, and adaptation were done by Robert Van Nutt,
with music by Tim Story, and narration performed by
Glenn Close.
• The Real Ghostbusters featured an episode with a de-
scendant of Ichabod Crane, cursed by a headless ap-
parition on a motorcycle who viciously pursues men to
whom she is attracted.
• Another headless motorcycle rider decapitating his
victims, alluding to the traditional Headless Horseman
legend, was featured in the episode “Chopper” on the
1974 TV series Kolchak: The Night Stalker starring
Darren McGavin.
• In the Nickelodeon horror anthology television series
Are You Afraid of the Dark?, its third season episode
“The Tale of the Midnight Ride” serves as a sequel
to the classic story. In this episode a boy named Ian
Matthews moves to Sleepy Hollow, New York, where
he develops a crush on Katie. One night after the Hal-
loween dance, they see the ghost of Ichabod Crane and
send him over the bridge that the Headless Horseman
cannot cross, unintentionally prompting the Headless
Horseman to pursue them instead of Crane.
• “Sugar-Frosted Frights”, an episode of Rocko’s Mod-
ern Life, parodies the character as the Hopping Hes-
sian, who carries his right leg instead of his head.
• “Halloween Hound: The Legend of Creepy Collars”
was the second-season premiere of the PBS series
Wishbone. In this 1997 episode, Wishbone imagines
himself as Ichabod Crane and re-enacts the Headless
Horseman story in his imagination when his owner,
Joe Talbot goes on a Halloween night scavenger hunt
3.1. THE LEGEND OF SLEEPY HOLLOW
along with his two schoolmates, David Barnes and
Samantha Kepler. In Wishbone’s imagination, he is
scared off by the Headless Horseman. Like the origi-
nal story, it is heavily implied that Brom is the Head-
less Horseman when his horse’s collar resembles the
Horseman’s horse collar.
• The Legend of Sleepy Hollow (1999) was a Cana-
dian television film starring Brent Carver and Rachelle
Lefevre. It was filmed in Montreal and directed by
Pierre Gang.
• Sleepy Hollow (1999) was a feature film directed by
Tim Burton. The adaptation takes many liberties with
the plot and characters, changing Crane from the lo-
cal schoolmaster into a police constable sent from
New York City to investigate recent murders, and the
Horseman being used as a weapon against the local
landowners. Johnny Depp starred as Ichabod Crane
while Christopher Walken plays the Headless Horse-
man. The cast also featured Christina Ricci as Katrina
and Casper Van Dien as Brom.
• The Night of the Headless Horseman (1999), was an
hour-long computer animated FOX TV special utiliz-
ing motion capture.
• Sleepy Hollow High (2000), B-rate horror, direct to
video VHS and DVD. A group of teenagers are sent to
Sleepy Hollow Park Grounds to clean vandalism and
graffiti. They soon realize that someone is taking the
Legend of Sleepy Hollow too far.
• The Haunted Pumpkin of Sleepy Hollow (2002) was
an hour-long animated special from PorchLight En-
tertainment.
• The Hollow (2004) was a TV movie that premiered on
the ABC Family Channel, starring Kevin Zegers and
Kaley Cuoco. The adaptation focused on a teenage
descendant of Ichabod Crane.
• "The Legend of Sleepy Halliwell" (2004) was an
episode of the TV show Charmed. A headless horse-
man murders the teachers at Magic School by behead-
ing them.
• Sleepy Hollow (2013), a fantasy mystery drama series
co-created by Alex Kurtzman, Roberto Orci, Phillip
Iscove and Len Wiseman airing on the Fox network.
In the series, Ichabod Crane is reimagined as an En-
glish professor and turncoat during the American Rev-
olutionary War, who awakens in the 21st century and
encounters the Headless Horseman, a felled merce-
nary Crane had decapitated 250 years prior. Crane
teams up with Abbie Mills, a lieutenant in the town
of Sleepy Hollow’s sheriff’s department, and together
57
they try to stop the murderous Horseman (who is pur-
portedly Death), and uncover a conspiracy involving
supernatural forces.[13]
3.1.4 Stage and music adaptations
• “Washington Irving’s The Legend of Sleepy Hollow”,
a play in two acts by Christopher Cook (2002). Pub-
lished by Authorhouse (2008). Made its European
premiere in 2014 in Kent, England.
• In Sleepy Hollow (1913), piano suite by Eastwood
Lane
• Sleepy Hollow (1948), a Broadway musical, with
music by George Lessner and book and lyrics by
Russell Maloney and Miriam Battista. It lasted 12
performances.[14]
• The Legend of Sleepy Hollow[15] (1989), a one-act
stage adaptation by Kathryn Schultz Miller.[16]
• The Legend of Sleepy Hollow for Speaker & Orchestra
(1999), a 15-minute composition by Robert Lichten-
berger; it premiered October 2001 by Lincoln’s Sym-
phony Orchestra (Lincoln, NE) conducted by Tyler
White.
• “Ride Of The Headless Horseman” (from The Leg-
end Of Sleepy Hollow), a tone poem for orchestra
by Robert Wendel was premiered in 2001 by the
Queensland Symphony Orchestra.
• The Legend of Sleepy Hollow in Concert [17] (2004),
part musical theater, radio drama, and festival, an an-
nual production with music by Steven J. Smith, Jr. and
lyrics by Jensen Oler and Smith; it premiered in Lehi,
Utah at Olympic Park on October 8, 2004.[18]
• The Legend of Sleepy Hollow (2009), an opera, with
music and libretto by Robert Milne; available for pro-
duction through Arts Ascending, Inc.[19]
• The Legend of Sleepy Hollow (2009), an opera, with
music by William Withem and libretto by Melanie
Helton; it premiered March 27, 2009, in the Concert
Auditorium at Michigan State University.[20]
• Sleepy Hollow (2009), a musical with book and lyrics
by Jim Christian and music by Tom Edward Clark.
It premiered at Weber State University in Ogden,
Utah on October 30, 2009.[21][22] It received the 2009
Kennedy Center American College Theater Festival
Musical Theatre Award.[23]
58
• Irving’s Legend (2010–present) a dramatic retelling by
Jonathan Kruk is a one-person performance staged by
Historic Hudson Valley at the story’s setting, The Old
Dutch Church, during weekends in October.
• The Hollow (2011). Book by Hunter Foster, music &
lyrics by Matt Conner, directed by Matt Gardiner; pre-
miered at Signature Theatre in Washington, DC (Eric
Schaeffer, Artistic Director).[24]
• The Legend of Sleepy Hollow, adapted by Darkstuff
Productions at the Bierkeller Theatre Bristol, England
Christmas 2012.[25]
• Legend of Sleepy Hollows, a novelty Doo-Wop song,
recorded by Monotones of Book of Love fame
• Legend of the Headless Rider is a song by Mercyful
Fate, fronted by King Diamond, on their In the Shad-
ows album.
• Undead Ahead is a song by Motionless In White, and
appears on their album Creatures.
• Head over Hills, a song by Blitzkid
3.1.5 Audio adaptations
• Ed Begley was the narrator for a recording on both LP
and audio cassette by Caedmon Records (ISBN 978-
9995389598).
• Boris Karloff narrated a version of the story on a 1977
LP (Mr. Pickwick Records, Pickwick SPC 5156) with
original songs and sound effects.
• Ronald Colman was the host and narrator for a radio
adaptation on NBC’s Favorite Story on July 2, 1946
(requested by Walter Huston as that actor’s favorite
story).
• An adaptation was broadcast on September 19, 1947
on NBC University of the Air: American Novels.[26]
• Martin Donegan was the narrator for a recording on
CMS Records.
• Hurd Hatfield was the narrator for a recording on Spo- 3.1.6 Geographic impact
ken Arts Records in the 1960s.
• George Guidall was the narrator for a 1999 unabridged
recording on CD for Recorded Books (ISBN 978-1-
4025-5119-2).
• The Legend of Sleepy Hollow (1998) - An abridged
version narrated by Winifred Phillips and produced
for the Radio Tales series on National Public Radio.
The program was released on audiocassette by Durkin
CHAPTER 3. SHORT STORIES
Hayes Publishing Ltd in 1998 as a part of both its DH
Audio catalog and its “Paperback Audio” line (ISBN
0886469031).
• The Legend of Sleepy Hollow (2005). Produced by
The Colonial Radio Theatre on the Air and released by
Blackstone Audio. Faithfully adapted from the book
by Washington Irving, this production has an elabo-
rate music score by Jeffrey Gage, sound effects, and a
full cast. Originally released as a “Halloween Pick” by
Barnes & Noble bookstores, the production went on
to win the Ogle Award for “Best Fantasy Production
of 2005.” The cast includes Lincoln Clark as Ichabod
Crane, Joseph Zamparelli Jr. as Brom Bones, and Di-
ane Capen as Katrina Van Tassel. The book was dra-
matized, produced and directed by Jerry Robbins. On
Halloween 2005, the production was broadcast coast
to coast on XM Radio's Sonic Theater, and repeated
the following year. It continues to be one of Colonial’s
most popular titles in release.
• BBC Radio 7 (and later BBC Radio 4 Extra) has re-
peatedly broadcast a three-part reading of the story
with Martin Jarvis as the Narrator.
• Historic Hudson Valley[27] produced with Platters, a
dramatic reading of “The Legend of Sleepy Hollow”
(2008) with musical effects by Matt Noble. Parent’s
Choice gave it the Silver award in 2009, noting; “Here,
master storyteller Jonathan Kruk delivers the story as
an audio book, with colorful eloquence backed by or-
chestral radiance. While remaining true to Irving’s
original text, Kruk boosts the story’s energy through
his highly skilled reading.”[28]
• “Ichabod Crane, Master of the Occult”[29] (2012) is a
sequel to the original story, written by D. K. Thompson
and produced by Marshal Latham on the Journey Into
podcast.
• Tom Mison, who plays Ichabod Crane in the televi-
sion series Sleepy Hollow, was the narrator for a 2014
recording for Audible Studios.
• In 1997, the village of North Tarrytown, New York (as
the village had been called since the late 19th century),
where many events of the story took place, officially
changed its name to Sleepy Hollow. The high school
teams are named “the Horsemen”.
• In 2006, a large statue depicting the Headless Horse-
man chasing Ichabod Crane was placed along Route 9
in Sleepy Hollow/Tarrytown, New York.
3.1. THE LEGEND OF SLEEPY HOLLOW
U.S. postage stamp of Legend of Sleepy Hollow, issued October
1974
• Since 1996, nonprofit organization Historic Hudson
Valley has held “Legend Weekend”, an event at the
Philipsburg Manor House in Sleepy Hollow, featur-
ing a rider portraying the Headless Horseman and a
storyteller retelling The Legend of Sleepy Hollow as
a historic celebration attended by thousands annually
before Halloween.
Place names
• Town and village names:
• Sleepy Hollow, Illinois, many of the street names
reflect characters from the tale, and the image of
the Headless Horseman can be found on many
of the city’s landmarks and publications.
• Sleepy Hollow, Marin County, California, has
Irving Drive, Legend Road, Ichabod Court, Kat-
rina Lane, Van Tassel Court, Baltus Lane, Crane
Drive, and Van Winkle Drive.
• Subdivision names:
• Bethel, Connecticut, “Sleepy Hollow Estates”,
Ichabod Lane, Legend Drive, and Katrina Cir-
cle.
• Roanoke, Virginia, and Longwood, Florida,
“Sleepy Hollow”, street names such as Ichabod
and Horseman.
• Pearland, Texas, “Sleepy Hollow”, street names 3.1.8 References
such as Washington Irving Drive, Sleepy Hollow
Drive, Crane Drive, Tarrytown Lane, and Brom [1] Brian Haughton, Famous Ghost Stories: Legends and Lore.
Bones Boulevard.
• Port Jervis, New York, Sleepy Hollow Road
59
• Falls Church, Virginia, Street names Sleepy Hol-
low Road, Crane Drive, Ichabod Place, and
Horseman Lane. There is also a Sleepy Hollow
Park and Sleepy Hollow Bath & Racquet Club.
• Mt. Lebanon, Pennsylvania, Sleepy Hollow
Road
• Breinigsville, Pennsylvania, Sleepy Hollow Lane
• Spinnerstown, Pennsylvania, Sleepy Hollow
Road
• Hampden Township, Pennsylvania, “Sleepy Hol-
low”, Ichabod Court, Brom Court, and Katrina
Court.
• State Parks:
• Sleepy Hollow State Park, Laingsburg, Michigan
• Schools:
• The Ichabod Crane School District, Valatie,
New York. The school’s sports teams are called
“The Riders” and a silhouette of Ichabod Crane
on his horse is often representative of the home
team while a silhouette of the Headless Horse-
man is representative of the opponent. The
wings in the junior high school are also named
for characters and places, such as Katrina Van
Tassel and Sleepy Hollow.
• Sleepy Hollow Elementary
• Orinda, California, has Washington Lane, Sleepy Hol-
low Lane, Tarry Lane, Van Ripper Lane, Van Tassel
Lane, Tappan Lane, and Crane Court.
• Pinson, Alabama's Sleepy Hollow Subdivision has
Sleepy Hollow Drive
• Fort Wright, Kentucky, has Sleepy Hallow Road
3.1.7 See also
• Sleepy Hollow Cemetery was founded in 1849, and is
adjacent to the Old Dutch Burying Ground. They are
separately owned and administered.
• Ghost stories
• Ghost films
(2012)
[2] “Musäus Folktale”. Readprint.com. Retrieved 2014-02-18.
60
[3] Harry M. Ward, The War of Independence and the Trans-
formation of American Society, ISBN 185728657X
[4] Jonathan Kruk, Legends and Lore of Sleepy Hollow & the
Hudson Valley, ISBN 1596297980
[5] A letter from Merwin Irving was endorsed in Irving’s hand-
writing: “From Jesse Merwin, the original of Ichabod
Crane” Life and Letters of Washington Irving, New York:
G.P. Putnam and Son, 1869, vol. 3, pp. 185–186.
[6] “Catriena Ecker Van Tessel (1736–1793) – Find A Grave
Memorial”. Findagrave.com. 2005-01-10. Retrieved
February 18, 2014.
[7] “Eleanor Van Tassel Brush (1763–1861) – Find A Grave
Memorial”. Findagrave.com. Retrieved February 18, 2014.
[8] “Van Tassel Family History Homepage – Old
Families of Westchester – Van Tassel”. Freep-
ages.genealogy.rootsweb.ancestry.com. September 10,
1951. Retrieved February 18, 2014.
[9] Burstein, Andrew. The Original Knickerbocker: The Life of
Washington Irving. New York: Basic Books, 2007: 143.
ISBN 978-0-465-00853-7
[10] Manuel Herrero Puertas, “Pioneers for the Mind: Embodi-
ment, Disability, and the De-hallucination of American Em-
pire.” Atlantis. 34.1 (2012)
[11] Terence Martin, “Rip, Ichabod, and the American Imagina-
tion.” American Literature. 31.2 (1953)
[12] “Charles Sellier, creator of 'Grizzly Adams,' dies at 67”.
Variety Magazine. February 3, 2011. Retrieved February
2, 2011.
[13] Genzlinger, Neil (September 15, 2013). “An Ichabod Crane
With Backbone (but Can He Use an iPad?)". The New York
Times. Retrieved September 18, 2013.
[14] Internet Broadway Database.
[15] The Legend of Sleepy Hollow – Washington Irving – Google
Boeken. Books.google.com. Retrieved February 18, 2014.
[16] “Legend of Sleepy Hollow One Act Play for Schools and
Theatres!". childrenstheatre.easystorecreator.com. Re-
trieved November 28, 2010.
[17] “The Legend of Sleepy Hollow”. Stories in Concert. Re-
trieved February 18, 2014.
[18] “The Legend of Sleepy Hollow in Concert: Production His-
tory”. Retrieved August 11, 2012.
[19] “The Legend of Sleepy Hollow, the opera”. Retrieved Au-
gust 7, 2013.
[20] The Legend of Sleepy Hollow: An MSU Opera – YouTube.
March 26, 2009. Retrieved November 21, 2011.
CHAPTER 3. SHORT STORIES
[21] “Sleepy Hollow Legend Lives on at Regional Competition”.
weber.edu. 28 December 2009. Retrieved November 28,
2010.
[22] Hansen, Erica (October 25, 2009). “WSU creates musical of
'Sleepy Hollow' tale”. Deseret News. Retrieved November
28, 2010.
[23] “The Michael Kanin Playwriting Awards for Festival Year
2009”. March 10, 2010. Retrieved November 28, 2010.
[24] “signature-theatre.org”. signature-theatre.org. Retrieved
February 18, 2014.
[25] “Darkstuff Productions”. Darkstuff Productions. Retrieved
February 18, 2014.
[26] www.digitaldeliftp.com. “The Definitive American Novels
Radio Log”. Digitaldeliftp.com. Retrieved February 18,
2014.
[27] “hudsonvalley.org”. hudsonvalley.org. Retrieved February
18, 2014.
[28] “Parents Choice”.
[29] Into, Journey (November 11, 2012). “Journey Into...: Jour-
ney #50 – Ichabod Crane, Master of the Occult by D.K.
Thompson”. Journeyintopodcast.blogspot.com. Retrieved
February 18, 2014.
3.1.9 Further reading
• Thomas S. Wermuth (2001). Rip Van Winkle’s Neigh-
bors: The Transformation of Rural Society in the Hud-
son River Valley. State University of New York Press.
ISBN 0-7914-5084-8.
3.1.10 External links
• The Legend of Sleepy Hollow original text with human-
read audio.
• “The Legend of Sleepy Hollow” from The Harvard
Classics (1917), hosted online at Bartleby.com.
• “The Legend of Sleepy Hollow” at American Litera-
ture.
• The Legend of Sleepy Hollow public domain audiobook
at LibriVox
• “Sleepy Hollow”, a non-fiction description of the
story’s locale written by Washington Irving in 1839.
• Sleepy Hollow Cemetery. Founded in 1849, it is ad-
jacent to but separate from the Old Dutch Burying
Ground.
3.2. THE LOTTERY 61

• The Adventures of Ichabod and Mr. Toad at the the drawing is over and Tessie is picked, the slips are al-
Internet Movie Database lowed to fly off into the wind. In keeping with tradition,
each villager obtains a stone and begins to surround Tessie.
• The Legend of Sleepy Hollow at the Internet Movie The story ends as Tessie is stoned to death while she be-
Database moans the unfairness of the situation.

• Sleepy Hollow at the Internet Movie Database

3.2.2 Reception

Readers
3.2 The Lottery
Many readers demanded an explanation of the situation in
This article is about the short story. For other uses, see the story, and a month after the initial publication, Shirley
Lottery (disambiguation). Jackson responded in the San Francisco Chronicle (July 22,
1948):
"The Lottery" is a short story by Shirley Jackson, written
in June 1948 and first published in the June 26, 1948 issue Explaining just what I had hoped the story to
of The New Yorker.[1] The story describes a small town in say is very difficult. I suppose, I hoped, by setting
contemporary America which has an annual ritual known as a particularly brutal ancient rite in the present and
“the lottery”. It has been described as “one of the most fa- in my own village to shock the story’s readers
mous short stories in the history of American literature.”[2] with a graphic dramatization of the pointless vi-
olence and general inhumanity in their own lives.
Initial response to the story was negative, surprising Jack-
son and The New Yorker. Readers canceled subscriptions
and sent hate mail throughout the summer.[3] The story was Jackson lived in North Bennington, Vermont, and her com-
banned in the Union of South Africa.[4] ment reveals that she had Bennington in mind when she
wrote “The Lottery.” In a 1960 lecture (printed in her 1968
collection, Come Along with Me), Jackson recalled the hate
3.2.1 Plot mail she received in 1948:

Details of contemporary small-town American life are em-
broidered upon a description of an annual ritual known as
“the lottery”. In a small village of about 300 residents, the
locals are in an excited yet nervous mood on June 27. Chil-
dren gather stones as the adult townsfolk assemble for their
annual event, which in the local tradition is practiced to en-
sure a good harvest (Old Man Warner quotes an old proverb:
“Lottery in June, corn be heavy soon”), though there are
some rumors that nearby communities are talking about giv-
ing up the lottery.
The lottery preparations start the night before with Mr.
Summers and Mr. Graves making the paper slips and the
list of all the families. Once the slips are finished, they are
put into a black box, which is stored overnight in a safe at
the coal company and other various places in the town. The
next morning the townspeople start close to 10 a.m. in or-
der to have everything done in time for lunch. First, the
heads of the households draw slips until every head of the
household has a slip; Bill Hutchinson gets the one slip with
a black spot, meaning that his family has been chosen. The
second round is for the family members to draw. For the
first round, the men have to be over sixteen years of age;
however, in the second round everyone is eligible, no mat- The New Yorker kept no records of the phone calls, but
ter their age. Bill’s wife Tessie gets the marked slip; after letters addressed to Jackson were forwarded to her. That
One of the most terrifying aspects of publish-
ing stories and books is the realization that they
are going to be read, and read by strangers. I had
never fully realized this before, although I had
of course in my imagination dwelt lovingly upon
the thought of the millions and millions of peo-
ple who were going to be uplifted and enriched
and delighted by the stories I wrote. It had sim-
ply never occurred to me that these millions and
millions of people might be so far from being up-
lifted that they would sit down and write me let-
ters I was downright scared to open; of the three-
hundred-odd letters that I received that summer
I can count only thirteen that spoke kindly to me,
and they were mostly from friends. Even my
mother scolded me: “Dad and I did not care at
all for your story in The New Yorker,” she wrote
sternly; “it does seem, dear, that this gloomy kind
of story is what all you young people think about
these days. Why don't you write something to
cheer people up?"[3]
62 CHAPTER 3. SHORT STORIES

summer she regularly took home 10 to 12 forwarded let- Fritz Oehlshlaeger, in “The Stoning of Mistress Hutchinson
ters each day. She also received weekly packages from The Meaning of Context in 'The Lottery'" (Essays in Literature,
New Yorker containing letters and questions addressed to 1988), wrote:
the magazine or editor Harold Ross, plus carbon copies of
the magazine’s responses mailed to letter writers.
The name of Jackson’s victim links her to
Anne Hutchinson, whose Antinomian beliefs,
Curiously, there are three main themes which found to be heretical by the Puritan hierarchy,
dominate the letters of that first summer— resulted in her banishment from Massachusetts
three themes which might be identified as be- in 1638. While Tessie Hutchinson is no spiri-
wilderment, speculation and plain old-fashioned tual rebel, to be sure, Jackson’s allusion to Anne
abuse. In the years since then, during which Hutchinson reinforces her suggestions of a re-
the story has been anthologized, dramatized, bellion lurking within the women of her imag-
televised, and even—in one completely mysti- inary village. Since Tessie Hutchinson is the
fying transformation—made into a ballet, the protagonist of “The Lottery,” there is every in-
tenor of letters I receive has changed. I am ad- dication that her name is indeed an allusion to
dressed more politely, as a rule, and the letters Anne Hutchinson, the American religious dis-
largely confine themselves to questions like what senter. She was excommunicated despite an un-
does this story mean? The general tone of the fair trial, while Tessie questions the tradition and
early letters, however, was a kind of wide-eyed, correctness of the lottery as well as her humble
shocked innocence. People at first were not so status as a wife. It might as well be this insubor-
much concerned with what the story meant; what dination that leads to her selection by the lottery
they wanted to know was where these lotteries and stoning by the angry mob of villagers.
were held, and whether they could go there and
watch.[3]
The 1992 episode of The Simpsons, "Dog of Death", fea-
tures a scene referencing “The Lottery”. During the peak
Critical interpretations of the lottery fever in Springfield, news anchor Kent Brock-
man announces on television that people hoping to get tips
Helen E. Nebeker’s essay, "'The Lottery': Symbolic Tour de on how to win the jackpot have borrowed every available
Force”, in American Literature (March 1974), claims that copy of Shirley Jackson's book The Lottery at the local li-
every major name in the story has a special significance. brary. One of them is Homer, who throws the book into
the fireplace after Brockman reveals that, “Of course, the
book does not contain any hints on how to win the lottery.
By the end of the first two paragraphs, Jack- It is, rather, a chilling tale of conformity gone mad.”[5] In
son has carefully indicated the season, time of an- her book Shirley Jackson: Essays on the Literary Legacy,
cient excess and sacrifice, and the stones, most Bernice Murphy comments that this scene displays some
ancient of sacrificial weapons. She has also of the most contradictory things about Jackson: “It says a
hinted at larger meanings through name symbol- lot about the visibility of Jackson’s most notorious tale that
ism. "Martin", Bobby’s surname, derives from more than 50 years after its initial creation it is still famous
a Middle English word signifying ape or mon- enough to warrant a mention in the world’s most famous sit-
key. This, juxtaposed with “Harry Jones” (in all com. The fact that Springfield’s citizenry also miss the point
its commonness) and “Dickie Delacroix” (of-the- of Jackson’s story completely [...] can perhaps be seen as
Cross) urges us to an awareness of the Hairy Ape an indication of a more general misrepresentation of Jack-
within us all, veneered by a Christianity as per- son and her work.”[5] Few critics have addressed the fact
verted as “Delacroix,” vulgarized to “Dellacroy” Jackson wrote the story in one two-hour sitting.
by the villagers. Horribly, at the end of the story,
it will be Mrs. Delacroix, warm and friendly
in her natural state, who will select a stone “so
large she had to pick it up with both hands” and 3.2.3 Dramatizations
will encourage her friends to follow suit ... “Mr.
Adams,” at once progenitor and martyr in the In addition to numerous reprints in magazines, anthologies
Judeo-Christian myth of man, stands with “Mrs. and textbooks, “The Lottery” has been adapted for radio,
Graves”—the ultimate refuge or escape of all live television, a 1953 ballet, films in 1969 and 1997, a TV
mankind—in the forefront of the crowd. movie, an opera, and a one-act play by Thomas Martin.
3.2. THE LOTTERY
1951 radio version
NBC's radio adaptation was broadcast March 14, 1951,
as an episode of the anthology series NBC Presents: Short
Story. Writer Ernest Kinoy[6][7] expanded the plot to in-
clude scenes at various characters’ homes before the lot-
tery and a conversation between Bill and Tessie Hutchinson
(Bill suggests leaving town before the lottery happens, but
Tessie refuses because she wants to go shopping at Floyd
Summers’s store after the lottery is over). Kinoy deleted
certain characters, including two of the Hutchinsons’ three
children, and added at least one character, John Gunderson,
a schoolteacher who publicly objects to the lottery being
held, and at first refuses to draw. Finally, Kinoy included
an ending scene describing the townspeople’s post-lottery
activities, and an afterword in which the narrator suggested,
“Next year, maybe there won't be a Lottery. It’s up to all of
us. Chances are, there will be, though.”[7] The production
was directed by Andrew C. Love.[6][8]
Television adaptation
Ellen M. Violett wrote the first television adaptation, seen
on Albert McCleery's Cameo Theatre (1950–55). 3.2.5
1969 film
Larry Yust’s short film, The Lottery (1969), produced as
part of Encyclopædia Britannica's 'Short Story Showcase'
series, was ranked by the Academic Film Archive “as one of 3.2.6 External links
the two bestselling educational films ever.” It has an accom-
panying ten-minute commentary film, Discussion of “The
Lottery” by University of Southern California English pro-
fessor Dr. James Durbin. Featuring the film debut of Ed
Begley, Jr., Yust’s adaptation has an atmosphere of natu-
ralism and small town authenticity with its shots of pick-up • The Lottery study guide and teaching guide – analysis,
trucks and townspeople in Fellows, California. [9]
1996 TV film
Anthony Spinner’s feature-length TV film, The Lottery,
which premiered September 29, 1996, on NBC, is a sequel
loosely based on the original Shirley Jackson story. It was
nominated for a 1997 Saturn Award for Best Single Genre
Television Presentation.
3.2.4 References
[1] Shirley Jackson (26 June 1948). “Fiction: “The Cheating
game” (abstract of story)". The New Yorker. Retrieved
2008-05-22.
63
[2] Harris, Laurie Lantzen (1999). ''Biography Today'' Volume
three. Salem Omnigraphics. ISBN 9780780804029. Re-
trieved 2012-06-26.
[3] Shirley Jackson; Stanley Edgar Hyman (1968) Come Along
with Me; Part of a Novel, Sixteen Stories, and Three Lectures,
Viking Press, New York ISBN 978-0-6702-3158-4
[4] Hyman, Stanley Edgar. “Introduction”, Just an Ordinary
Day. Bantam, 1995.
[5] Murphy, Bernice M. (2005). “Introduction: 'Do You Know
Who I Am?', Reconsidering Shirley Jackson”. Shirley Jack-
son: Essays on the Literary Legacy. McFarland & Company.
p. 1. ISBN 978-0-7864-2312-5. Retrieved 2009-09-20.
[6] Goldin, J. David. “Radio Goldindex”. NBC Short Story. Re-
trieved 9 July 2012.
[7] “NBC Short Story”. The Lottery. The Generic Radio Work-
shop Vintage Radio Script Library. Retrieved July 9, 2012.
[8] “NBC Short Story” (audio). “The Lottery”. Matinee Clas-
sics. Retrieved July 9, 2012.
[9] The Lottery at the Internet Movie Database
Sources
• Oppenheimer, Judy (1988), Private Demons: The Life
of Shirley Jackson, New York: Putnam, ISBN 0-399-
13356-9.
• Detailed plot summary of “The Lottery”
• Salon: Jonathan Lethem: “Monstrous Acts and Little
Murders”
themes, quotes, multimedia for students and teachers
Audio
• The New Yorker podcast: A. M. Homes discusses and
reads “The Lottery”
• NBC Short Story: “The Lottery” (March 14, 1951)
• “The Lottery” read by Maureen Stapleton
• 1988 interview with Judy Oppenheimer
Video
• Augustin Kennady’s 2007 Film Adaptation of “The
Lottery” on YouTube
64
3.3 The Monkey’s Paw
This article is about the short story by W. W. Jacobs. For
other uses, see The Monkey’s Paw (disambiguation).
"The Monkey’s Paw" is a supernatural short story by au-
thor W. W. Jacobs first published in England in 1902.
In the story, three wishes are granted to the owner of the
monkey’s paw, but the wishes come with an enormous price
for interfering with fate.
3.3.1 Plot
The short story involves Mr. and Mrs. White and their
adult son, Herbert. Sergeant-Major Morris, a friend of the
Whites who has been part of the British Army in India, in-
troduces them to the monkey’s paw, telling of its mysterious
powers to grant three wishes and of its journey from an old
fakir to his comrade, who used his third wish to wish for
death.
Sergeant-Major Morris, having had a bad experience upon
using the paw, throws the monkey’s paw into the fire but
White quickly retrieves it. Morris warns White, but White,
thinking about what the paw could be used for, ignores him.
Mr. White wishes for £200 to be used as the final payment
on his house. The next day his son Herbert leaves for work
at a local factory. Later that day, word comes to the White
home that Herbert has been killed in a machinery accident.
Although the employer disclaims tortious responsibility for
the incident, the firm makes a goodwill payment to heirs of
the deceased. The payment is £200.
Ten days after the funeral, Mrs. White, almost mad with
grief, asks her husband to use the paw to wish Herbert back
to life. Reluctantly, he does so. Shortly afterwards there is
a knock at the door. Mrs. White fumbles at the locks in
an attempt to open the door. Mr. White knows, however,
that he cannot allow their revived son in, as his appearance
will be too hideous. Mr. White was required to identify the
body, which had been mutilated by the accident. It has now
been buried for more than a week. While Mrs. White tries
to open the door, Mr. White makes his third wish, and the
knocking stops. Mrs. White opens the door to find no one
there.
3.3.2 Versions in other media
The story has been adapted into other media many times,
including: 3.3.5
• On 6 October 1903, a one-act play opened at Lon-
CHAPTER 3. SHORT STORIES
don’s Haymarket Theatre, starring Cyril Maude as Mr.
White and Lena Ashwell as Mrs. White.[1]
• A 1933 film version, screenplay by Graham John, di-
rected by Wesley Ruggles (his last film with RKO), and
starring C. Aubrey Smith, Ivan Simpson and Louise
Carter.[2]
• A 1948 film version, screenplay by Norman Lee and
Barbara Toy.[3]
• “The Monkey’s Paw -- A Retelling”, aired on TV on
April 19, 1965 in season 3, episode 26 of The Alfred
Hitchcock Hour, starring Leif Erickson, Jane Wyatt,
and Lee Majors.
• “The Monkey’s Paw” was adapted as a radio play narrated
by Christopher Lee in 2004 as part of the BBC radio drama
series Christopher Lee’s Fireside Tales.[4]
• A one-act Opera of the story was adapted by com-
poser, Stephen J. Grieco in 1996 and was premiered
at the Alice E. Bartlett Theatre. [5]
• An operatic version of the story was adapted by com-
poser, Jonathan N. Kupper in 2009. Excerpts of the
piece were showcased as part of Opera Vista's new
opera competition in Houston, TX in 2010; and a full
production was premiered by The Microscopic Opera
Company in Pittsburgh, PA in 2011.[6]
3.3.3 Variations, parodies
Main article: List of adaptations of The Monkey’s Paw
A great number of novels, stories, movies, plays and comics
are variations or adaptations of the story, featuring similar
plots built around wishes that go awry in macabre ways, oc-
casionally with references to monkey’s paws or to the story
itself.
The story is frequently parodied on television shows and in
comic books.
3.3.4 See also
• Unintended consequences
References
[1] Jacobs, W. W.; Parker, Louis N. (1910). The Monkey’s Paw:
A Story in Three Scenes. London: Samuel French, Ltd. p. 5.
3.4. THE MOST DANGEROUS GAME 65

[2] Jewell, Richard B.; Harbin, Vernon (1982). The RKO Story. on deck. While Whitney returns to his quarters Rainsford
New York: Arlington House. p. 57. ISBN 0-517-546566. hears gunshots, climbs onto the yacht’s rail to get a better
view of the nearby Ship-Trap Island, and falls overboard.
[3] Soister, John T. (2004). Up from the Vault: Rare thrillers of
the 1920s and 1930s. McPharland. p. 133.
After he realizes he cannot swim back to the boat, he swims
to Ship-Trap, which is notorious for shipwrecks. He finds
[4] http://www.bbc.co.uk/programmes/b018js2l a palatial chateau inhabited by two Cossacks: the owner,
General Zaroff, and his gigantic deaf-mute servant, Ivan.
[5] http://www.fredonia.edu/rac/bartlett.asp
Zaroff, another big-game hunter, knows of Rainsford from
[6] http://www.microscopicopera.org/#! his published account of hunting snow leopards in Tibet.
the-monkeys-paw--happy-garden-of-life/crlr After inviting him to dinner, General Zaroff tells Rainsford
he is bored of hunting because it no longer challenges him;
he has moved to Ship-Trap in order to capture shipwrecked
3.3.6 External links sailors, whether due to storms or by luring vessels onto the
rocks. He sends the sailors into the jungle supplied with
• “The Monkey’s Paw”; Full Short Story Text food, a knife, and hunting clothes to be his quarry. After
• Gaslight edition of the story a three-hour head start, he sets out to hunt and kill them.
Any captives who can elude Zaroff, Ivan, and a pack of
• Monkey’s Paw Radio Play hunting dogs for three days are set free; however, no one
has eluded him that long. Zaroff invites Rainsford to join
• Podcast of “The Monkey’s Paw” as read by John Lith- him in his hunt, but Rainsford is appalled by Zaroff’s mo-
gow tives and refuses. Zaroff then tells Rainsford that he can
• Books That Grow leveled book choose whether he will be the next to be hunted or whipped
to death by Ivan; Rainsford chooses to be hunted.
During the three-hour head start, Rainsford begins to lay an
3.4 The Most Dangerous Game intricate trail in the forest and then climbs a tree. Zaroff
finds him easily, but decides to play with him like a cat
This article is about the short story by Richard Connell. would a mouse. After the failed attempt of eluding Zaroff,
For the film, see The Most Dangerous Game (film). For Rainsford builds a Malay-man-catcher, a weighted log at-
the novel by Gavin Lyall, see The Most Dangerous Game tached to a trigger. This contraption injures Zaroff’s shoul-
(novel). der, causing him to return home for the night. The next
day Rainsford creates a Burmese tiger pit, which kills one
of Zaroff’s hounds. He sets a native Ugandan knife trap,
"The Most Dangerous Game", also published as "The which impales and kills Ivan, but costs him his knife. To
Hounds of Zaroff", is a short story by Richard Connell, escape Zaroff and his approaching hounds, Rainsford dives
first published in Collier’s book on January 19, 1924. The off a cliff into the sea; Zaroff, disappointed at Rainsford’s
story features a big-game hunter from New York who falls apparent suicide, returns home.
off a yacht and swims to an isolated island in the Caribbean,
Zaroff locks himself in his bedroom and turns on the lights
where he is hunted by a Cossack aristocrat. The story is in-
only to find Rainsford waiting for him; he had swum around
spired by the big-game hunting safaris in Africa and South
America that were particularly fashionable among wealthy the island in order to sneak into the chateau. Zaroff congrat-
Americans in the 1920s. ulates him on winning the “game,” but Rainsford decides to
fight him, saying he is still a beast-at-bay and that the orig-
The story has been adapted numerous times, most notably inal hunt is not over. Accepting the challenge, Zaroff says
for the 1932 RKO Pictures film The Most Dangerous Game, that the loser will be fed to the dogs, while the winner will
starring Joel McCrea and Leslie Banks, and for a 1943 sleep in his bed. Though the ensuing fight is not described,
episode of the CBS Radio series Suspense, starring Orson the story ends with Rainsford observing that “he had never
Welles. slept in a better bed,” implying that he defeated and killed
Zaroff.
3.4.1 Synopsis
Sanger Rainsford and his friend, Whitney, travel to Rio
de Janeiro to hunt the region’s big cat: the jaguar. After
a discussion about how they are “the hunters” instead of
“the huntees”, Whitney goes to bed and Rainsford remains
66
Theatrical release poster for The Most Dangerous Game (1932)
3.4.2 Adaptations and in popular culture
Film
This story has been adapted to film numerous times. The
most significant of these adaptations — and the only film
to use the original characters — was RKO Pictures' film re-
leased in 1932, The Most Dangerous Game. Joel McCrea
stars as Rainsford; Leslie Banks portrays Zaroff. The adap-
tation by James Ashmore Creelman adds two other princi-
pal characters, brother-and-sister pair Eve Trowbridge (Fay
Wray) and Martin Trowbridge (Robert Armstrong), who
are castaways from a shipwreck. The Most Dangerous Game
was co-directed by Ernest B. Schoedsack and Irving Pichel;
also with a score by Max Steiner, the film was a favorite
project of producer Merian C. Cooper. The production
shared several sets with King Kong (1933), a simultaneous
RKO project that also involved Schoedsack, Cooper, Wray,
Armstrong, Creelman, and Steiner. The Most Dangerous
Game was a modest success.[1][2]:51 The story has also been the basis for plots in several televi-
RKO produced a remake titled A Game of Death (1945), di- sion series: Supernatural’s episode “The Benders”, Xena:
rected by Robert Wise, from a screenplay Norman Houston Warrior Princess’ episode “Dangerous Prey”, Criminal
CHAPTER 3. SHORT STORIES
wrote. This film stars John Loder and Audrey Long, with
Edgar Barrier as the mad hunter.[2]:206 In order to keep with
events of that time, A Game of Death changed Zaroff into
“Erich Kreiger”, a Nazi, and was set in the aftermath of the
Second World War.
In 1956, United Artists released another film adaptation,
Run for the Sun, starring Richard Widmark, Trevor Howard
and Jane Greer.[2]:206
In 1961, the film Bloodlust! was released, directed by Ralph
Brooke and starring Wilton Graff as the Zaroff-type char-
acter, and Robert Reed as the leader of a band of youths
who become stranded on the island.
John Woo's first Hollywood directorial effort, the Jean-
Claude Van Damme thriller Hard Target (1993), was
loosely based on the same story. The locale was shifted to
1990s New Orleans, with homeless Vietnam war veterans
voluntarily serving (in return for potential payment from a
shady businessman) as human prey.
In Surviving the Game (1994), a homeless man is hired as
a survival guide for a group of wealthy businessmen on a
hunting trip in the mountains. He is unaware that they are
killers who hunt humans for sport, and that he is their new
prey. Directed by Ernest R. Dickerson, the film stars Rutger
Hauer, Ice-T, and Charles S. Dutton.
In The Eliminator (2004), seven captured people are hunted
at night for sport on an island as a betting game for the
wealthy.
In Beyond the Reach (2014), A high-rolling corporate shark
and his impoverished young guide play the most dangerous
game during a hunting trip in the Mojave Desert.
Radio
In the 1940s “The Most Dangerous Game” was presented
three times as a radio play. On September 23, 1943, it aired
on the CBS series, Suspense, and starred Orson Welles as
Zaroff and Keenan Wynn as Rainsford. On February 1,
1945, it was presented with J. Carrol Naish as Zaroff and
Joseph Cotten as Rainsford.[3] Both Suspense productions
presented an adaptation by Jack Finke in which Rainsford
narrates the story in retrospect as he waits in Zaroff’s bed-
room for the final confrontation
On October 1, 1947, another adaption was used for the CBS
radio program, Escape.[4]
Television
3.4. THE MOST DANGEROUS GAME 67

Minds’ episode “Open Season”, and Archer’s episode “El into the hills, and hunt them with crossbows for sport, re-
Contador”. ferring the men as “bucks” and the women as “does.”
In Get Smart’s episode, “Island of the Darned”, Agents 86 In Season 13 Episode 15, “Hunting Ground” of Law and
and 99 are trapped on an island with a mad KAOS killer, Order: SVU, a serial rapist and killer lures female escorts
Hans Hunter. after their date to a remote area where he sets them free
In the pilot episode of Fantasy Island, a big game hunter while he hunts them down to recapture them again.
comes to the island to be hunted by a man, an interest- In the Disney Cartoon series The Mighty Ducks the heros
ing twist on the usual version that the hunted participates are trapped on a island and are being hunted.
against their will. In the Cartoon series “M for Monkey” the hero Monkey is
In Gilligan’s Island’s episode “The Hunter”, big-game trapped and by a big game hunter; that the hunter makes a
hunter Jonathan Kincaid (Rory Calhoun) turned his sights cameo in the cartoon series Samurai Jack
on Gilligan when he realized there were no wild animals on
the island.
In the series finale of "Bonanza", entitled “The Hunter”, A Other adaptations
deranged killer, Corporal Bill Tanner (Tom Skerritt) who
was formerly a tracker for the U.S. Army hunts Little Joe The story has also served as an inspiration for books and
(Michael Landon). films like Battle Royale, Predator, and The Hunger Games.
The Canadian show Relic Hunter had an episode called In an example from television, the 15th episode of Season 1
“Run Sydney Run” that was very closely based off The Most of Supernatural included a family who would trap humans,
Dangerous Game, with Peter Stebbings acting as General let them loose, then hunt them, taking pictures with the bod-
Tsarlov. ies afterward. This is largely reminiscent of The Most Dan-
The Simpsons’ Halloween special "Treehouse of Horror gerous Game.
XVI" contained a segment “Survival of the Fattest” which In the anime series Psycho-Pass, episodes 10 and 11 feature
parodied the story closely. In this segment Mr. Burns in- a wealthy cyborg tycoon who dons gentleman’s hunting gear
vited much of the cast to his hunting lodge on a private and hunts people in an underground maze with his robotic
island only to reveal that he intended to hunt them all for hounds.
sport.
The John Leguizamo comedy, The Pest, was loosely based
In an episode of the American animated sitcom American on this story.
Dad!, the Smith family and a young woman become
In the video game Hitman: Contracts, the mission “Belding-
stranded on an island after Francine jumps off a cruise. Stan
ford Manor” takes inspiration from this story.
goes up to the mansion on this island to ask for help, but the
inhabitants say that they are going to hunt the family. The In the video game "Rayman 3: Hoodlum Havoc", The char-
Smiths and the young woman become trapped in a cave, acter Razoff takes inspiration from General Zaroff, even
where the young woman dies and they eat her to survive. sharing similar names.
The hunters then break into the cave and shoot the fam- In Clive Cusslers Book “DRAGON” Dirk Pitt is chased by
ily. Stan sits up, realizing it’s paint. At a party later, the “Kamatori” On Soseki Island
hunters reveal that nobody really dies on The Most Danger-
ous Game island.
The Incredible Hulk episode, “The Snare,” has David Ban-
3.4.3 Real-life parallels
ner trapped on a private island owned by an insane hunter
who not only craves the challenge of hunting humans, but
considers the discovery of Banner’s powerful Hulk form as Robert Hansen, a serial killer who was active in the early
a sign of a particularly appealing quarry. 1980s, would kidnap women and release them in Alaska’s
Knik River Valley. He would then hunt them, armed with
The Outer Limits episode "The Hunt", is a story in which a knife and a Ruger Mini-14 rifle.[5][6]
the hunting of animals has been banned by environmental-
ists, and black market hunting of obsolete androids takes its Hayes Noel, Bob Gurnsey, and Charles Gaines discussed in
place. 1976 Gaines’ recent trip to Africa and his experiences hunt-
ing African buffalo. Inspired in part by The Most Danger-
In Season 2, Episode 21, “Open Season,” of Criminal ous Game, they created paintball in 1981—a game where
Minds, two brothers capture people stranded in a remote re- they would stalk and hunt each other— to recreate the same
gion of the wilderness outside Challis, Idaho, release them adrenaline rush from hunting animals.[7]
68 CHAPTER 3. SHORT STORIES

3.4.4 Zodiac Killer 3.5.1 Summary

There is a reference to The Most Dangerous Game in letters
the Zodiac Killer wrote to San Francisco Bay Area newspa-
pers in his three-part cipher: “Man is the most dangerous
animal of all to kill.”[8] The Most Dangerous Game film is
also mentioned a number of times in the context of the Zo-
diac Killer in the 2007 film, Zodiac.
3.4.5 See also
• Human hunting
3.4.6 References
[1] “The Most Dangerous Game”. AFI Catalog of Feature Films. never return and that the new mother is coming and disap-
Retrieved 2014-02-18.
[2] Jewell, Richard B., The RKO Story. New Rochelle, New the house and await their mother’s return. The new mother
York: Arlington House, 1982. ISBN 0-517-54656-6
[3] “Suspense”. RadioGOLDINdex. Retrieved 2014-02-17.
[4] “Escape”. RadioGOLDINdex. Retrieved 2014-02-17.
[5] Lohr, David. “Hunting Humans”. truTV Crime Library. Re-
trieved 2010-07-12.
[6] “ExploreNorth – Robert Hansen, A Serial Killer in Alaska”.
Explorenorth.com. Retrieved 2010-07-12.
The story concerns two well-behaved children, living with
their mother and their baby sibling in the forest while their
father is far away at sea. One day the children meet a strange
little girl, who tells them that she has a tiny man and woman
in a box, and will only show them to naughty children. The
children return home, and do their best to be naughty de-
spite their love for their mother. The mother, despondent,
tells the children that if they don't behave she will have to
go away with the baby, and be replaced by a “new mother”
with "glass eyes and a wooden tail". When the children
next meet the girl, she tells them they haven't been nearly
naughty enough, and suggests ways for them to be more
naughty. This cycle repeats three times, at the end of which
the girl tells the children that they will never be naughty
enough to see the little people and that their mother and
baby have gone away to be with the father and that they will
pears. At this point, the children’s mother and the baby have
also left. The children do not believe the girl and clean up
shows up but the children try not to let her in. They see
that she has glass eyes and a wooden tail. The children flee
into the woods and live on berries. Their real mother never
returns and the new mother lives at the house instead.
Neil Gaiman has acknowledged “The New Mother” as one
of two major influences on his 2002 novella Coraline.[1]
3.5.2 See also
• The Father-thing

[7] Davidson, Steve, et al. The Complete Guide to Paintball, 4– • Coraline

12. Hatherleigh Press, New York. 1999

[8] Zodiackiller.com 3.5.3 References

[1] “The Mother With the Button Eyes: An Exploration of the
Story Construct of the 'Other-Mother'". Retrieved Decem-
3.4.7 External links ber 25, 2012.

• The Most Dangerous Game by Richard Connell.

3.5.4 External links
• “The New Mother” at WeirdFictionReview.com.
3.5 The New Mother
“The New Mother” is a short story written by Lucy Clifford 3.6 The Raven
and first published in her collection of children’s stories, The
Anyhow Stories, Moral and Otherwise in 1882. The story This article is about the narrative poem by American writer
has been reprinted in anthologies including The Dark De- Edgar Allan Poe. For other uses, see The Raven (disam-
scent and rewritten at least once, in Scary Stories to Tell in biguation).
the Dark. "The Raven" is a narrative poem by American writer
3.6. THE RAVEN 69

vided as to the poem’s literary status, but it nevertheless

remains one of the most famous poems ever written.[4]

3.6.1 Synopsis

The Raven [5]

Once upon a midnight dreary, while I pondered, weak and

weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a
tapping,
As of some one gently rapping, rapping at my chamber
door.
"'Tis some visiter,” I muttered, “tapping at my chamber
door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the
floor.
Eagerly I wished the morrow;—vainly I had sought to bor-
“The Raven” depicts a mysterious raven’s midnight visit to a mourn- row
ing narrator, as illustrated by John Tenniel (1858). From my books surcease of sorrow—sorrow for the lost
Lenore—
For the rare and radiant maiden whom the angels name
Edgar Allan Poe. First published in January 1845, the Lenore—
poem is often noted for its musicality, stylized language, Nameless here for evermore.
and supernatural atmosphere. It tells of a talking raven's And the silken, sad, uncertain rustling of each purple cur-
mysterious visit to a distraught lover, tracing the man’s slow tain
fall into madness. The lover, often identified as being a Thrilled me—filled me with fantastic terrors never felt be-
student,[1][2] is lamenting the loss of his love, Lenore. Sit- fore;
ting on a bust of Pallas, the raven seems to further instigate So that now, to still the beating of my heart, I stood repeat-
his distress with its constant repetition of the word “Never- ing
more”. The poem makes use of a number of folk, mytho- "'Tis some visiter entreating entrance at my chamber
logical, religious, and classical references. door—
Some late visiter entreating entrance at my chamber
Poe claimed to have written the poem very logically and door;—
methodically, intending to create a poem that would ap- This it is and nothing more.”
peal to both critical and popular tastes, as he explained in Presently my soul grew stronger; hesitating then no longer,
his 1846 follow-up essay, "The Philosophy of Composi- “Sir,” said I, “or Madam, truly your forgiveness I implore;
tion". The poem was inspired in part by a talking raven But the fact is I was napping, and so gently you came rap-
in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty ping,
by Charles Dickens.[3] Poe borrows the complex rhythm And so faintly you came tapping, tapping at my chamber
and meter of Elizabeth Barrett’s poem “Lady Geraldine’s door,
Courtship”, and makes use of internal rhyme as well as That I scarce was sure I heard you”—here I opened wide
alliteration throughout. the door;—
“The Raven” was first attributed to Poe in print in the New Darkness there and nothing more.
York Evening Mirror on January 29, 1845. Its publication Deep into that darkness peering, long I stood there wonder-
made Poe widely popular in his lifetime, although it did ing, fearing,
not bring him much financial success. The poem was soon Doubting, dreaming dreams no mortal ever dared to dream
reprinted, parodied, and illustrated. Critical opinion is di- before;
70
But the silence was unbroken, and the stillness gave no to-
ken,
And the only word there spoken was the whispered word,
“Lenore?"
This I whispered, and an echo murmured back the word,
“Lenore!"—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burn-
ing,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lat-
tice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
'Tis the wind and nothing more!"
Open here I flung the shutter, when, with many a flirt and
flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or
stayed he;
But, with mien of lord or lady, perched above my chamber
door—
Perched upon a bust of Pallas just above my chamber
door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art
sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly
shore—
Tell me what thy lordly name is on the Night’s Plutonian
shore!"
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so
plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber
door—
Bird or beast upon the sculptured bust above his chamber
door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did out-
pour.
Nothing farther then he uttered—not a feather then he
fluttered—
Till I scarcely more than muttered “Other friends have flown
before—
On the morrow he will leave me, as my Hopes have flown
before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
CHAPTER 3. SHORT STORIES
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Dis-
aster
Followed fast and followed faster till his songs one burden
bore—
Till the dirges of his Hope that melancholy burden bore
Of 'Never—nevermore'.”
But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust
and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of
yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird
of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s
core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated
o'er,
But whose velvet-violet lining with the lamp-light gloating
o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an
unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted
floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels
he hath sent thee
Respite—respite and nepenthe, from thy memories of
Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost
Lenore!"
Quoth the Raven “Nevermore.”
“Prophet!" said I, “thing of evil!—prophet still, if bird or
devil!—
Whether Tempter sent, or whether tempest tossed thee here
ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I im-
plore!"
Quoth the Raven “Nevermore.”
“Prophet!" said I, “thing of evil!—prophet still, if bird or
devil!
By that Heaven that bends above us—by that God we both
adore—
Tell this soul with sorrow laden if, within the distant
Aidenn,
It shall clasp a sainted maiden whom the angels name
Lenore—
Clasp a rare and radiant maiden whom the angels name
3.6. THE RAVEN 71

Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!" I shrieked,
upstarting—
“Get thee back into the tempest and the Night’s Plutonian
shore!
Leave no black plume as a token of that lie thy soul hath
spoken!
Leave my loneliness unbroken!—quit the bust above my
door!
Take thy beak from out my heart, and take thy form from
off my door!"
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is
dreaming,
And the lamp-light o'er him streaming throws his shadow
on the floor;
And my soul from out that shadow that lies floating on the
floor
Shall be lifted—nevermore!
—Edgar Allan Poe

“The Raven” follows an unnamed narrator on a dreary night

in December who sits reading “forgotten lore” by a dying
fire [6] as a way to forget the death of his beloved Lenore.
A “tapping at [his] chamber door”[6] reveals nothing, but “Not the least obeisance made he”, as illustrated by Gustave Doré
excites his soul to “burning”.[7] The tapping is repeated, (1884)
slightly louder, and he realizes it is coming from his win-
dow. When he goes to investigate, a raven flutters into his
chamber. Paying no attention to the man, the raven perches “thing of evil” and a "prophet".[8] Finally, he asks the raven
on a bust of Pallas above the door. whether he will be reunited with Lenore in Heaven. When
the raven responds with its typical “Nevermore”, he is en-
Amused by the raven’s comically serious disposition, the raged, and, calling it a liar, commands the bird to return to
man asks that the bird tell him its name. The raven’s only the "Plutonian shore”,[8] —but it does not move. Presum-
answer is “Nevermore”.[7] The narrator is surprised that the ably at the time of the poem’s recitation by the narrator, the
raven can talk, though at this point it has said nothing fur- raven “still is sitting”[8] on the bust of Pallas. The narrator’s
ther. The narrator remarks to himself that his “friend” the final admission is that his soul is trapped beneath the raven’s
raven will soon fly out of his life, just as “other friends have shadow and shall be lifted “Nevermore”.[8]
flown before”[7] along with his previous hopes. As if an-
swering, the raven responds again with “Nevermore”.[7] The
narrator reasons that the bird learned the word “Nevermore” 3.6.2 Analysis
from some “unhappy master” and that it is the only word it
knows.[7] Poe wrote the poem as a narrative, without intentionally
[2]
Even so, the narrator pulls his chair directly in front of the creating an allegory or falling into didacticism. [9]The main
raven, determined to learn more about it. He thinks for theme of the poem is one of undying devotion. The nar-
a moment in silence, and his mind wanders back to his rator experiences a perverse conflict between desire to for-
lost Lenore. He thinks the air grows denser and feels the get and desire to remember.[10]He seems to get some plea-
presence of angels, and wonders if God is sending him a sure from focusing on loss. The narrator assumes that
sign that he is to forget Lenore. The bird again replies in the word “Nevermore” is the raven’s “only stock and store”,
the negative, suggesting that he can never be free of his and, yet, he continues to ask it questions, knowing what
memories. The narrator becomes angry, calling the raven a the answer will be. His questions, then, are purposely self-
deprecating and further incite his feelings of loss.[11] Poe
72
leaves it unclear if the raven actually knows what it is say-
ing or if it really intends to cause a reaction in the poem’s
narrator.[12] The narrator begins as “weak and weary,” be-
comes regretful and grief-stricken, before passing into a
frenzy and, finally, madness.[13] Christopher F. S. Maligec
suggests the poem is a type of elegiac paraclausithyron, an
ancient Greek and Roman poetic form consisting of the
lament of an excluded, locked-out lover at the sealed door
of his beloved.[14]
Allusions
The raven perches on a bust of Pallas Athena, a symbol of wisdom
meant to imply the narrator is a scholar. Illustration by Édouard
Manet for Stéphane Mallarmé's translation, Le Corbeau (1875).
Poe says that the narrator is a young scholar.[15] Though
this is not explicitly stated in the poem, it is mentioned in
"The Philosophy of Composition". It is also suggested by
the narrator reading books of “lore” as well as by the bust
of Pallas Athena, Greek goddess of wisdom.[1] Nepenthe, a drug mentioned in Homer's Odyssey, erases
He is reading in the late night hours from “many a quaint memories; the narrator wonders aloud whether he could re-
and curious volume of forgotten lore”.[6] Similar to the stud- ceive “respite” this way: “Let me quaff this kind nepenthe
ies suggested in Poe’s short story "Ligeia", this lore may be and forget this lost Lenore!" Poe also mentions the Balm
CHAPTER 3. SHORT STORIES
about the occult or black magic. This is also emphasized in
the author’s choice to set the poem in December, a month
which is traditionally associated with the forces of dark-
ness. The use of the raven—the “devil bird”—also suggests
this.[16] This devil image is emphasized by the narrator’s
belief that the raven is “from the Night’s Plutonian shore”,
or a messenger from the afterlife, referring to Pluto, the
Roman god of the underworld[10] (also known as Dis Pater
in Roman mythology). A direct allusion to Satan also ap-
pears: “Whether Tempter sent, or tempest tossed thee here
ashore...”
Poe chose a raven as the central symbol in the story because
he wanted a “non-reasoning” creature capable of speech.
He decided on a raven, which he considered “equally ca-
pable of speech” as a parrot, because it matched the in-
tended tone of the poem.[17] Poe said the raven is meant to
symbolize "Mournful and Never-ending Remembrance".[18]
He was also inspired by Grip, the raven in Barnaby Rudge:
A Tale of the Riots of 'Eighty by Charles Dickens.[19] One
scene in particular bears a resemblance to “The Raven":
at the end of the fifth chapter of Dickens’s novel, Grip
makes a noise and someone says, “What was that – him tap-
ping at the door?" The response is, "'Tis someone knock-
ing softly at the shutter.”[20] Dickens’s raven could speak
many words and had many comic turns, including the pop-
ping of a champagne cork, but Poe emphasized the bird’s
more dramatic qualities. Poe had written a review of Barn-
aby Rudge for Graham’s Magazine saying, among other
things, that the raven should have served a more symbolic,
prophetic purpose.[20] The similarity did not go unnoticed:
James Russell Lowell in his A Fable for Critics wrote the
verse, “Here comes Poe with his raven, like Barnaby Rudge
/ Three-fifths of him genius and two-fifths sheer fudge.”[21]
The Free Library of Philadelphia has on display a taxider-
mied raven that is reputed to be the very one that Dickens
owned and that helped inspire Poe’s poem.[22]
Poe may also have been drawing upon various references
to ravens in mythology and folklore. In Norse mythology,
Odin possessed two ravens named Huginn and Muninn, rep-
resenting thought and memory.[23] According to Hebrew
folklore, Noah sends a white raven to check conditions
while on the ark.[17] It learns that the floodwaters are begin-
ning to dissipate, but it does not immediately return with the
news. It is punished by being turned black and being forced
to feed on carrion forever.[23] In Ovid's Metamorphoses, a
raven also begins as white before Apollo punishes it by turn-
ing it black for delivering a message of a lover’s unfaithful-
ness. The raven’s role as a messenger in Poe’s poem may
draw from those stories.[23]
3.6. THE RAVEN 73

of Gilead, a reference to the Book of Jeremiah (8:22) in

the Bible: “Is there no balm in Gilead; is there no physician
there? why then is not the health of the daughter of my
people recovered?"[24] In that context, the Balm of Gilead
is a resin used for medicinal purposes (suggesting, perhaps,
that the narrator needs to be healed after the loss of Lenore).
He also refers to “Aidenn”, another word for the Garden of
Eden, though Poe uses it to ask if Lenore has been accepted
into Heaven.

Poetic structure

The poem is made up of 18 stanzas of six lines each. Gener-

ally, the meter is trochaic octameter – eight trochaic feet per
line, each foot having one stressed syllable followed by one
unstressed syllable.[3] The first line, for example (with / rep-
resenting stressed syllables and x representing unstressed):
Poe, however, claimed the poem was a combina-
tion of octameter acatalectic, heptameter catalectic, and
tetrameter catalectic.[15] The rhyme scheme is ABCBBB,
or AA,B,CC,CB,B,B when accounting for internal rhyme.
In every stanza, the 'B' lines rhyme with the word 'never-
more' and are catalectic, placing extra emphasis on the fi-
nal syllable. The poem also makes heavy use of alliteration
(“Doubting, dreaming dreams ...”).[25] 20th-century Amer-
ican poet Daniel Hoffman suggested that the poem’s struc-
ture and meter is so formulaic that it is artificial, though its
mesmeric quality overrides that.[26] The Raven and Other Poems, Wiley and Putnam, New York, 1845.

Poe based the structure of “The Raven” on the compli-

cated rhyme and rhythm of Elizabeth Barrett’s poem “Lady
Geraldine’s Courtship”.[15] Poe had reviewed Barrett’s work
in the January 1845 issue of the Broadway Journal[27] and
said that “her poetic inspiration is the highest – we can con-
ceive of nothing more august. Her sense of Art is pure in
itself.”[28] As is typical with Poe, his review also criticizes
her lack of originality and what he considers the repetitive
nature of some of her poetry.[29] About “Lady Geraldine’s
Courtship”, he said “I have never read a poem combining
so much of the fiercest passion with so much of the most
delicate imagination.”[28]

3.6.3 Publication history

Poe first brought “The Raven” to his friend and former
employer George Rex Graham of Graham’s Magazine in
Philadelphia. Graham declined the poem, which may not
have been in its final version, though he gave Poe $15 as
charity.[30] Poe then sold the poem to The American Review,
which paid him $9 for it,[31] and printed “The Raven” in its
February 1845 issue under the pseudonym “Quarles”, a ref-
erence to the English poet Francis Quarles.[32] The poem’s
first publication with Poe’s name was in the Evening Mirror
An illustration by Édouard Manet, from Mallarmé's translation, de-
picting the first two lines of the poem.
on January 29, 1845, as an “advance copy”.[15] Nathaniel
Parker Willis, editor of the Mirror, introduced it as “unsur-
passed in English poetry for subtle conception, masterly in-
genuity of versification, and consistent, sustaining of imag-
inative lift ... It will stick to the memory of everybody who
reads it.”[4] Following this publication the poem appeared
74
in periodicals across the United States, including the New
York Tribune (February 4, 1845), Broadway Journal (vol.
1, February 8, 1845), Southern Literary Messenger (vol. 11,
March 1845), Literary Emporium (vol. 2, December 1845),
Saturday Courier, 16 (July 25, 1846), and the Richmond
Examiner (September 25, 1849).[33] It has also appeared
in numerous anthologies, starting with Poets and Poetry of
America edited by Rufus Wilmot Griswold in 1847.
The immediate success of “The Raven” prompted Wiley
and Putnam to publish a collection of Poe’s prose called
Tales in June 1845; it was his first book in five years.[34]
They also published a collection of his poetry called The
Raven and Other Poems on November 19 by Wiley and Put-
nam which included a dedication to Barrett as “the Noblest
of her Sex”.[35] The small volume, his first book of poetry
in 14 years,[36] was 100 pages and sold for 31 cents.[37]
In addition to the title poem, it included “The Valley of
Unrest”, “Bridal Ballad”, "The City in the Sea", "Eulalie",
"The Conqueror Worm", "The Haunted Palace" and eleven
others.[38] In the preface, Poe referred to them as “trifles”
which had been altered without his permission as they made
“the rounds of the press”.[35]
Illustrators
Later publications of “The Raven” included artwork by
well-known illustrators. Notably, in 1858 “The Raven” ap-
peared in a British Poe anthology with illustrations by John
Tenniel, the Alice in Wonderland illustrator (The Poetical
Works of Edgar Allan Poe: With Original Memoir, Lon-
don: Sampson Low). “The Raven” was published inde-
pendently with lavish woodcuts by Gustave Doré in 1884
(New York: Harper & Brothers). Doré died before its
publication.[39] In 1875, a French edition with English and
French text, Le Corbeau, was published with lithographs by
Édouard Manet and translation by the Symbolist Stéphane
Mallarmé.[40] Many 20th-century artists and contemporary
illustrators created artworks and illustrations based on “The
Raven”, including Edmund Dulac, István Orosz,[41][42] and
Ryan Price.[43]
3.6.4 Composition
Main article: The Philosophy of Composition
Poe capitalized on the success of “The Raven” by follow-
ing it up with his essay "The Philosophy of Composition"
(1846), in which he detailed the poem’s creation. His de-
scription of its writing is probably exaggerated, though the
essay serves as an important overview of Poe’s literary the-
ory.[44] He explains that every component of the poem is
based on logic: the raven enters the chamber to avoid a
CHAPTER 3. SHORT STORIES
storm (the “midnight dreary” in the “bleak December”), and
its perch on a pallid white bust was to create visual contrast
against the dark black bird. No aspect of the poem was
an accident, he claims, but is based on total control by the
author.[45] Even the term “Nevermore”, he says, is used be-
cause of the effect created by the long vowel sounds (though
Poe may have been inspired to use the word by the works
of Lord Byron or Henry Wadsworth Longfellow).[46] Poe
had experimented with the long o sound throughout many
other poems: “no more” in "Silence", “evermore” in "The
Conqueror Worm".[1] The topic itself, Poe says, was chosen
because “the death... of a beautiful woman is unquestion-
ably the most poetical topic in the world.” Told from “the
lips ... of a bereaved lover” is best suited to achieve the de-
sired effect.[2] Beyond the poetics of it, the lost Lenore may
have been inspired by events in Poe’s own life as well, either
to the early loss of his mother, Eliza Poe, or the long illness
endured by his wife, Virginia.[10] Ultimately, Poe consid-
ered “The Raven” an experiment to “suit at once the popu-
lar and critical taste”, accessible to both the mainstream and
high literary worlds.[2] It is unknown how long Poe worked
on “The Raven"; speculation ranges from a single day to
ten years. Poe recited a poem believed to be an early ver-
sion with an alternate ending of “The Raven” in 1843 in
Saratoga, New York.[3] An early draft may have featured
an owl.[47]
3.6.5 Critical reception
In part due to its dual printing, “The Raven” made Edgar
Allan Poe a household name almost immediately,[48] and
turned Poe into a national celebrity.[49] Readers began to
identify poem with poet, earning Poe the nickname “The
Raven”.[50] The poem was soon widely reprinted, imitated,
and parodied.[48] Though it made Poe popular in his day,
it did not bring him significant financial success.[51] As he
later lamented, “I have made no money. I am as poor now
as ever I was in my life—except in hope, which is by no
means bankable”.[36]
The New World said, “Everyone reads the Poem and praises
it ... justly, we think, for it seems to us full of originality
and power.”[4] The Pennsylvania Inquirer reprinted it with
the heading “A Beautiful Poem”.[4] Elizabeth Barrett wrote
to Poe, “Your 'Raven' has produced a sensation, a fit o' hor-
ror, here in England. Some of my friends are taken by the
fear of it and some by the music. I hear of persons haunted
by 'Nevermore'.”[52] Poe’s popularity resulted in invitations
to recite “The Raven” and to lecture – in public and at pri-
vate social gatherings. At one literary salon, a guest noted,
“to hear [Poe] repeat the Raven ... is an event in one’s
life.”[53] It was recalled by someone who experienced it,
“He would turn down the lamps till the room was almost
dark, then standing in the center of the apartment he would
3.6. THE RAVEN 75

the verge of idiocy by terrible ghost stories”.[59] An anony-

mous writer going by the pseudonym “Outis” suggested in
the Evening Mirror that “The Raven” was plagiarized from
a poem called “The Bird of the Dream” by an unnamed au-
thor. The writer showed 18 similarities between the poems
and was made as a response to Poe’s accusations of pla-
giarism against Henry Wadsworth Longfellow. It has been
suggested Outis was really Cornelius Conway Felton, if not
Poe himself.[60] After Poe’s death, his friend Thomas Hol-
ley Chivers said “The Raven” was plagiarized from one of
his poems.[61] In particular, he claimed to have been the in-
spiration for the meter of the poem as well as the refrain
“nevermore”.[62]
“The Raven” has influenced many modern works, includ-
ing Vladimir Nabokov's Lolita in 1955, Bernard Malamud's
"The Jewbird" in 1963 and Ray Bradbury's “The Parrot
Who Knew Papa” in 1976.[63] The process by which Poe
composed “The Raven” influenced a number of French au-
thors and composers, such as Charles Baudelaire and Mau-
rice Ravel, and it has been suggested that Ravel’s Boléro
may have been deeply influenced by “The Philosophy
of Composition.”[64] The poem is additionally referenced
throughout popular culture in films, television, music, and
video games.

3.6.6 See also

• Cultural depictions of ravens
Gustave Doré's illustration of the final lines of the poem accompa-
nies the phrase “And my soul from out that shadow that lies floating • The Raven: The Love Story of Edgar Allan Poe by
on the floor/Shall be lifted--nevermore!" George Cochrane Hazelton

• “The Raven” in popular culture

recite ... in the most melodious of voices ... So marvelous • "Lenore" – an earlier poem by Poe
was his power as a reader that the auditors would be afraid to
draw breath lest the enchanted spell be broken.”[54] Parodies • “Outis” as a pseudonym
sprung up especially in Boston, New York, and Philadel-
phia and included “The Craven” by “Poh!", “The Gazelle”,
“The Whippoorwill", and “The Turkey”.[50] One parody, 3.6.7 Notes
“The Pole-Cat”, caught the attention of Andrew Johnston,
[1] Meyers, 163
a lawyer who sent it on to Abraham Lincoln. Though Lin-
coln admitted he had “several hearty laughs”, he had not, at [2] Silverman, 239
that point read “The Raven”.[55] However, Lincoln eventu-
ally read and memorized the poem.[56] [3] Kopley & Hayes, 192

“The Raven” was praised by fellow writers William Gilmore [4] Silverman, 237
Simms and Margaret Fuller,[57] though it was denounced by [5] “Edgar Allan Poe Society of Baltimore – Works – Poems
William Butler Yeats, who called it “insincere and vulgar ... – The Raven”. Edgar Allan Poe Society of Baltimore. De-
its execution a rhythmical trick”.[2] Transcendentalist Ralph cember 28, 2007.
Waldo Emerson said, “I see nothing in it.”[58] A critic for the
Southern Quarterly Review wrote in July 1848 that the poem [6] Poe, 773
was ruined by “a wild and unbridled extravagance” and that [7] Poe, 774
minor things like a rapping at the door and a fluttering cur-
tain would only affect “a child who had been frightened to [8] Poe, 775
76 CHAPTER 3. SHORT STORIES

[9] Cornelius, Kay. “Biography of Edgar Allan Poe” in Bloom’s [36] Peeples, 136
BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadel-
[37] Silverman, 299
phia: Chelsea House Publishers, 2002. p. 21 ISBN 0-7910-
6173-6 [38] Sova, 209
[10] Kopley & Hayes, 194 [39] Scholnick, Robert J. “In Defense of Beauty: Stedman and
the Recognition of Poe in America, 1880–1910”, collected
[11] Hoffman, 74 in Poe and His Times: The Artist and His Milieu, edited by
Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan
[12] Hirsch, 195-6
Poe Society, 1990. p. 262. ISBN 0-9616449-2-3
[13] Hoffman, 73–74 [40] “Digital Gallery for Édouard Manet illustrations — Le cor-
[14] Maligec, Christopher F. S. (2009). "'The Raven' as beau”. New York Public Library Digital Gallery. Retrieved
an Elegiac Paraclausithyron”. Poe Studies 42: 87–97. September 20, 2007.
doi:10.1111/j.1947-4697.2009.00015.x. [41] Orosz, István. “The poet in the mirror”. Gallery Diabo-
lus. Retrieved September 20, 2007.—Anamorphic illustra-
[15] Sova, 208
tion for “The Raven”
[16] Granger, 53–54 [42] Orosz, István. “The poet in the mirror”. Gallery Diabolus.
Retrieved September 20, 2007.—the same illustration with
[17] Hirsch, 195
a chrome-plated brass cylinder
[18] Silverman, 240 [43] Price, Ryan. “Illustrations by Ryan Price”. Ingram Gallery.
[19] Meyers, 162 Retrieved September 20, 2007.
[44] Krutch, 98
[20] “Cremains / Ravens”. palimpsest.stanford.edu. Archived
from the original on February 23, 2008. Retrieved April [45] Silverman, 295–296
1, 2007.
[46] Forsythe, 439–452
[21] Cornelius, Kay. “Biography of Edgar Allan Poe” in Bloom’s
[47] Weiss, 185
BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadel-
phia: Chelsea House Publishers, 2002. p. 20 ISBN 0-7910- [48] Hoffman, 80
6173-6
[49] Peeples, 133
[22] “Poe’s Raven Stuffed at Free Library”. Philadelphia Maga-
[50] Silverman, 238
zine. 31 October 2011. Retrieved 30 January 2014.
[51] Krutch, 155
[23] Adams, 53
[52] Krutch, 153
[24] Jeremiah 8:22
[53] Silverman, 279
[25] Kopley & Hayes, 192–193
[54] Krutch, 154
[26] Hoffman, 76
[55] Thomas & Jackson, 635
[27] Thomas & Jackson, 485 [56] Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his
speeches and writings. New York: De Capo Press, 2001:
[28] Meyers, 160
185. ISBN 0-306-81075-1.
[29] Peeples, 142 [57] Meyers, 184
[30] Hoffman, 79 [58] Silverman, 265
[31] Ostrom, 5 [59] Thomas & Jackson, 739

[32] Silverman, 530 [60] Moss, 169

[33] “The Poems of Edgar Allan Poe”. Edgar Allan Poe Soci- [61] Moss, 101
ety of Baltimore. April 27, 2007. Retrieved September 20, [62] Parks, Edd Winfield. Ante-Bellum Southern Literary Critics.
2007. Athens, GA: University of Georgia Press, 1962: 182.
[34] Meyers, 177 [63] Kopley & Hayes, 196
[35] Thomas & Jackson, 591 [64] Lanford, 243–265.
3.6. THE RAVEN 77

3.6.8 References • Sova, Dawn B. Edgar Allan Poe: A to Z. New York

• Adams, John F. “Classical Raven Lore and Poe’s
Raven” in Poe Studies. Vol. V, no. 2, December 1972.
Available online
• Forsythe, Robert. “Poe’s 'Nevermore': A Note”, as
collected in American Literature 7. January, 1936.
City: Checkmark Books, 2001. ISBN 0-8160-4161-
X
• Thomas, Dwight and David K. Jackson. The Poe Log:
A Documentary Life of Edgar Allan Poe, 1809–1849.
New York: G. K. Hall & Co., 1987. ISBN 0-7838-
1401-1

• Granger, Byrd Howell. “Marginalia — Devil Lore in • Weiss, Susan Archer. The Home Life of Poe. New
'The Raven'" from Poe Studies vol. V, no. 2, Decem- York: Broadway Publishing Company, 1907.
ber 1972 Available online

• Hirsch, David H. “The Raven and the Nightingale” as 3.6.9 External links
collected in Poe and His Times: The Artist and His
Milieu, edited by Benjamin Franklin Fisher IV. Balti- • Edgar Allan Poe at DMOZ
more: The Edgar Allan Poe Society, Inc., 1990. ISBN
0-9616449-2-3 • The Raven illustrated by Gustave Doré. From the Col-
lections at the Library of Congress
• Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton
Rouge: Louisiana State University Press, 1972. ISBN • Le Corbeau = The Raven: Poëme avec illustrations par
0-8071-2321-8 Édouard Manet. From the Collections at the Library
of Congress
• Kopley, Richard and Kevin J. Hayes. “Two verse mas-
terworks: 'The Raven' and 'Ulalume'", collected in The Text
Cambridge Companion to Edgar Allan Poe, edited by
Kevin J. Hayes. New York: Cambridge University
• “The Raven” – Full text of the first printing, from the
Press, 2002. ISBN 0-521-79727-6
American Review, 1845
• Krutch, Joseph Wood. Edgar Allan Poe: A Study in
• “The Raven” – Full text of the final authorized print-
Genius. New York: Alfred A. Knopf, 1926.
ing, from the Richmond Semi-Weekly Examiner, 1849
• Lanford, Michael (2011). “Ravel and 'The Raven':
• “Le Corbeau” – The French Translation of “The
The Realisation of an Inherited Aesthetic in Boléro.”
Raven” by Stéphane Mallarmé
Cambridge Quarterly 40(3), 243–265.
• “Le Corbeau” – The French Translation of “The
• Meyers, Jeffrey. Edgar Allan Poe: His Life and
Raven” by Charles Baudelaire
Legacy. New York City: Cooper Square Press, 1992.
ISBN 0-8154-1038-7 • “Bela” - The Basque Translation by Jon Mirande,
1950.
• Moss, Sidney P. Poe’s Literary Battles: The Critic in
the Context of His Literary Milieu. Southern Illinois
University Press, 1969. Commentary

• Ostrom, John Ward. “Edgar A. Poe: His Income as
Literary Entrepreneur”, collected in Poe Studies Vol.
5, no. 1. June 1982.
• Peeples, Scott. Edgar Allan Poe Revisited. New York:
Twayne Publishers, 1998. ISBN 0-8057-4572-6
• The Poe Decoder – Essay on the symbols, words and
composition of “The Raven”
• The Raven. With Literary and Historical Commentary
by John H. Ingram. London G. Redway. 1885.

• Poe, Edgar Allan. Edgar Allan Poe: Complete Tales Illustrated

& Poems. Edison, NJ: Castle Books, 2002. ISBN 0-
7858-1453-1
• Silverman, Kenneth. Edgar A. Poe: Mournful and
Never-ending Remembrance. New York: Harper
Perennial, 1991. ISBN 0-06-092331-8
• Illustrations from The Raven, Gustave Doré illustra-
tions from the University at Buffalo Libraries’ Rare &
Special Books collection
•
78 CHAPTER 3. SHORT STORIES

• The Raven illustrated by Édouard Manet' at Project

Gutenberg
•
• The Raven illustrated by Gustave Doré' at Project
Gutenberg

Audio

• Reading of 'The Raven' and text by Classic Poetry

Aloud (MP3)
• The Raven public domain audiobook at LibriVox

3.7 The Tell-Tale Heart

For other uses, see The Tell-Tale Heart (disambiguation).

"The Tell-Tale Heart" is a short story by Edgar Allan Poe

first published in 1843. The story was first published in
James Russell Lowell's The Pioneer in January 1843. “The
Tell-Tale Heart” is widely considered a classic of the Gothic
fiction genre and is one of Poe’s most famous short stories.
It is told by an unnamed narrator who endeavors to con- Illustration by Harry Clarke, 1919
vince the reader of his sanity, while describing a murder he
committed; the victim was an old man with a filmy “vulture- pale, blue “vulture-like” eye which so distresses the narra-
eye”, as the narrator calls it. The murder is carefully calcu- tor that he plots to murder the old man, though the narrator
lated, and the murderer hides the body by dismembering states that he loves the old man, and hates only the eye. The
it and hiding it under the floorboards. Ultimately the nar- narrator insists that his careful precision in committing the
rator’s guilt manifests itself in the form of the sound— murder shows that he cannot possibly be insane. For seven
possibly hallucinatory—of the old man’s heart still beating nights, the narrator opens the door of the old man’s room,
under the floorboards. It is unclear what relationship, if any, in order to shine a sliver of light onto the “evil eye”. How-
the old man and his murderer share. The narrator denies ever, the old man’s vulture-eye is always closed, making it
having any feelings of hatred or resentment for the man. impossible to “do the work”.
He states: 'I loved the old man! He had never wronged me!
He had never given me insult!'. He also denies the assump- On the eighth night, the old man awakens after the narra-
tion that he killed for greed: 'Object there was none.', 'Fortor’s hand slips and makes a noise, interrupting the narra-
his gold I had no desire.' It has been suggested that the oldtor’s nightly ritual. But the narrator does not draw back and,
man is a father figure, the narrator’s landlord, or that the after some time, decides to open his lantern. A single thin
narrator works for the old man as a servant, and that per- ray of light shines out and lands precisely on the “evil eye”,
haps his “vulture-eye” represents some sort of veiled secret,revealing that it is wide open. Hearing the old man’s heart
or power. The ambiguity and lack of details about the two beating loudly and dangerously fast from terror, the narrator
main characters stand in stark contrast to the specific plot decides to strike, jumping out with a loud yell and smoth-
details leading up to the murder. ering the old man with his own bed. The narrator then dis-
members the body and conceals the pieces under the floor-
boards, making certain to hide all signs of the crime. Even
3.7.1 Plot summary so, the old man’s scream during the night causes a neighbor
to report to the police. The narrator invites the three arriv-
“The Tell-Tale Heart” is a first-person narrative of an un- ing officers in to look around. He claims that the screams
named narrator[1] who insists he is sane but suffering from a heard were his own in a nightmare and that the man is ab-
disease (nervousness) which causes “over-acuteness of the sent in the country. Confident that they will not find any
senses”. The old man with whom he lives has a clouded, evidence of the murder, the narrator brings chairs for them
3.7. THE TELL-TALE HEART 79

and they sit in the old man’s room, on the very spot where poem "A Psalm of Life".[3] The story was slightly revised
the body is concealed, yet they suspect nothing, as the nar- when republished in the August 23, 1845, edition of the
rator has a pleasant and easy manner about him. Broadway Journal. This edition omitted Longfellow’s poem
The narrator, however, begins to feel uncomfortable and because, Poe believed, it was plagiarized.[3] “The Tell-Tale
notices a ringing in his ears. As the ringing grows louder, Heart” was [4]
reprinted several additional times during Poe’s
the narrator comes to the conclusion that it is the heartbeat lifetime.
of the old man coming from under the floorboards. The
sound increases steadily, though the officers seem to pay no
attention to it. Terrified by the violent beating of the heart, 3.7.3 Analysis
and convinced that the officers are aware of not only the
heartbeat, but his guilt as well, the narrator breaks down “The Tell-Tale Heart” uses an unreliable narrator. The ex-
and confesses. He tells them to tear up the floorboards to actness with which the narrator recounts murdering the old
reveal the body. man, as if the stealthy way in which he executed the crime
were evidence of his sanity, reveals his monomania and
paranoia.
3.7.2 Publication history
The narrator of “The Tell-Tale Heart” is generally assumed
to be male. However, some critics have suggested a woman
may be narrating; no pronouns are used to clarify one way or
the other.[5] The story starts in medias res. The story opens
with a conversation already in progress between the nar-
rator and another person who is not identified in any way.
It has been speculated that the narrator is confessing to a
prison warden, a judge, a reporter, a doctor or (anachronis-
tically) a psychiatrist.[6] In any case, the narrator explains
himself in great detail.[7] What follows is a study of terror
but, more specifically, the memory of terror, as the narra-
tor is relating events from the past.[8] The first word of the
story, “True!", is an admission of his guilt, as well as an
assurance of reliability.[6] This introduction also serves to
gain the reader’s attention.[9] Every word contributes to the
purpose of moving the story forward, exemplifying Poe’s
theories about the writing of short stories.[10]
The story is driven not by the narrator’s insistence upon his
“innocence,” but by his insistence on his sanity. This, how-
ever, is self-destructive, because in attempting to prove his
sanity he fully admits that he is guilty of murder.[11] His
denial of insanity is based on his systematic actions and his
precision, as he provides a rational explanation for irrational
behavior.[7] This rationality, however, is undermined by his
lack of motive (“Object there was none. Passion there was
none.”). Despite this, he says, the idea of murder “haunted
me day and night.”[11]
The story’s final scene shows the result of the narrator’s feel-
ings of guilt. Like many characters in Gothic fiction, he al-
lows his nerves to dictate his nature. Despite his best efforts
“The Tell-Tale Heart” in The Pioneer: A Literary and Critical at defending himself, his “over acuteness of the senses,”
Magazine, page 29
which help him hear the heart beating beneath the floor-
“The Tell-Tale Heart” was first published in January 1843 boards, is evidence that he is truly mad.[12] Poe’s contem-
in the inaugural issue of The Pioneer, a short-lived Boston poraries may well have been reminded of the controversy
magazine edited by James Russell Lowell. Poe was likely over the insanity defense in the 1840s.[13]
paid $10 for the story.[2] Its original publication included The narrator claims to have a disease that causes
an epigraph which quoted Henry Wadsworth Longfellow's hypersensitivity. A similar motif is used for Roderick
80
Usher in "The Fall of the House of Usher" (1839) and in
“The Colloquy of Monos and Una” (1841).[14] It is unclear,
however, if the narrator actually has very acute senses, or if
he is merely imagining things. If his condition is believed to
be true, what he hears at the end of the story may not be the
old man’s heart but deathwatch beetles. The narrator first
admits to hearing beetles in the wall after startling the old
man from his sleep. According to superstition, deathwatch
beetles are a sign of impending death. One variety of death-
watch beetle raps its head against surfaces, presumably as
part of a mating ritual, while others emit ticking sounds.[14]
Henry David Thoreau suggested in 1838 that deathwatch
beetles make sounds similar to a heartbeat.[15] The beating
could even be the sound of the narrator’s own heart. Alter-
natively, if the beating is really a product of the narrator’s
imagination, it is that uncontrolled imagination that leads to
his own destruction.[16]
The relationship between the old man and the narrator is
ambiguous. Their names, occupations, and places of res-
idence are not given, contrasting with the strict attention
to detail in the plot.[17] The narrator may be a servant of
the old man’s or, as is more often assumed, his son. In
that case, the “vulture-eye” of the old man may symbol-
ize parental surveillance, or the paternal principles of right
and wrong. The murder of the eye, then, is a removal of
conscience.[18] The eye may also represent secrecy: only
when the eye is found open on the final night, penetrating
the veil of secrecy, is the murder carried out.[19] However,
the focus of the story is the perverse scheme to commit the
perfect crime.[20]
Richard Wilbur has suggested that the tale is an allegori-
cal representation of Poe’s poem "To Science,” which de-
picts a struggle between imagination and science. In “The
Tell-Tale Heart,” the old man may thus represent the scien-
tific and rational mind, while the narrator may stand for the
imaginative.[21]
3.7.4 Adaptations
• The earliest acknowledged adaptation of “The Tell-
Tale Heart” was in a 1928 silent film of the same
name[22] directed by Leon Shamroy and starring Otto
Matieson as “The Insane”, William Herford as “The
Old Man” with Charles Darvas and Hans Fuerberg as
“Detectives”. It stayed faithful to the original tale,[5]
though future television and film adaptations often ex-
panded the short story to full-length feature films.[23]
• The earliest known “talkie” adaptation was a 1934 ver-
sion filmed at the Blattner Studios, Elstree, by Clifton-
Hurst Productions, directed by Brian Desmond Hurst
and starring Norman Dryden. This version was 55
minutes in length.[24]
CHAPTER 3. SHORT STORIES
• A 1941 live-action adaptation starred Joseph Schild-
kraut and was the directorial debut of Jules Dassin.[25]
• A 1953 animated short film produced by United Pro-
ductions of America and narrated by James Mason[26]
is included among the list of films preserved in the
United States National Film Registry.
• Also in 1953, a “Variation” on “The Tell-Tale Heart”
entitled “Sleep No More,” by Gaines and Feldstein,
appeared.[27]
• In 1956, an adaptation of “The Tell-Tale Heart” was
written by William Templeton for the NBC Matinee
Theatre and aired on the 6th November 1956.
• A 1960 film adaptation, The Tell-Tale Heart, adds a
love triangle to the story.[28]
• A 1971 film adaptation directed by Steve Carver, and
starring Sam Jaffe as the old man.[29]
• The film Nightmares from the Mind of Poe (2006)
adapts “The Tell-Tale Heart” along with "The Cask
of Amontillado", "The Premature Burial" and "The
Raven".
• The Radio Tales series produced the drama The Tell-
Tale Heart for National Public Radio. The story was
performed by Winifred Phillips along with music com-
posed by her.
• The Canadian radio program Nightfall presented an
adaptation on August 1, 1980.
• A 2009 thriller film, Tell-Tale, produced by Ridley
Scott and Tony Scott, credits Poe’s “The Tell-Tale
Heart” as the basis for the story of a man being haunted
by his donor’s memories, after a heart transplant.[30]
• In the 1972 film An Evening with Edgar Allan Poe,
four of Poe’s short stories are recited by Vincent Price
in front of a live audience, including “The Tell-Tale
Heart”.
• Another adaption was by Steven Berkoff in 1991, and
was broadcast on British television. This adaptation
was originally presented on British TV as part of the
acclaimed series “Without Walls”. This version was
later broadcast in the United States on the cable chan-
nel BRAVO as part of the Texaco Performing Arts se-
ries.
• A musical adaptation performed by The Alan Parsons
Project was released on their 1976 debut album, Tales
of Mystery and Imagination, and was later covered by
Slough Feg for their 2010 album, The Animal Spirits.
3.7. THE TELL-TALE HEART 81

• Another musical adaptation, entitled “Dark Chilling [4] ""The Tales of Edgar Allan Poe” (index)". eapoe.org. The
Heartbeat”, was performed by Deceased on their 2000 Edgar Allan Poe Society of Baltimore. September 30, 2007.
album Supernatural Addiction. Retrieved 2007-11-05.

[5] Sova, Dawn B. Edgar Allan Poe: A to Z. New York City:

• Yet another musical adaptation was done by the Insane
Clown Posse on their album The Riddle Box, entitled
“Ol' Evil Eye”, which covers the story of a young man
determined to kill “old man Wille on the hilltop” be-
cause of his grotesque left eye, and is interspersed with
samples from an audio recording of a reading of the
original short story.
• Radio personality Glenn Beck narrated a 15-minute
audio version, with music and sound effects, which he
plays on the radio each Halloween.
• Ryan Connolly’s 2012 short film, TELL, was inspired
and loosely based upon the short story.
Checkmark Books, 2001: 234. ISBN 0-8160-4161-X
[6] Benfey, Christopher. “Poe and the Unreadable: 'The Black
Cat' and 'The Tell-Tale Heart'", in New Essays on Poe’s Major
Tales, Kenneth Silverman, ed. Cambridge University Press,
1993. ISBN 978-0-521-42243-7, p. 30.
[7] Cleman, John. “Irresistible Impulses: Edgar Allan Poe and
the Insanity Defense”, in Bloom’s BioCritiques: Edgar Allan
Poe, edited by Harold Bloom. Philadelphia: Chelsea House
Publishers, 2002. ISBN 0-7910-6173-6, p. 70.
[8] Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biogra-
phy. Baltimore: The Johns Hopkins University Press, 1998.
ISBN 0-8018-5730-9. p. 394

• Poe’s Tell-Tale Heart: The Game, is a mobile game [9] Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy.
Cooper Square Press, 1992. p. 101. ISBN 0-8154-1038-
adaptation in which players enact the protagonist’s ac-
7
tions to recreate Poe’s story on Google Play[31] and Ap-
ple iOS. [10] Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biogra-
phy. Baltimore: The Johns Hopkins University Press, 1998.
• V.H. Belvadi’s 2012 short film, Telltale, credits Poe’s p. 394. ISBN 0-8018-5730-9
“The Tell-tale Heart” as its inspiration and borrows
[11] Robinson, E. Arthur. “Poe’s 'The Tell-Tale Heart'" in Twen-
several lines as a nod to the original work.[32]
tieth Century Interpretations of Poe’s Tales, edited by William
L. Howarth. Englewood Cliffs, NJ: Prentice-Hall Inc., 1971,
• Paul Simon, before his fame as half of Simon & Gar-
p. 94.
funkel, wrote (as Jerry Landis) a song titled “Tell Tale
Heart.” It is about a man whose heart’s “beat-beat- [12] Fisher, Benjamin Franklin. “Poe and the Gothic Tradition,”
beat” reveals that he still pines for his former lover, in The Cambridge Companion to Edgar Allan Poe, edited by
although both of them are now in new relationships. Kevin J. Hayes. Cambridge University Press, 2002. ISBN
0-521-79727-6, p. 87.
• An Australian ballet was based on the story, and saw
[13] Cleman, Bloom’s BioCritiques, p. 66.
a television version in the early 1960s.[33]
[14] Reilly, John E. "The Lesser Death-Watch and "'The Tell-
• A 2015 Lifetime movie, The Murder Pact, starring Tale Heart',” in The American Transcendental Quarterly.
Alexa Pena Vega, is based on Poe’s work and incor- Second quarter, 1969.
porates allusions to it, such as the “vulture eye” from
“The Tell-Tale Heart”.[34] [15] Robison, E. Arthur. "Thoreau and the Deathwatch in Poe’s
'The Tell-Tale Heart',” in Poe Studies, vol. IV, no. 1. June
1971. pp. 14-16
3.7.5 References [16] Eddings, Dennis W. “Theme and Parody in 'The Raven'",
in Poe and His Times: The Artist and His Milieu, edited by
[1] Due to the ambiguity surrounding the identity of the story’s Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan
narrator, that character’s sex cannot be known for certain. Poe Society, 1990. ISBN 0-9616449-2-3, p. 213.
However, for ease of description masculine pronouns are
used in this article. [17] Benfey, New Essays, p. 32.

[2] Silverman, Kenneth. Edgar A. Poe: Mournful and Never-
ending Remembrance. New York: Harper Perennial, 1991.
ISBN 0-06-092331-8, p. 201.
[3] Moss, Sidney P. Poe’s Literary Battles: The Critic in the
Context of His Literary Milieu. Southern Illinois University
Press, 1969. p. 151
[18] Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton
Rouge: Louisiana State University Press, 1972. ISBN 0-
8071-2321-8. p. 223.
[19] Benfey, New Essays, p. 33.
[20] Kennedy, J. Gerald. Poe, Death, and the Life of Writing.
Yale University Press, 1987. p. 132. ISBN 0-300-03773-2
82 CHAPTER 3. SHORT STORIES

[21] Benfey, New Essays, pp. 31-32. 3.8 The Yellow Wallpaper
[22] The Telltale Heart (1928) at the Internet Movie Database "The Yellow Wallpaper" (original title: “The Yellow Wall-
paper. A Story”) is a 6,000-word short story by the Ameri-
[23] “IMDb Title Search: The Tell-Tale Heart”. Internet Movie can writer Charlotte Perkins Gilman, first published in Jan-
Database. Retrieved 2007-09-01. uary 1892 in The New England Magazine.[2] It is regarded
as an important early work of American feminist literature,
[24] The Tell-Tale Heart (1934) at the Internet Movie Database illustrating attitudes in the 19th century toward women’s
health, both physical and mental.
[25] The Tell-Tale Heart (1941) at the Internet Movie Database
Presented in the first person, the story is a collection of jour-
nal entries written by a woman whose physician husband
[26] The Tell-Tale Heart (1953/I) at the Internet Movie Database.
(John) has rented an old mansion for the summer. Fore-
going other rooms in the house, the couple moves into the
[27] “Sleep No More,” by Bill Gaines and Ed Feldstein, Shock
SuspenStories, April 1953.
upstairs nursery. As a form of treatment she is forbidden
from working, and is encouraged to eat well and get plenty
of exercise and air, so she can recuperate from what he calls
[28] The Tell-Tale Heart (1960) at the Internet Movie Database.
a “temporary nervous depression – a slight hysterical ten-
dency”, a diagnosis common to women in that period.[3][4]
[29] The Tell-Tale Heart (1971) at the Internet Movie Database.
She hides her journal from her husband and his sister the
housekeeper, fearful of being reproached for overworking
[30] Tell-Tale (2009) at the Internet Movie Database.
herself. The room’s windows are barred to prevent children
from climbing through them, and there is a gate across the
[31]
top of the stairs, though she and her husband have access to
the rest of the house and its adjoining estate.
[32] Telltale (2012) at the Internet Movie Database.
The story depicts the effect of understimulation on the nar-
[33] https://news.google.com/newspapers?id= rator’s mental health and her descent into psychosis. With
oZ5VAAAAIBAJ&sjid=gbIDAAAAIBAJ&pg=5089% nothing to stimulate her, she becomes obsessed by the pat-
2C2275271 tern and color of the wallpaper. “It is the strangest yellow,
that wall-paper! It makes me think of all the yellow things
[34] http://www.inquisitr.com/2411726/ I ever saw – not beautiful ones like buttercups, but old foul,
bad yellow things. But there is something else about that
the-murder-pact-lifetime-movie-tell-tale-lies-lindsey-stirling-music-trailer-not-true-story/
paper – the smell! ... The only thing I can think of that it is
like is the color of the paper! A yellow smell.”[5]
3.7.6 External links In the end, she imagines there are women creeping around
behind the patterns of the wallpaper and comes to believe
• “The Poe Museum” - Full text of “The Tell-Tale she is one of them. She locks herself in the room, now the
Heart” only place she feels safe, refusing to leave when the summer
rental is up. “For outside you have to creep on the ground,
• “The Tell-Tale Heart” - Full text of the first printing, and everything is green instead of yellow. But here I can
from the Pioneer, 1843 creep smoothly on the floor, and my shoulder just fits in that
long smooch around the wall, so I cannot lose my way.”[6]
• Mid-Twentieth century radio adaptations of “The Tell-
Tale Heart” 3.8.1 Plot synopsis
• “The Tell-Tale Heart” study guide and teaching guide The story details the descent of a young woman into mad-
- themes, analysis, quotes, teacher resources ness. Her supportive, though misunderstanding husband,
John, believes it is in her best interests to go on a rest cure
• “The Tell-Tale Heart” animation - Award winning after the birth of their child. The family spends the sum-
2010 animated movie, teacher resources, student mer at a colonial mansion that has, in the narrator’s words,
games “something queer about it”. She and her husband move into
an upstairs room that she assumes was once a nursery, hav-
• 20 LibriVox audiorecordings, read by various readers ing it serve as their bedroom due to its multitude of win-
3.8. THE YELLOW WALLPAPER 83

dows, which provide the air so needed in her recovery. In

addition to the couple, John’s sister Jennie is present; she
serves as their housekeeper. Like most nurseries at the time
the windows are barred, the wallpaper has been torn, and
the floor is scratched. The narrator attributes all these to
children, as most of the damage is isolated to their reach.
Ultimately, though, the reader is left unsure as to the source
of the room’s damage.
The narrator devotes many journal entries to describing the
wallpaper in the room – its “yellow” smell, its “breakneck”
pattern, the missing patches, and the way it leaves yellow
smears on the skin and clothing of anyone who touches it.
She describes how the longer one stays in the bedroom,
the more the wallpaper appears to mutate, especially in the
moonlight. With no stimulus other than the wallpaper, the
pattern and designs become increasingly intriguing to the
narrator. She soon begins to see a figure in the design, and
eventually comes to believe that a woman is creeping on
all fours behind the pattern. Believing she must try to free
the woman in the wallpaper, the woman begins to strip the
remaining paper off the wall.
On the last day of summer, she locks herself in her room
to strip the remains of the wallpaper. When John arrives Charlotte Perkins Gilman circa 1900
home, she refuses to unlock the door. When he returns with
the key, he finds her creeping around the room, circling the
walls and touching the wallpaper. She exclaims, “I've got women at a time where they had very few rights.[7]
out at last,...in spite of you and Jane”, and her husband faints
as she continues to circle the room, stepping over his inertGilman explained that the idea for the story originated in her
body each time she passes. own experience as a patient: “the real purpose of the story
was to reach Dr. S. Weir Mitchell, and convince him of
the error of his ways”.[8] She had suffered years of depres-
3.8.2 Interpretation sion and consulted a well-known specialist physician who
prescribed a "rest cure" which required her to “live as do-
Gilman’s interpretation mestic a life as possible”. She was forbidden to touch pen,
pencil, or brush, and was allowed only two hours of mental
Gilman used her writing to explore the role of women in stimulation a day.
America at the time. She explored issues such as the lack After three months and almost desperate, Gilman decided
of a life outside the home and the oppressive forces of the to contravene her diagnosis and started to work again. Af-
patriarchal society. Through her work Gilman paved the ter realizing how close she had come to complete mental
way for writers such as Alice Walker and Sylvia Plath.[7] breakdown, she wrote “The Yellow Wallpaper” with addi-
In “The Yellow Wallpaper” Gilman portrays the narrator’s tions and exaggerations to illustrate her own misdiagnosis
insanity as a way to protest the medical and professional complaint. She sent a copy to Mitchell but never received a
oppression against women at the time. While under the im- response.
pression that husbands and male doctors were acting with She added that “The Yellow Wallpaper” was “not intended
their best interests in mind, women were depicted as men- to drive people crazy, but to save people from being driven
tally weak and fragile. At the time women’s rights advocates crazy, and it worked”. Gilman claimed that many years later
believed that the outbreak of women being diagnosed as she learned that Mitchell had changed his treatment meth-
mentally ill was the manifestation of their setbacks regard- ods, but literary historian Julie Bates Dock has discredited
ing the roles they were allowed to play in a male-dominated this. Mitchell continued his methods, and as late as 1908
society. Women were even discouraged from writing, be- – 16 years after “The Yellow Wallpaper” was published –
cause their writing would ultimately create an identity and was interested in creating entire hospitals devoted to the
become a form of defiance for them. Gilman realized “rest cure” so that his treatments would be more widely
that writing became one of the only forms of existence for accessible.[9]
84
Feminist interpretation
This story has been interpreted by feminist critics as a
condemnation of the androcentric hegemony of the 19th-
century medical profession.[10] The narrator’s suggestions
about her recuperation (that she should work instead of rest,
engage with society instead of remaining isolated, attempt
to be a mother instead of being separated entirely from her
child, etc.) are dismissed out of hand using language that
stereotypes her as irrational and, therefore, unqualified to
offer ideas about her own condition. This interpretation
draws on the concept of the "domestic sphere" that women
were held in during this period.[11]
Feminist critics focus on the degree of triumph at the end
of the story. While some claim the narrator slipped into
insanity, others see the ending as a woman’s assertion of
freedom in a marriage in which she felt trapped.[12] The
emphasis on reading and writing as gendered practices also
illustrated the importance of the wallpaper. If the narrator
were allowed neither to write in her journal nor to read,
she would begin to “read” the wallpaper until she found the
escape she was looking for. Through seeing the women in
the wallpaper, the narrator realizes that she could not live
her life locked up behind bars. At the end of the story, as
her husband lies on the floor unconscious, she crawls over
him, symbolically rising over him. This is interpreted as a
victory over her husband, at the expense of her sanity.
Susan S. Lanser in her article “Feminist Criticism ‘The
Yellow Wallpaper’, and the Politics of Color in America”
praises contemporary feminism and its role in changing the
study and the interpretation of literature. The Yellow Wall-
paper was one of many books that were lost because of an
ideology that determined the works’ content to be disturb-
ing or offensive. Critics such as the editor of the Atlantic
Monthly rejected the short story because "[he] could not for-
give [himself] if [he] made others as miserable as [he] made
[himself].” Lanser argues that the same argument of devas-
tation and misery can be said about the work of Edgar Allan
Poe, but his work is still printed and studied by academics.
[13]
The Yellow Wallpaper provided feminists the tools on how
to interpret literature in different ways. Lanser says the
short story was a " particularly congenial medium for such
a re-vision...because the narrator herself engages in a form
of feminist interpretation when she tries to read the paper
on her wall”.[13] The narrator in the story is trying to find a
single meaning in the wallpaper. At first she focuses on con-
tradictory style of the wallpaper: it is “flamboyant” while
also “dull”, “pronounced” yet also “lame” and “uncertain”
(p. 13). She takes into account the patterns and tries to ge-
ometrically organize them, but she is further confused. The
wallpaper changes colors when it reflects light and emits a
distinct odor which Jane cannot recognize (p. 25). At night
CHAPTER 3. SHORT STORIES
the narrator is able to see a woman behind bars within the
complicated design of the wallpaper. Lanser argues that
Jane was able to find “a space of text on which she can locate
whatever self-projection”.[13] Lanser creates a relationship
between the narrator and the reader. Just like the narrator
as a reader, when one comes into contact with a confusing
and complicated text, one tries to find one single meaning.
“How we were taught to read” as Lanser puts it, is why a
reader cannot fully comprehend the text.[13] The patriarchal
ideology has kept many scholars from being able to inter-
pret and appreciate novels such as “The Yellow Wallpaper”.
Thanks to feminist criticism “The Yellow Wallpaper” has
become a fundamental reading in the standard curriculum.
Feminists have made a great contribution to the study of lit-
erature but, according to Lanser, are falling short because
“we acknowledge the participation of women writers and
readers in dominant patterns of thought and social practice
then perhaps our own patterns must also be deconstructed
if we are to recover meanings still hidden or overlooked.[13]
Martha J. Cutter in her article “The Writer as Doctor:
New Models of Medical Discourses in Charlotte Perkins
Gilman’s Later Fiction” discusses how in many of Char-
lotte Perkins Gilman’s works she addresses this “struggle in
which a male-dominated medical establishment attempts to
silence women” (Cutter 1). Gilman’s works challenge the
social construction of women in patriarchal medical dis-
course by displaying women as “silent, powerless, and pas-
sive” who refuse treatment. At the time in which her works
take place, between 1840 and 1890, women were exceed-
ingly defined as lesser than—sickly and weak. In this time
period it was thought that “hysteria” (a disease stereotyp-
ically more common in women) was a result of too much
education. It was understood that women who spent time
in college or studying were over-stimulating their brains and
consequently leading themselves into states of hysteria. In
fact, many of the diseases recognized in women were seen
as the result of a lack of self-control or self-rule. Differ-
ent physicians argued that a physician must “assume a tone
of authority” and that the idea of a “cured” woman is one
who is “subdued, docile, silent, and above all subject to the
will and voice of the physician” (Cutter 3). A hysterical
woman is one who craves power and in order for her to
be treated for her hysteria, she must submit to her physi-
cian whose role is to undermine her desires. Often women
were prescribed bed rest as a form of treatment, which was
meant to “tame” them and basically keep them imprisoned.
Treatments such as this were a way of ridding women of
rebelliousness and forcing them to conform to social roles.
In her works Gilman highlights that the harm caused by
these types of treatments for woman i.e. “the rest cure”
has to do with the way in which her voice is silenced. Paula
Treichler explains “In this story diagnosis 'is powerful and
public...It is a male voice that...imposes controls on the fe-
3.8. THE YELLOW WALLPAPER
male narrator and dictates how she is to perceive and talk
about the world.' Diagnosis covertly functions to empower
the male physician’s voice and disempower the female pa-
tient’s”. The narrator in “The Yellow Wallpaper” is not al-
lowed to participate in her own treatment or diagnosis and
is completely forced to succumb to everything in which her
doctor and in this particular story, her husband, says. The
male voice is the one in which forces controls on the female
and decides how she is allowed to perceive and speak about
the world around her.
Other interpretations
“The Yellow Wallpaper” sometimes is referred to as an ex-
ample of Gothic literature for its treatment of madness and
powerlessness.[14] Alan Ryan, for example, introduced the
story by writing: “quite apart from its origins [it] is one of
the finest, and strongest, tales of horror ever written. It may
be a ghost story. Worse yet, it may not.”[15] Pioneering hor-
ror author H. P. Lovecraft writes in his essay Supernatural
Horror in Literature (1927) that “The Yellow Wall Paper
rises to a classic level in subtly delineating the madness
which crawls over a woman dwelling in the hideously pa-
pered room where a madwoman was once confined.” [16]
Helen Lefkowitz Horowitz, in her book Wild Unrest: Char-
lotte Perkins Gilman and the Making of “The Yellow Wall-
Paper”, concludes that “the story was a cri de coeur against
[Gilman’s first husband, artist Charles Walter] Stetson and
the traditional marriage he had demanded.” Gilman was
attempting to deflect blame to protect Gilman’s daugh-
ter Katharine and her step-mother, Gilman’s friend Grace 3.8.3 Media adaptations
Channing.[17]
Audio plays
Anglican Archbishop Peter Carnley used the story as a ref-
erence and a metaphor for the situation of women in the
church in his sermon at the ordination of the first women
priests in Australia on 7 March 1992 in St George’s Cathe-
dral, Perth.[18]
Sari Edelstein has argued that The Yellow Wallpaper is an
allegory for Gilman’s hatred of the emerging yellow jour-
nalism. Having created The Forerunner in November 1909,
Gilman made it clear she wished the press to be more in-
sightful and not rely upon exaggerated stories and flashy
headlines. Gilman was often scandalised in the media and
resented the sensationalism of the media. The relationship
between the narrator and the wallpaper within the story par-
allels Gilman’s relationship to the press. The narrator de-
scribes the wallpaper as having “sprawling flamboyant pat- Film
terns committing every artistic sin”. Edelstein argues that
given Gilman’s distaste for the Yellow Press, this can also be
seen as a description of tabloid newspapers of the day.[19]
In Paula A. Treichler’s article “Escaping the Sentence: Di-
agnosis and Discourse in 'The Yellow Wallpaper'", she
85
places her focus on the relationship portrayed in the short
story between women and writing. Rather than write about
the feminist themes which view the wallpaper as something
along the lines of "...the 'pattern' which underlies sexual
inequality, the external manifestation of neurasthenia, the
narrator’s unconscious, the narrator’s situation within patri-
archy,” Treichler instead explains that the wallpaper can be
a symbol to represent discourse and the fact that the nar-
rator is alienated from the world in which she previously
could somewhat express herself. Treichler illustrates that
through this discussion of language and writing, in the story
Charlotte Perkins Gilman is defying the "...sentence that
the structure of patriarchal language imposes.” While Tre-
ichler accepts the legitimacy of strictly feminist claims, she
writes that a closer look at the text suggests that the wall-
paper could be interpreted as women’s language and dis-
course, and the woman found in the wallpaper could be the
"...representation of women that becomes possible only af-
ter women obtain the right to speak.” In making this claim,
it suggests that the new struggle found within the text is be-
tween two forms of writing; one rather old and traditional,
and the other new and exciting. This is supported in the fact
that John, the narrator’s husband, does not like his wife to
write anything, which is the reason her journal containing
the story is kept a secret and thus is known only by the narra-
tor and reader. A look at the text shows that as the relation-
ship between the narrator and the wallpaper grows stronger,
so too does her language in her journal as she begins to in-
creasingly write of her frustration and desperation.[20]
• Agnes Moorehead performed a version twice, in 1948
and 1957, on the radio program Suspense.
• An audio book of “The Yellow Wallpaper” (1997)
was produced by Durkin Hayes and read by Winifred
Phillips. This Radio Tales version can also be heard
on Sonic Theater on XM Radio.[21]
• BBC Radio dramatized the story for the series Fear on
Four, starring Anna Massey.[22]
• 19 Nocturne Boulevard’s Julie Hoverson performed a
one-woman reading for their podcast.
• In 1977, Marie Ashton produced a short film adapta-
tion through Women Make Movies.
• In 1989, the story was adapted into a film produced
by the British Broadcasting Corporation (BBC) for
86
Masterpiece Theatre. It was adapted by Maggie Wadey
and directed by John Clive.
• The Yellow Wallpaper (2011), directed by Logan
Thomas, is a re-telling of “The Yellow Wallpaper” and
not a direct adaptation.
• In 2014, Amandla Stenberg directed a short film based
on the story.[23]
• British artist Julia Dogra-Brazell’s short experimental
film, The Rules of the Game (2015), also found inspi-
ration in this text.
Music
• The ballad “Yellow Creep Around”, on the Mary’s
Danish album Circa, was published one century after
the original.
Television
• Pretty Little Liars, uses the original book cover as a
wallpaper design in Aria Montgomerys bedroom.
• The Twilight Zone episode, “Something in the Walls”
(1989), is a variation on Gilman’s story, in which a
woman commits herself to a mental institution and in-
sists on plain white walls and no patterns within her
hospital room, after having seen faces in the patterns
of her bedroom’s yellow wallpaper and hearing omi-
nous voices from those faces.
• American Horror Story season 1 references “The Yel-
low Wallpaper” in the eighth episode.
Theater
• Heather Newman scripted and directed an adaptation
of the original short story, as part of the 2003 season
at Theater Schmeater, in Seattle, Washington.[24][25]
The production starred Mary Jane Gibson (as Char-
lotte), Stephen Loch (as John), Annie Lareau (as Jen-
nie), Lisa Viertel (as Mary), Erin Knight (as Lucy),
and Jim Catechi (as Dr. Weir Mitchell). This adapta-
tion won the 2003 Seattle Times “Best of the Fringe”
award.[26] The adaptation also was produced in 2005
at Tarrant County College by Doctor Judith Gallagher,
directed by Melinda Benton-Muller, and acted by
Kami Rogers (as Charlotte). In May 2010, Heather
Newman, Melinda Benton-Muller, and Doctor Judith
Gallagher spoke on a panel about this adaptation at
the American Literature Association, with members
of the ALA and Charlotte Perkins Gilman Society.
Kami Rogers moderated the panel.[27][28]
CHAPTER 3. SHORT STORIES
• A one-hour, one-woman stage adaptation written by
Greg Oliver Bodine made its world premiere produc-
tion at Manhattan Theatre Source in March 2009, be-
fore it toured metro-area libraries and other venues, in-
cluding Lycoming College in Williamsport, PA, where
it was curated by the Women’s and Gender Stud-
ies Program. It was originally co-produced by the
Manhattan Theatre Source Playground Development
Series and North Shore Theatre Group, directed by
DeLisa M. White, performed by Annalisa Loeffler,
and published by Indie Theater Now in 2012. This
adaptation was also produced in January, 2014 at the
Workshop Theater in New York City. Delisa M.
White and Annalisa Loeffler again directed and per-
formed.
• A stage adaptation was performed at the 2006 Edin-
burgh Festival Fringe.
• Sarah Elaine Stewart scripted and directed an adapta-
tion of the original short story in 2008, titled “The Yel-
low Wallpaper”, which was performed at The Court-
yard Theatre, Hoxton (July 2008), The Edinburgh Fes-
tival Fringe (August 2008), and Midnight Matinees
at the Tristan Bates Theatre, Covent Garden (De-
cember 2008). A revised version was performed at
the New Wimbledon Theatre Studio (March 2009),
with costumes by Lauren McCarthy and sound by
Joseph Olney, featuring Emmeline Creswell (as Char-
lotte), Thomas Kirkin (as John), Joanne Clarke (as the
Woman in the Wallpaper), Emma-Rachel Blackman
(as Jennie in Courtyard, Edinburgh, and Bates) and
Tara Quinn (as Jennie in Wimbledon).
• ShadyJane Theatre Company performed their adapta-
tion, “Her Yellow Wallpaper”, at the 2009 Edinburgh
Fringe Festival.
• Then This Theatre presented “The Yellow Wallpaper”,
performed by Maeve Fitzgerald and directed by Aoife
Spillane-Hinks, at the 2011 Dublin Fringe Festival.
• Rummage Theatre researched, wrote and directed an
hour long play called Behind the Wallpaper (first per-
formed at The Bay Theatre in 2014). The play was in-
spired by “The Yellow Wallpaper”, but focuses on ex-
ploring postnatal depression and postpartum psychosis
in the present day and uses shadow work cast behind
wallpaper to represent the “Shadow Woman” which
new mother, Julie, sees as part of her psychosis. The
play is touring Dorset in 2014/2015.[29]
• A one-woman piece featuring the audience as the fig-
ures behind the paper. Eve Eason performed a short
adaptation taken directly from the text. It was staged at
the Weiner Theater in Memphis in September, 2014.
[30]
3.8. THE YELLOW WALLPAPER 87

• A Company of Players presented a stage adaptation [20] Treichler. “Escaping the Sentence: Diagnosis and Discourse
of the original short story, written and directed by in 'The Yellow Wallpaper'".
Kristi Boulton, at the 2014 Hamilton Fringe Festival]
[21] “Radio Tales - Horror”. Radio Tales. Retrieved 1 September
in Ontario, Canada. This production was well received 2015.
by critics and won a “Best of Fringe” award.[31][32]
[22] “BBC Radio 4 - Fear on Four, The Yellow Wallpaper”. BBC.
• Central Works of Berkeley presented a one-woman 24 May 2008. Retrieved 1 September 2015.>
show consisting of the text of the play recited and per-
formed by Elena Wright and with a TBA-nominated [23] Stenberg, Amandla (Director) (2014). The Yellow Wallpa-
per.
score written and performed by violinist Cybele
[33][34][35]
D'Ambrosio in 2015. [24] “The Yellow Wallpaper”. Rain City Projects.

[25] “Plays: History: 2003”. Theater Schmeater.

3.8.4 References [26] “Best of the Fringe” award”. Seattle Times.

[1] “Publisher’s preface”. The Yellow Wallpaper (Forgotten [27] “The Yellow Room (panel discussion)". Charlotte Perkins
Books edition). Gilman Society. May 2010.

[2] Stetson, Charlotte Perkins (January 1892). “The Yellow [28] “The Yellow Room (panel discussion)". American Literature
Wall-paper. A Story”. The New England Magazine 11 (5,). Association. May 2010.

[3] Gilman 1892, p. 1
[4] Treichler 1984, pp. 61–77
[5] Gilman 1892, p. 11.
[6] Gilman 1892, p. 15.
[7] Quawas, Rula (2006). “A New Woman’s Journey Into Insan-
ity: Descent and Return in The Yellow Wallpaper”. Journal
of the Australasian Universities Modern Language Associa-
tion (ProQuest Research Library (online, Oct. 2012)): 35+.
[8] Thrailkill 2002, p. 528.
[9] Gilman, Charlotte Perkins (October 1913). “Why I Wrote
the Yellow Wallpaper”. The Forerunner.
[10] Ford 1985, pp. 309–314.
[29] “Behind the Wallpaper”. Rummage Theatre. Dorset, Eng-
land.
[30] “Eveanne Eason in The Yellow Wallpaper”.
[31] “The Yellow Wallpaper”. A Company of Players.
[32] “The Yellow Wallpaper”. 2014 Hamilton Fringe Festival.
[33] Hurwitt, Robert (16 May 2015). "‘The Yellow Wallpaper’ at
Berkeley City Club”. San Francisco Chronicle. Retrieved 12
October 2015.
[34] “Stage Premiere of THE YELLOW WALLPAPER Up Next
at Central Works, 5/16-6/21”. 13 April 2015. Retrieved 12
October 2015.
[35] Edevane, Gillian (3 June 2015). “The Writhing on the Wall”.
East Bay Express. Retrieved 12 October 2015.

[11] Thomas 1997. 3.8.5 Bibliography

[12] Hochman, p. 2002, pp. 89–110.
• Barth, Melissa E. “The Yellow Wallpaper.” Master-
[13] Lanser, Susan (1989). “Feminist Criticism ‘The Yellow plots II: Short Stories Series. Frank N. Magill. Cali-
Wallpaper’, and the Politics of Color in America” (PDF). fornia: Salem Press Inc., 1996. 4331–4333. 10 vols.
Feminist Studies 15 (3): 415–441. doi:10.2307/3177938.
• Carnley, Peter (2001). The Yellow Wallpaper and
[14] See, for example, Johnson 1989. other sermons HarperCollins, Sydney ISBN 1-86371-
799-4
[15] Ryan 1988, p. 56.
• Ford, Karen (Autumn 1985). ""The Yellow Wallpa-
[16] Lovecraft, H. P. (1927). “Supernatural Horror in Litera- per” and Women’s Discourse” (PDF). Tulsa Studies in
ture”. The Recluse (The Recluse Press). Women’s Literature (University of Tulsa) 4 (2): 309–
[17] Publishers Weekly. October 4, 2010, p. 38.
314. JSTOR 463709.
• Gilman, Charlotte Perkins & Phillips, Robert (Edi-
[18] Carnley, Peter (2001) pp. 85–92
tor_ (1989). “The Yellow Wallpaper”. The Omnibus
[19] Sari Edelstein, “Charlotte Perkins Gilman and the Yellow of 20th Century Ghost Stories (New York: Carrol and
Newspaper” Legacy 24, no. 1 (May 2007): 72–92. Graf Publishers Inc.).
88
• Gilman, Charlotte Perkins (1892). The Yellow Wall-
paper (1997 ed.). Dover Publications.
• Hochman, Barbara (2002). The Reading Habit and
“The Yellow Wallpaper”. Duke University Press.
• Johnson, Greg (Fall 1989). “Gilman’s Gothic Alle-
gory: Rage and Redemption in The Yellow Wallpa-
per”. Studies in Short Fiction 26 (4): 521–30.
• Ryan, Alan (1988). Haunting Women. New York:
Avon Books. ISBN 978-0-380-89881-7.
• Thomas, Deborah. “The Changing Role of Woman-
hood: From True Woman to New Woman in Char-
lotte Perkins Gilman’s “The Yellow Wallpaper"". Re-
trieved September 14, 2012.
• Thrailkill, Jane F. (Summer 2002). “Doctoring
“The Yellow Wallpaper"". ELH 69 (2): 525–566.
doi:10.1353/elh.2002.0019.
• Treichler, Paula A. (1984). “Escaping the Sentence:
Diagnosis and Discourse in 'The Yellow Wallpaper'".
Tulsa Studies in Women’s Literature. pp. 61–75.
• Weinstein, Lee. ""The Yellow Wallpaper: A Super-
natural Interpretation.” Studies in Weird Fiction 4 (Fall
1988), 23–25.
3.8.6 Further reading
• EDSITEment’s lesson plan Charlotte Perkins Gilman’s
Yellow Wall-Paper
• The Yellow Wallpaper at Project Gutenberg.
• Full Text of The Yellow Wallpaper, retrieved January
22, 2008.
• The full text of “The Yellow Wallpaper” at the CUNY
Library
• Books That Grow leveled book
• Gilman, Charlotte Perkins. “Why I wrote The Yellow
Wallpaper", The Forerunner, October 1913, accessed
November 15, 2009.
• The Yellow Wallpaper, audio, CBS radio, 1948.
• The Yellow Wallpaper at the Internet Movie Database
• The Yellow Wallpaper A 2006 film inspired by the
short story that relies on the gothic/horror interpreta-
tion.
CHAPTER 3. SHORT STORIES
• Bak, John S. (1994). “Escaping the Jaundiced
Eye: Foucauldian Panopticism in Charlotte Perkins
Gilman’s 'The Yellow Wallpaper',” Studies in Short
Fiction 31.1 (Winter 1994), pp. 39–46.
• Crewe, Jonathan (1995). “Queering 'The Yellow
Wallpaper'? Charlotte Perkins Gilman and the Poli-
tics of Form,” Tulsa Studies in Women’s Literature 14
(Fall 1995), pp. 273–293.
• Cutter, Martha J. “The Writer as Doctor: New Models
of Medical Discourse in Charlotte Perkins Gilman’s
Later Fictions.” Literature and Medicine 20. 2 (Fall
2001): pp. 151–182.
• Gilbert, Sandra and Gubar, Susan (1980). The Mad-
woman in the Attic. Yale University Press. ISBN 0-
300-02596-3
• Golden, Catherine (1989). “The Writing of ‘The
Yellow Wallpaper’ A Double Palimpsest,” Studies in
American Fiction, 17 (Autumn 1989), pp. 193–201.
• Haney-Peritz, Janice. “Monumental Feminism and
Literature’s Ancestral House: Another Look at ‘The
Yellow Wallpaper,” Women’s Studies 12 (1986): 113–
128.
• Hume, Beverly A. “Gilman’s ‘Interminable
Grotesque’: The Narrator of ‘The Yellow Wall-
paper,” Studies in Short Fiction 28 (Fall 1991):
477–484.
• Johnson, Greg. “Gilman’s Gothic Allegory: Rage and
Redemption in ‘The Yellow Wallpaper.’" Studies in
Short Fiction 26 (Fall 1989): 521–530.
• King, Jeannette, and Pam Morris. “On Not Reading
Between the Lines: Models of Reading in ‘The Yel-
low Wallpaper.’" Studies in Short Fiction 26.1 (Winter
1989): 23–32.
• Klotz, Michael. “Two Dickens Rooms in 'The Yellow
Wall-Paper'" Notes and Queries (December 2005):
490–1.
• Knight, Denise D. “The Reincarnation of Jane:
‘Through This’ – Gilman’s Companion to ‘The Yellow
Wall-paper.’" Women’s Studies 20 (1992): 287–302.
• Lanser, Susan S. “Feminist Criticism, ‘The Yellow
Wallpaper,’ and the Politics of Color in America.”
Feminist Studies 15 (Fall 1989): 415–437.
Chapter 4

Authors & Illustrators

4.1 Bram Stoker 4.1.2 Early career

Stoker became interested in the theatre while a student

Abraham “Bram” Stoker (8 November 1847 – 20 April through a friend, Dr. Maunsell. He became the theatre
1912) was an Anglo-Irish author, best known today for his critic for the Dublin Evening Mail, co-owned by the author
1897 Gothic novel, Dracula. During his lifetime, he was of Gothic tales Sheridan Le Fanu. Theatre critics were held
better known as the personal assistant of actor Henry Irving in low esteem, but he attracted notice by the quality of his
and business manager of the Lyceum Theatre in London, reviews. In December 1876 he gave a favourable review of
which Irving owned. Henry Irving’s Hamlet at the Theatre Royal in Dublin. Irv-
ing invited Stoker for dinner at the Shelbourne Hotel where
he was staying. They became friends. Stoker also wrote
stories, and in 1872 “The Crystal Cup” was published by
the London Society, followed by “The Chain of Destiny” in
four parts in The Shamrock. In 1876, while a civil servant
4.1.1 Early life in Dublin, Stoker wrote a non-fiction book (The Duties of
Clerks of Petty Sessions in Ireland, published 1879), which
remained a standard work.[5] Furthermore, he possessed an
Stoker was born on 8 November 1847 at 15 Marino Cres- interest in art, and was a founder of the Dublin Sketching
cent, Clontarf, on the northside of Dublin, Ireland.[1] His Club in 1874.
parents were Abraham Stoker (1799–1876), from Dublin,
and Charlotte Mathilda Blake Thornley (1818–1901), who
was raised in County Sligo.[2] Stoker was the third of seven 4.1.3 Lyceum Theatre
children, the eldest of whom was Sir Thornley Stoker, 1st
Bt.[3] Abraham and Charlotte were members of the Church
of Ireland Parish of Clontarf and attended the parish church
with their children, who were baptised there.[4]
Stoker was bedridden with an unknown illness until he
started school at the age of seven, when he made a com-
plete recovery. Of this time, Stoker wrote, “I was naturally
thoughtful, and the leisure of long illness gave opportunity
for many thoughts which were fruitful according to their
kind in later years.” He was educated in a private school
run by the Rev. William Woods.[5]
After his recovery, he grew up without further major health
issues, even excelling as an athlete (he was named Univer-
sity Athlete) at Trinity College, Dublin, which he attended
from 1864 to 1870. He graduated with honours as a B.A. Bram Stoker’s former home, Kildare Street, Dublin.
in Mathematics. He was auditor of the College Historical
Society (“the Hist”) and president of the University Philo- In 1878 Stoker married Florence Balcombe, daughter of
sophical Society, where his first paper was on “Sensational- Lieutenant-Colonel James Balcombe of 1 Marino Crescent.
ism in Fiction and Society”. She was a celebrated beauty whose former suitor was Oscar

89
90 CHAPTER 4. AUTHORS & ILLUSTRATORS

Wilde.[6] Stoker had known Wilde from his student days,

having proposed him for membership of the university’s
Philosophical Society while he was president. Wilde was
upset at Florence’s decision, but Stoker later resumed the
acquaintanceship, and after Wilde’s fall visited him on the
Continent.[7]
The Stokers moved to London, where Stoker became act-
ing manager and then business manager of Irving's Lyceum
Theatre, London, a post he held for 27 years. On 31 De-
cember 1879, Bram and Florence’s only child was born,
a son whom they christened Irving Noel Thornley Stoker.
The collaboration with Henry Irving was important for
Stoker and through him he became involved in London’s
high society, where he met James Abbott McNeill Whistler
and Sir Arthur Conan Doyle (to whom he was distantly re-
lated). Working for Irving, the most famous actor of his
time, and managing one of the most successful theatres in
London made Stoker a notable if busy man. He was dedi-
cated to Irving and his memoirs show he idolised him. In
London Stoker also met Hall Caine, who became one of his
closest friends – he dedicated Dracula to him.
In the course of Irving’s tours, Stoker travelled the world,
although he never visited Eastern Europe, a setting for
his most famous novel. Stoker enjoyed the United States,
where Irving was popular. With Irving he was invited
twice to the White House, and knew William McKinley
and Theodore Roosevelt. Stoker set two of his novels
there, using Americans as characters, the most notable be- The first edition cover of Dracula
ing Quincey Morris. He also met one of his literary idols,
Walt Whitman.

4.1.4 Writings

Stoker visited the English town of Whitby in 1890 and that

visit is said to be part of the inspiration of his great novel
Dracula. While manager for Henry Irving and secretary
and director of London’s Lyceum Theatre, he began writing
novels, beginning with The Snake’s Pass in 1890 and Drac-
ula in 1897. During this period, Stoker was part of the liter-
ary staff of the The Daily Telegraph in London, and wrote
other fiction, including the horror novels The Lady of the
Shroud (1909) and The Lair of the White Worm (1911).[8] In
1906, after Irving’s death, he published his Personal Rem-
iniscences of Henry Irving, which proved successful,[5] and
managed productions at the Prince of Wales Theatre.
Bram Stoker Commemorative Plaque, Whitby, England (2002)
Before writing Dracula Stoker met Ármin Vámbéry, a Hun-
garian writer and traveler. Dracula likely emerged from
Vámbéry’s dark stories of the Carpathian mountains.[9] realistic, but completely fictional, diary entries, telegrams,
Stoker then spent several years researching European folk- letters, ship’s logs, and newspaper clippings, all of which
lore and mythological stories of vampires. added a level of detailed realism to the story, a skill Stoker
Dracula is an epistolary novel, written as a collection of had developed as a newspaper writer. At the time of its pub-
4.1. BRAM STOKER 91

lication, Dracula was considered a “straightforward horror After suffering a number of strokes, Stoker died at No. 26
novel” based on imaginary creations of supernatural life.[8] St George’s Square on 20 April 1912.[14] Some biographers
“It gave form to a universal fantasy . . . and became a part attribute the cause of death to tertiary syphilis,[15] others to
of popular culture.”[8] overwork.[16] He was cremated, and his ashes placed in a
According to the Encyclopedia of World Biography, display urn at Golders Green Crematorium. After Irving
Stoker’s stories are today included in the categories Noel Stoker’s death in 1961, his ashes were added to that
of “horror fiction”, “romanticized Gothic” stories, and urn. The original plan had been to keep his parents’ ashes
“melodrama.”[8] They are classified alongside other together, but after Florence Stoker’s death, her ashes were
scattered at the Gardens of Rest. Visitors to his urn at Gold-
“works of popular fiction” such as Mary Shelley's
Frankenstein,[10]:394 which, according to historian Jules ers Green are escorted to the room as a precaution against
vandalism.
Zanger, also used the “myth-making” and story-telling
method of having “multiple narrators” telling the same
tale from different perspectives. "'They can't all be lying,'
thinks the reader.”[11]
4.1.6 Beliefs and philosophy
The original 541-page manuscript of Dracula was believed Stoker was raised a Protestant in the Church of Ireland. He
to have been lost until it was found in a barn in north- was a strong supporter of the Liberal Party and took a keen
western Pennsylvania in the early 1980s.[12] It included the interest in Irish affairs.[5] As a “philosophical home ruler” he
typed manuscript with many corrections, and handwrit- supported Home Rule for Ireland brought about by peace-
ten on the title page was “THE UN-DEAD.” The author’s ful means. He remained an ardent monarchist who believed
name was shown at the bottom as Bram Stoker. Author Ireland should remain within the British Empire, an entity
Robert Latham remarked: “the most famous horror novel he saw as a force for good. He was an admirer of Prime
ever published, its title changed at the last minute.”[10] The Minister William Ewart Gladstone, whom he knew person-
manuscript was purchased by Microsoft co-founder Paul ally, and supported his plans for Ireland.[17]
Allen.
Stoker believed in progress and took a keen interest in
Stoker’s inspirations for the story, in addition to Whitby,science and science-based medicine. Some Stoker novels,
may have included a visit to Slains Castle in Aberdeenshire,
such as The Lady of the Shroud (1909), represent early ex-
a visit to the crypts of St. Michan’s Church in Dublin and amples of science fiction. He had a writer’s interest in the
the novella Carmilla by Sheridan Le Fanu.[13] occult, notably mesmerism, but despised fraud and believed
Stoker’s original research notes for the novel are kept by in the superiority of the scientific method over supersti-
the Rosenbach Museum and Library in Philadelphia, PA. tion. Stoker counted J. W. Brodie-Innis, a member of the
A facsimile edition of the notes was created by Elizabeth Hermetic Order of the Golden Dawn, among his friends
Miller and Robert Eighteen-Bisang in 1998. and hired member Pamela Colman Smith as an artist for
the Lyceum Theatre, but no evidence suggests that Stoker
ever joined the Order himself.[18][19][20]
4.1.5 Death
4.1.7 Posthumous

The short story collection Dracula’s Guest and Other Weird

Stories was published in 1914 by Stoker’s widow Florence
Stoker. The first film adaptation of Dracula was released in
1922 and was named Nosferatu. It was directed by F. W.
Murnau and starred Max Schreck as Count Orlock. Nos-
feratu was produced while Florence Stoker, Bram Stoker’s
widow and literary executrix, was still alive. Represented
by the attorneys of the British Incorporated Society of Au-
thors, she eventually sued the filmmakers. Her chief le-
gal complaint was that she had been neither asked for per-
mission for the adaptation nor paid any royalty. The case
dragged on for some years, with Mrs. Stoker demanding the
destruction of the negative and all prints of the film. The
suit was finally resolved in the widow’s favour in July 1925.
In Golders Green Some copies of the film survived, however, and the film
92 CHAPTER 4. AUTHORS & ILLUSTRATORS

has become well known. The first authorised film version • Lady Athlyne (1908)
of Dracula did not come about until almost a decade later
when Universal Studios released Tod Browning's Dracula • The Lady of the Shroud (1909)
starring Bela Lugosi.
• The Lair of the White Worm (a.k.a. The Garden of
Because of the Stokers’ frustrating history with Dracula’s
Evil) (1911)
copyright, a great-grandnephew of Bram Stoker, Canadian
writer Dacre Stoker, with encouragement from screenwriter
Ian Holt, decided to write “a sequel that bore the Stoker
Short story collections
name” to “reestablish creative control over” the original
novel. In 2009, Dracula: The Un-Dead was released, writ-
ten by Dacre Stoker and Ian Holt. Both writers “based [their • Under the Sunset (1881), comprising eight fairy tales
work] on Bram Stoker’s own handwritten notes for charac- for children.
ters and plot threads excised from the original edition” along
with their own research for the sequel. This also marked • Snowbound: The Record of a Theatrical Touring Party
Dacre Stoker’s writing debut. [21][22] (1908)

In Spring 2012, Dacre Stoker, in collaboration with Prof. • Dracula’s Guest and Other Weird Stories (1914)
Elizabeth Miller, presented the “lost” Dublin Journal writ-
ten by Bram Stoker, which had been kept by his great-
grandson Noel Dobbs. Stoker’s diary entries shed a light Uncollected stories
on the issues that concerned him before his London years.
A remark about a boy who caught flies in a bottle might be Non-fiction
a clue for the later development of the Renfield character in
Dracula.[23]
• The Duties of Clerks of Petty Sessions in Ireland (1879)
On 8 November 2012, Stoker was honoured with a Google
Doodle on Google’s homepage commemorating his 165th • A Glimpse of America (1886)
Birthday.[24][25]
An annual festival takes place in Dublin, the birthplace of • Personal Reminiscences of Henry Irving (1906)
Bram Stoker, in honour of his literary achievements. The
2014 Bram Stoker Festival, which encompassed literary, • Famous Impostors (1910)
film, family, street and outdoor events ran from 24–27 Oc-
tober in and around Dublin City.[26][27] The festival is sup- • Bram Stoker’s Notes for Dracula: A Facsimile Edition
ported by the Bram Stoker Estate[28] and funded by Dublin (2008) Bram Stoker Annotated and Transcribed by
City Council and Failte Ireland. Robert Eighteen-Bisang and Elizabeth Miller, Fore-
word by Michael Barsanti. Jefferson NC & London:
McFarland. ISBN 978-0-7864-3410-7
4.1.8 Bibliography
Novels Articles

• The Primrose Path (1875) • “The Question of a National Theatre” The Nineteenth
Century and After, Vol. LXIII, January/June 1908.
• The Snake’s Pass (1890)
• The Watter’s Mou' (1895) • “Mr. De Morgan’s Habits of Work” The World’s Work,
Vol. XVI, May/October 1908.
• The Shoulder of Shasta (1895)
• “The Censorship of Fiction” The Nineteenth Century
• Dracula (1897)
and After, Vol. LXIV, July/December 1908.
• Miss Betty (1898)
• “The Censorship of Stage Plays” The Nineteenth Cen-
• The Mystery of the Sea (1902) tury and After, Vol. LXVI, July/December 1909.
• The Jewel of Seven Stars (1903)
• “Irving and Stage Lightning” The Nineteenth Century
• The Man (a.k.a. The Gates of Life) (1905) and After, Vol. LXIX, January/June 1911.
4.1. BRAM STOKER
Critical works on Stoker
• William Hughes, Beyond Dracula (Palgrave, 2000)
ISBN 0-312-23136-9[29]
• Belford, Barbara. Bram Stoker: A Biography of the
Author of Dracula. London: Weidenfeld and Nicol-
son, 1996.
• Senf, Carol. Science and Social Science in Bram [16] The Discussion (Third ed.). Grade Eight – Bram Stoker:
Stoker’s Fiction (Greenwood, 2002). Oberon Books (for The London Academy of Music and Dra-
• Senf, Carol. Dracula: Between Tradition and Mod-
ernism (Twayne, 1998). [17] Murray, Paul. From the Shadow of Dracula: A Life of Bram
• Senf, Carol A. Bram Stoker (University of Wales
Press, 2010).
Bibliographies
• William Hughes Bram Stoker – Victorian Fiction Re-
search Guide
4.1.9 References
[1] Belford, Barbara (2002). Bram Stoker and the Man Who
Was Dracula. Cambridge, Mass.: Da Capo Press. p. 17.
ISBN 0-306-81098-0.
[2] Murray, Paul (2004). From the Shadow of Dracula: A Life
of Bram Stoker. Random House. p. 11. ISBN 0224044621.
[3] His siblings were: Sir (William) Thornley Stoker, born in
1845; Mathilda, born 1846; Thomas, born 1850; Richard,
born 1852; Margaret, born 1854; and George, born 1855
[4] http://www.eneclann.ie/wp-content/uploads/2012/04/
Stoker-family-tree.pdf
[5] Obituary, Irish Times, 23 April 1912
[6] Irish Times, 8 March 1882, page 5
[7] “Why Dracula never loses his bite”. Irish Times. 28 March
2009.
[8] Encyclopedia of World Biography, Gale Research (1998) vol
8. pgs. 461–464
[9] Top 10 Famous Mysterious Monsters
[10] Latham, Robert. Science Fiction & Fantasy Book Review An-
nual, Greenwood Publishing (1988) p. 67
[11] Zanger, Jules. Blood Read: The Vampire as Metaphor in
Contemporary Culture ed. Joan Gordon. Univ. of Pennsyl-
vania Press (1997), pgs. 17–24
[12] What a Tax Lawyer Dug Up on 'Dracula'
93
[13] Boylan, Henry (1998). A Dictionary of Irish Biography, 3rd
Edition. Dublin: Gill and MacMillan. p. 412. ISBN 0-
7171-2945-4.
[14] “Bram Stoker”. Victorian Web. 30 April 2008. Retrieved
12 December 2008.
[15] Gibson, Peter (1985). The Capital Companion. Webb &
Bower. pp. 365–366. ISBN 0-86350-042-0.
matic Arts). 2004. p. 97. ISBN 1-84002-431-3.
Stoker. 2004.
[18] “Shadowplay Pagan and Magick webzine – HERMETIC
HORRORS”. Shadowplayzine.com. 1904-09-16. Re-
trieved 2012-06-18.
[19] Ravenscroft, Trevor (1982). The occult power behind the
spear which pierced the side of Christ. Red Wheel. p. 165.
ISBN 0-87728-547-0.
[20] Picknett, Lynn (2004). The Templar Revelation: Secret
Guardians of the True Identity of Christ. Simon and Schus-
ter. p. 201. ISBN 0-7432-7325-7.
[21] Dracula: The Un-Dead by Dacre Stoker and Ian Holt
[22] Dracula: The Undead's overview
[23] Stoker, Bram. Bram Stoker’s Lost Dublin Journal, ed. by
Stoker, Dacre and Miller, Elizabeth. London: Biteback
Press, 2012
[24] 165th Birthday
[25] Doyle, Carmel (8 November 2012). “Bram Stoker books:
gothic Google Doodle honours Dracula author”. Silicon Re-
public. Retrieved 8 November 2012.
[26] http://www.bramstokerfestival.com
[27] http://www.visitdublin.com/event/bram_stoker_festival
[28] http://www.bramstokerestate.com/The_Bram_Stoker_
Festival_in_Dublin-_2013_Events.html
[29] http://muse.jhu.edu/login?uri=/journals/victorian_studies/
v044/44.2glover.html
4.1.10 External links
• Works by Bram Stoker at Project Gutenberg
• Works by or about Bram Stoker at Internet Archive
• Works by Bram Stoker at LibriVox (public domain au-
diobooks)
• Works by Bram Stoker at Open Library
94 CHAPTER 4. AUTHORS & ILLUSTRATORS

• Bram Stoker at DMOZ smart-aleck riddles and jokes; and Cross Your Fingers, Spit
in Your Hat, about superstitions.
• Bram Stoker at the Internet Movie Database
He is best known for the Scary Stories to Tell in the Dark
• h2g2 article on Bram Stoker series, which featured gruesome, nightmarish illustrations
by Stephen Gammell. The series was America’s most fre-
• Bram Stoker’s brief biography and works
quently challenged book (or book series) for library inclu-
[2]
• 20 Common Misconceptions and Other Miscellaneous sion of 1990-1999.
Information Some of his other books, such as When I Grew Up Long
• Gothic and Stoker Studies at Bath Spa University Ago, were aimed at an older audience, and presented
glimpses of life in the United States during the late 19th
• Bram Stoker Full text and PDF versions of most of century and the early 20th century.
Stoker’s works. At the time of his death in Princeton, New Jersey, where he
• Bram Stoker’s Dracula Full text of Stoker’s novel lived, Schwartz was survived by his wife and four children.
Dracula.
• “Bram Stoker”. Find a Grave. Retrieved 8 February 4.2.2 The Scary Stories Series
2014.
• Scary Stories to Tell in the Dark
• Short presentation of Bram Stoker’s boyhood neigh-
bourhood in Dublin • More Scary Stories to Tell in The Dark

• Scary Stories 3 : More Tales to Chill Your Bones

4.2 Alvin Schwartz (children’s au-
thor) 4.2.3 Other books
• In A Dark, Dark Room and Other Scary Stories
For the American comic-book writer, see Alvin Schwartz
(comics). • Ghosts!: Ghostly Tales from Folklore

• Stories to Tell a Cat

Alvin Schwartz (April 25, 1927 in Brooklyn, New York
– March 14, 1992 in Princeton, New Jersey) was the au-
thor of more than fifty books dedicated to and dealing with
topics such as folklore and word play, many of which were
intended for young readers.[1] He is often confused with an-
other Alvin Schwartz, who wrote Superman and Batman
daily comics strips and a novel titled The Blowtop.
• And the Green Grass Grew All around: Folk Poetry
from Everyone
• Gold and Silver, Silver and Gold: Tales of Hidden
Treasure
• I Saw You in the Bathtub and Other Folk Rhymes

• Telling Fortunes: Love Magic, Dream Signs, and Other

4.2.1 Biography
After a stint in the navy, Schwartz became interested in
writing. He got his bachelor’s degree from Colby Col-
lege and a master’s degree in journalism from Northwestern
University. He reported for The Binghamton Press from
1951 to 1955. During his professional writing career his
work had been published by a variety of firms, including
Lippincott Williams & Wilkins, Bantam Books, and Harper
Collins.
A series of his books on folklore for children were illus-
trated by Glen Rounds and each featured a type of folklore:
the first, A Twister of Twists, a Tangler of Tongues, was
published in 1972. Others in this series included Tomfool-
ery, which featured wordplay; Witcracks which was about
Ways to Learn the Future
• Love Magic: Dream Signs and Other Ways to Learn the
Future
• Tales of Trickery from the Land of Spoof
• All of Our Noses Are Here and Other Noodle Tales
• Cat’s Elbow and Other Secret Languages
• Ten Copycats in a Boat and Other Riddles
• Fat Man in a Fur Coat: And Other Bear Stories
• Unriddling: All Sorts of Riddles to Puzzle Your Gues-
sary
4.3. CLIVE BARKER 95

• Busy Buzzing Bumblebees and Other Tongue Twisters
• There Is a Carrot in My Ear and Other Noodle Tales
• Flapdoodle: Pure Nonsense from American Folklore
• Chin Music: Tall Talk and Other Talk
• When I Grew Up Long Ago
• Kickle Sniffers and Other Fearsome Critters
works, and his fiction has been adapted into films, notably
the Hellraiser and Candyman series. He was the Execu-
tive Producer of the film Gods and Monsters, which won an
Academy Award for Best Adapted Screenplay.
Barker’s paintings and illustrations have been featured in
galleries in the United States, as well as within his own
books. He has also created original characters and series
for comic books, and some of his more popular horror sto-
ries have been adapted to the medium.

• Witcracks: Jokes and Jests from American Folklore His archives have been a source of material for biographies
and non-fiction books containing his personal essays, dis-
• Whoppers: Tall Tales and Other Lies Collected from cussions of his fringe theater work, interviews, and other
American Folklore content.

• Cross Your Fingers, Spit in Your Hat: Superstitions and

Other Beliefs 4.3.1 Early life
• Scary Stories To Tell In The Dark
Clive Barker was born in Liverpool, Merseyside, the son of
Joan Ruby (née Revill), a painter and school welfare offi-
4.2.4 Compilations cer, and Leonard Barker, a personnel director for an indus-
trial relations firm.[1][2] He was educated at Dovedale Pri-
• Scary Stories to Read When It’s Dark (Reading Rain- mary School, Quarry Bank High School and the University
bow Readers series) of Liverpool, where he studied English and Philosophy.
When he was four years old, Barker witnessed the French
4.2.5 References skydiver Léo Valentin plummet to his death during a per-
formance at an air show in Liverpool. Barker would later
[3]
[1] Lambert, Bruce (March 1992). “Alvin Schwartz, 64, an Au- allude to Valentin in many of his stories.
thor Of Folklore Books for Children”. New York Times.
Retrieved 17 March 2010.
4.3.2 Writing career
[2] “100 most frequently challenged books: 1990–1999”.
American Library Association.
Barker is an author of contemporary horror/fantasy. He be-
gan writing in the horror genre early in his career, mostly in
4.2.6 External links the form of short stories (collected in Books of Blood 1 – 6)
and the Faustian novel The Damnation Game (1985). Later
• New York Times obituary he moved towards modern-day fantasy and urban fantasy
with horror elements in Weaveworld (1987), The Great and
• Alvin Schwartz at the Internet Speculative Fiction Secret Show (1989), the world-spanning Imajica (1991), and
Database Sacrament (1996), bringing in the deeper, richer concepts
of reality, the nature of the mind and dreams, and the power
of words and memories.
4.3 Clive Barker Barker’s distinctive style is characterised by the notion of
hidden fantastical worlds coexisting with our own, the role
For the English pop artist, see Clive Barker (artist). For of sexuality in the supernatural, and the construction of co-
the South African coach, see Clive Barker (soccer). herent, complex and detailed universes. Barker has referred
to this style as "dark fantasy" or the “fantastique”. His sto-
Clive Barker (born 5 October 1952) is an English writer, ries are notable for a deliberate blurring of the distinction
film director, and visual artist best known for his work in between binary opposites such as Hell and Heaven, or plea-
both fantasy and horror fiction. Barker came to prominence sure and pain (the latter particularly so in The Hellbound
in the mid-1980s with a series of short stories known as the Heart).
Books of Blood which established him as a leading young When the Books of Blood were first published in the United
horror writer. He has since written many novels and other States in paperback, Stephen King was quoted on the book
96 CHAPTER 4. AUTHORS & ILLUSTRATORS

covers: “I have seen the future of horror and his name is covers of the collections of his plays, Incarnations (1995)
Clive Barker.”[4] As influences on his writing, Barker lists and Forms of Heaven (1996); and on the second printing of
Herman Melville, Edgar Allan Poe, Ray Bradbury, William the original British publications of his Books of Blood se-
S. Burroughs, William Blake and Jean Cocteau, among ries. Barker also provided the artwork for his young adult
others.[5] novel The Thief of Always and for the Abarat series. His
He is also the writer of the best-selling Abarat series, and artwork has been exhibited at Bert Green Fine Art in Los
plans on producing two more novels in the series.[6] Angeles and Chicago, at the Bess Cutler Gallery in New
York and La Luz De Jesus in Los Angeles. Many of his
Barker’s basic philosophy and approach are revealed in his sketches and paintings can be found in the collection Clive
foreword to H.R. Giger’s illustrated work, Necronomicon Barker, Illustrator, published in 1990 by Arcane/Eclipse
(1993 edition). Books, and in Visions of Heaven and Hell, published in 2005
by Rizzoli Books. The most complete selection of Clive
Barker’s paintings and drawings are available to view in a
4.3.3 Film work gallery setting on the website.
He worked on the creative side of a horror video game, Clive
Barker has a keen interest in film production, although his
Barker’s Undying, providing the voice for the character Am-
films have received mixed receptions. He wrote the screen-
brose. Undying was developed by DreamWorks Interactive
plays for Underworld (a.k.a. Transmutations – 1985) and
and released in 2001. He also worked on Clive Barker’s
Rawhead Rex (1986), both directed by George Pavlou.[7]
Jericho for Codemasters, which was released in late 2007.
Displeased by how his material was handled, he moved to
directing with Hellraiser (1987), based on his novella The Barker created Halloween costume designs for Disguise
Hellbound Heart. His early films, the shorts The Forbidden Costumes.[12][13]
and Salome, are experimental art films with surrealist ele-
ments, which have been re-released together to moderate
critical acclaim. After his film Nightbreed (1990), which 4.3.5 Comic books
was widely considered to be a flop, Barker returned to write
and direct Lord of Illusions (1995). A short story titled “The A long term comics fan, Barker achieved his dream of
Forbidden”, from Barker’s Books of Blood, provided the ba- publishing his own superhero books when Marvel Comics
sis for the 1992 film Candyman and its two sequels (whereof launched the Razorline imprint in 1993. Based on detailed
he was also producer of the two first). Barker was an execu- premises, titles and lead characters he created specifically
tive producer of the film Gods and Monsters (1998), which for this, the four interrelated titles — set outside the Mar-
received major critical acclaim. He had been working on a vel universe — were Ectokid (written first by James Robin-
series of film adaptations of his The Abarat Quintet books son, then by future Matrix co-creator Lana Wachowski,
under Disney’s management, but has admitted that because with art by Steve Skroce), Hokum & Hex (written by Frank
of creative differences, this project will not go ahead. In Lovece, art by Anthony Williams), Hyperkind (written by
2005, Barker created the film production company Mid- Fred Burke, art by Paris Cullins and Bob Petrecca) and Saint
night Picture Show together with horror film producer Sinner (written by Elaine Lee, art by Max Douglas). A 2002
Jorge Saralegui, with the intent of producing two horror Barker telefilm titled Saint Sinner bore no relation to the
films per year.[8] Since then, the company has produced four comic.
films: The Plague (2006), The Midnight Meat Train (2008),
Book of Blood (2009) and Dread (2009).[9] Barker horror adaptations and spinoffs in comics include the
Marvel/Epic Comics series Hellraiser, Nightbreed, Pinhead,
In October 2006, Barker announced through his official The Harrowers, Book of the Damned, and Jihad; Eclipse
website that he will be writing the script to a forthcoming Books' series and graphic novels Tapping The Vein, Dread,
remake of the original Hellraiser film.[10][11] He is also de- Son of Celluloid, Revelations The Life of Death, Rawhead
veloping a film based on his Tortured Souls line of toys from Rex and The Yattering and Jack, and Dark Horse Comics'
McFarlane Toys. Primal, among others. Barker served as a consultant and
wrote issues of the Hellraiser anthology comic book.

4.3.4 Visual art In 2005, IDW published a three-issue adaptation of

Barker’s children’s fantasy novel The Thief of Always, writ-
Barker is a prolific visual artist working in a variety of me- ten and painted by Kris Oprisko and Gabriel Hernandez.
dia, often illustrating his own books. His paintings have IDW is publishing a 12 issue adaptation of Barker’s novel
been seen first on the covers of his official fan club maga- The Great and Secret Show.
zine, Dread, published by Fantaco in the early '90s; on the In December 2007, Chris Ryall and Clive Barker an-
4.3. CLIVE BARKER 97

nounced an upcoming collaboration of an original comic • (2004) Days of Magic, Nights of War (second book of
book series, Torakator, to be published by IDW.[14] the Abarat Quintet)
In October 2009, IDW published Seduth (Written by Clive • (2007) Mister B. Gone
Barker and Chris Monfette; art by Gabriel Rodriguez;
colours by Jay Fotos; letters by Neil Uyetake; edits by Chris • (2011) Absolute Midnight (third book of the Abarat
Ryall; and 3-D conversion by Ray Zone), the first time Quintet)
Barker has created a world specifically for the comic book
medium in two decades. The work was released with three • (2015) The Scarlet Gospels
variant covers; cover a featuring art by Gabriel Rodriguez
and cover b with art by Clive Barker and the third is a
Collections
“retailer incentive signed edition cover” with art by Clive
[15]
Barker.
• (1984–1985) Books of Blood
In 2011, Boom! Studios began publishing an original Hell-
raiser comic book series. The comic book picks up 2 • (1985) The Inhuman Condition
decades after the events of Hellbound: Hellraiser II, and
• (1986) In The Flesh
from there, builds its own mythology. The book has several
credited writers: Chris Monfette, Anthony Diblasi, Mark • (2000) The Essential Clive Barker: Selected Fiction
Miller and most recently Witch Doctor creator Brandon
Seifert. The series is ongoing and has just celebrated its
second anniversary in print. Others
In 2013, Boom! Studios announced the first original story
• (1990) Clive Barker, Illustrator
by Barker to be published in comic book format: Next Tes-
tament. The story concerns a man named Julian Demond • (1992) Illustrator II: The Art of Clive Barker
who unearths the God of the Old Testament and discovers
that he has bitten off more than he can chew. The series is • (1995) Incarnations: Three Plays
co-written by Seraphim Films Vice President Mark Miller.
• (1996) Forms of Heaven: Three Plays

• (2001) Tortured Souls

4.3.6 Bibliography
• (2005) Visions of Heaven and Hell
Novels
• (2009) Mr. Maximillian Bacchus And His Travelling
• (1985) The Damnation Game Circus
• (1986) The Hellbound Heart • (2011) The Painter, the Creature and the Father of Lies
• (1987) Weaveworld • (2014) Clive Barker: Imaginer

• (1988) Cabal • (2015) Midian Unmade

• (1989) The Great and Secret Show (first “Book of the

Art”) 4.3.7 Filmography
• (1991) Imajica
4.3.8 Video games
• (1992) The Thief of Always
• Clive Barker’s Nightbreed: The Action Game (1990)
• (1994) Everville (second “Book of the Art”)
• Clive Barker’s Nightbreed: The Interactive Movie
• (1996) Sacrament (1990)

• (1998) Galilee • Clive Barker’s Undying (2001)

• (2001) Coldheart Canyon • Clive Barker’s Demonik (cancelled 2006)

• (2002) Abarat (first book of the Abarat Quintet) • Clive Barker’s Jericho (2007)
98
4.3.9 Personal life
In 2003, Barker received the Davidson/Valentini Award at
the 15th GLAAD Media Awards.[16] Barker has been crit-
ical of organised religion throughout his career, but he has
stated that the Bible influences his work and spirituality.[17]
In 2003, Barker remarked “I am, [a Christian]" during an
episode of Real Time With Bill Maher when Ann Coulter
implied he was not a Christian.[18]
Barker said in a December 2008 online interview (pub-
lished in March 2009) that he had polyps in his throat which
were so severe that a doctor told him he was taking in ten
percent of the air he was supposed to have been getting. He
has had two surgeries to remove them and believes his re-
sultant voice is an improvement over how it was prior to the
surgeries. He said he did not have cancer and has given up
cigars.[19]
Relationships
In a 20 August 1996 appearance on the radio call-in show
Loveline, Barker stated that during his teens he had several
relationships with older women, and came to identify him-
self as homosexual by 18 or 19 years old.[20] Barker has
been openly gay since the early 1990s.[21] His relationship 4.3.11 See also
with John Gregson lasted from 1975 until 1986. It was dur-
ing this period, with the support that John provided, that
Clive was able to write the Books of Blood series and The
Damnation Game.
He later spent thirteen years with photographer (Emilian)
David Armstrong, described as his husband in the introduc-
tion to Coldheart Canyon; they separated in 2009. Three
[22]
years later, Armstrong sued Barker for giving him HIV.
Barker currently lives in Beverly Hills with his partner of 6 4.3.12 References
years, Johnny Ray Raymond Jr. As of 2015, he is also a
member of the board of advisers for the Hollywood Horror [1] “Clive Barker Biography”. Filmreference.com. Retrieved
Museum.
4.3.10 Critical studies of Clive Barker’s
work
• Suzanne J. Barbieri, Clive Barker : Mythmaker for the
Millennium. Stockport:British Fantasy Society, 1994,
ISBN 0952415305.
• Gary Hoppenstand, Clive Barker’s short stories : imag-
ination as metaphor in the Books of blood and other
works. (With a foreword by Clive Barker). Jefferson,
N.C. : McFarland, 1994, ISBN 0899509843.
• Linda Bradley, Writing Horror and The Body : the
fiction of Stephen King, Clive Barker, and Anne
CHAPTER 4. AUTHORS & ILLUSTRATORS
Rice. London : Greenwood Press, 1996, ISBN
0313297169.
• Chris Morgan, “Barker, Clive”, in David Pringle, ed.,
St. James Guide to Horror, Ghost and Gothic Writers.
London: St. James Press, 1998, ISBN 1558622063
• S. T. Joshi The Modern Weird Tale Jefferson, N.C. ;
London : McFarland, 2001, ISBN 078640986X.
• K. A. Laity, “Clive Barker” in: Richard Bleiler, ed.
Supernatural Fiction Writers: Contemporary Fantasy
and Horror. New York: Thomson/Gale, 2003, ISBN
0684312506.
• Edwin F. Casebeer, “Clive Barker (1952- )" in: Dar-
ren Harris-Fain (ed.) British Fantasy and Science Fic-
tion Writers Since 1960. Farmington Hills, MI: Thom-
son/Gale, 2002, ISBN 0787660051.
• Smith, Andrew. “Worlds that Creep upon You: Post-
modern Illusions in the Work of Clive Barker.” In
Clive Bloom, ed, Creepers: British Horror and Fan-
tasy in the Twentieth Century. London and Boulder
CO: Pluto Press, 1993, pp. 176–86.
• Cenobite
• Lemarchand’s box
• List of horror fiction authors
• Splatterpunk
30 October 2014.
[2] Archived October 31, 2014 at the Wayback Machine
[3] Abrams, Michael (2006). Birdmen, Batmen, and Skyflyers:
Wingsuits and the Pioneers Who Flew in Them, Fell in Them,
and Perfected Them. New York: Harmony Books. pp. 131–
132. ISBN 978-1-4000-5491-6.
[4] “The Official Clive Barker Resource : Revelations - News
Stephen King Award - Speech”. Clivebarker.info. Retrieved
30 October 2014.
[5] “Influences”. Clive Barker Revelations. Retrieved 27
November 2011.
[6] What’s Going To Happen In The Final Two Books Of
Abarat?
[7] Underworld at the Internet Movie Database
4.4. EDGAR ALLAN POE 99

[8] “Clive Barker to form Midnight Picture Show”. Advo- 4.4 Edgar Allan Poe
cate.com. Retrieved 30 October 2014.

[9] “Midnight Picture Show [us]". IMDb. Retrieved 30 October

2014.
“Poe” redirects here. For other uses, see Poe (disambigua-
tion).
[10] “The Official Clive Barker Website - Revelations Interview This article is about the American writer. For a relative,
15”. Clivebarker.info. Retrieved 30 October 2014. see Edgar Allan Poe (Maryland attorney general). For
other uses, see Edgar Allan Poe (disambiguation).
[11] Archived September 8, 2012 at the Wayback Machine

[12] “Dress Up Like Clive Barker’s Nightmares”. Dreadcen- Edgar Allan Poe (/poʊ/; born Edgar Poe; January 19,
tral.com. Retrieved 30 October 2014. 1809 – October 7, 1849) was an American writer, editor,
and literary critic. Poe is best known for his poetry and short
[13] “Clive Barkers Enters the 'Dark Bazaar' with JAKKS Pa- stories, particularly his tales of mystery and the macabre.
cific”. Bloody-disgusting.com. Retrieved 30 October 2014.
Widely regarded as a central figure of Romanticism in the
[14] Archived February 29, 2012 at the Wayback Machine United States and American literature as a whole, he was
one of the country’s earliest practitioners of the short story.
[15] Archived August 15, 2014 at the Wayback Machine Poe is generally considered the inventor of the detective
fiction genre and is further credited with contributing to
[16] “Publications”. GLAAD. Retrieved 30 October 2014. the emerging genre of science fiction.[1] He was the first
[17] “The Official Clive Barker Website - Spirituality”. Clive- well-known American writer to try to earn a living through
barker.info. Retrieved 30 October 2014. writing alone, resulting in a financially difficult life and
career.[2]
[18] Presenter: Bill Maher (25 April 2003). “Season 1, Episode
Born in Boston, Poe was the second child of two actors. His
10”. Real Time with Bill Maher. 60 minutes minutes in.
HBO. CBS Television City.
father abandoned the family in 1810, and his mother died
the following year. Thus orphaned, the child was taken in by
[19] “Art and the Artist: An Interview with Clive Barker”. John and Frances Allan, of Richmond, Virginia. Although
Strange Horizons. March 2009. they never formally adopted him, Poe was with them well
into young adulthood. Tension developed later as John Al-
[20] "[Clive Barker|]". Classic Loveline. Episode 233. 20 August lan and Edgar repeatedly clashed over debts, including those
1996. KROQ-FM. incurred by gambling, and the cost of secondary education
[21] Night, Bell (1 March 2013). “Clive Barker – Not Just an for the young man. Poe attended the University of Virginia
Author!". Retrieved 11 January 2015. for one semester but left due to lack of money. Poe quar-
reled with Allan over the funds for his education and en-
[22] “Famous horror writer Clive Barker sued by an ex-boyfriend listed in the Army in 1827 under an assumed name. It was at
who says author gave him HIV”. Daily Mail. 6 June 2012. this time his publishing career began, albeit humbly, with an
Retrieved 11 January 2015. anonymous collection of poems, Tamerlane and Other Po-
ems (1827), credited only to “a Bostonian”. With the death
of Frances Allan in 1829, Poe and Allan reached a tem-
4.3.13 External links porary rapprochement. Later failing as an officer’s cadet at
West Point and declaring a firm wish to be a poet and writer,
• Official website Poe parted ways with John Allan.
• Clive Barker at the Internet Movie Database Poe switched his focus to prose and spent the next sev-
eral years working for literary journals and periodicals, be-
• Clive Barker at AllMovie coming known for his own style of literary criticism. His
work forced him to move among several cities, including
• Clive Barker at the Internet Speculative Fiction Baltimore, Philadelphia, and New York City. In Balti-
Database more in 1835, he married Virginia Clemm, his 13-year-
old cousin. In January 1845 Poe published his poem, "The
• Clive Barker at ComicBookDB.com
Raven", to instant success. His wife died of tuberculosis
• WorldCat entry two years after its publication. For years, he had been plan-
ning to produce his own journal, The Penn (later renamed
• Clive Barker at Library of Congress Authorities — The Stylus), though he died before it could be produced. On
with 50 catalog records October 7, 1849, at age 40, Poe died in Baltimore; the cause
100 CHAPTER 4. AUTHORS & ILLUSTRATORS

of his death is unknown and has been variously attributed Allan’s wife, Frances Valentine Allan, sailed to Britain in
to alcohol, brain congestion, cholera, drugs, heart disease, 1815. Poe attended the grammar school in Irvine, Scotland
rabies, suicide, tuberculosis, and other agents.[3] (where John Allan was born) for a short period in 1815, be-
Poe and his works influenced literature in the United States fore rejoining the family in London in 1816. There he stud-
and around the world, as well as in specialized fields, such ied at a boarding school in Chelsea until summer 1817. He
as cosmology and cryptography. Poe and his work appear was subsequently entered at the Reverend John Bransby’s
throughout popular culture in literature, music, films, and Manor House School at Stoke Newington,
[12]
then a suburb 4
television. A number of his homes are dedicated museums miles (6.4 km) north of London.
today. The Mystery Writers of America present an annual Poe moved back with the Allans to Richmond, Virginia in
award known as the Edgar Award for distinguished work in 1820. In 1824 Poe served as the lieutenant of the Rich-
the mystery genre. mond youth honor guard as Richmond celebrated the visit
of the Marquis de Lafayette.[13] In March 1825, John Al-
lan’s uncle[14] and business benefactor William Galt, said
4.4.1 Life and career to be one of the wealthiest men in Richmond, died and left
Allan several acres of real estate. The inheritance was es-
Early life timated at $750,000. By summer 1825, Allan celebrated
his expansive wealth by purchasing a two-story brick home
named Moldavia.[15]
Poe may have become engaged to Sarah Elmira Roys-
ter before he registered at the one-year-old University of
Virginia in February 1826 to study ancient and modern
languages.[16][17] The university, in its infancy, was estab-
lished on the ideals of its founder, Thomas Jefferson. It
had strict rules against gambling, horses, guns, tobacco and
alcohol, but these rules were generally ignored. Jefferson
had enacted a system of student self-government, allowing
students to choose their own studies, make their own ar-
rangements for boarding, and report all wrongdoing to the
faculty. The unique system was still in chaos, and there was
a high dropout rate.[18] During his time there, Poe lost touch
with Royster and also became estranged from his foster fa-
This plaque in Boston marks the approximate location[4] where ther over gambling debts. Poe claimed that Allan had not
Edgar Poe was born. given him sufficient money to register for classes, purchase
texts, and procure and furnish a dormitory. Allan did send
He was born Edgar Poe in Boston, on January 19, 1809, the additional money and clothes, but Poe’s debts increased.[19]
second child of English-born actress Elizabeth Arnold Hop- Poe gave up on the university after a year, and, not feel-
kins Poe and actor David Poe, Jr. He had an elder brother, ing welcome in Richmond, especially when he learned that
William Henry Leonard Poe, and a younger sister, Rosalie his sweetheart Royster had married Alexander Shelton, he
Poe.[5] Their grandfather, David Poe, Sr., had emigrated traveled to Boston in April 1827, sustaining himself with
from Cavan, Ireland, to America around the year 1750.[6] odd jobs as a clerk and newspaper writer.[20] At some point
Edgar may have been named after a character in William he started using the pseudonym Henri Le Rennet.[21]
Shakespeare's King Lear, a play the couple was performing
in 1809.[7] His father abandoned their family in 1810,[8] and
his mother died a year later from consumption (pulmonary Military career
tuberculosis). Poe was then taken into the home of John Al-
lan, a successful Scottish merchant in Richmond, Virginia, Unable to support himself, on May 27, 1827, Poe enlisted
who dealt in a variety of goods including tobacco, cloth, in the United States Army as a private. Using the name
wheat, tombstones, and slaves.[9] The Allans served as a “Edgar A. Perry”, he claimed he was 22 years old even
foster family and gave him the name “Edgar Allan Poe”,[10] though he was 18.[22] He first served at Fort Independence
though they never formally adopted him.[11] in Boston Harbor for five dollars a month.[20] That same
The Allan family had Poe baptized in the Episcopal Church year, he released his first book, a 40-page collection of po-
in 1812. John Allan alternately spoiled and aggressively dis- etry, Tamerlane and Other Poems, attributed with the by-
ciplined his foster son.[10] The family, including Poe and line “by a Bostonian”. Only 50 copies were printed, and
4.4. EDGAR ALLAN POE 101

martialed. On February 8, 1831, he was tried for gross

neglect of duty and disobedience of orders for refusing to
attend formations, classes, or church. Poe tactically pled
not guilty to induce dismissal, knowing he would be found
guilty.[32]
He left for New York in February 1831, and released a
third volume of poems, simply titled Poems. The book was
financed with help from his fellow cadets at West Point,
many of whom donated 75 cents to the cause, raising a to-
tal of $170. They may have been expecting verses simi-
lar to the satirical ones Poe had been writing about com-
manding officers.[33] Printed by Elam Bliss of New York, it
was labeled as “Second Edition” and included a page say-
ing, “To the U.S. Corps of Cadets this volume is respect-
Poe was first stationed at Boston’s Fort Independence while in the fully dedicated.” The book once again reprinted the long
army. poems “Tamerlane” and “Al Aaraaf” but also six previously
unpublished poems including early versions of "To Helen",
"Israfel", and "The City in the Sea".[34] He returned to Bal-
the book received virtually no attention. Poe’s regiment timore, to his aunt, brother and cousin, in March 1831. His
[23]

was posted to Fort Moultrie in Charleston, South Carolina elder brother Henry, who had been in ill health in part due
[35]
and traveled by ship on the brig Waltham on November 8, to problems with alcoholism, died on August 1, 1831.
1827. Poe was promoted to “artificer”, an enlisted trades-
man who prepared shells for artillery, and had his monthly
pay doubled.[24] After serving for two years and attaining Publishing career
the rank of Sergeant Major for Artillery (the highest rank
a noncommissioned officer can achieve), Poe sought to end After his brother’s death, Poe began more earnest attempts
his five-year enlistment early. He revealed his real name and to start his career as a writer. He chose a difficult time
his circumstances to his commanding officer, Lieutenant in American publishing to do so.[36] He was the first well-
Howard. Howard would only allow Poe to be discharged known American to try to live by writing alone[2][37] and
if he reconciled with John Allan and wrote a letter to Al- was hampered by the lack of an international copyright
lan, who was unsympathetic. Several months passed and law.[38] Publishers often pirated copies of British works
pleas to Allan were ignored; Allan may not have written rather than paying for new work by Americans.[37] The in-
to Poe even to make him aware of his foster mother’s ill-
dustry was also particularly hurt by the Panic of 1837.[39]
ness. Frances Allan died on February 28, 1829, and Poe Despite a booming growth in American periodicals around
visited the day after her burial. Perhaps softened by his
this time period, fueled in part by new technology, many
wife’s death, John Allan agreed to support Poe’s attempt did not last beyond a few issues[40] and publishers often
to be discharged in order to receive an appointment to the
refused to pay their writers or paid them much later than
United States Military Academy at West Point.[25] they promised.[41] Poe, throughout his attempts to live as
Poe finally was discharged on April 15, 1829, after secur- a writer, repeatedly had to resort to humiliating pleas for
ing a replacement to finish his enlisted term for him.[26] money and other assistance.[42]
Before entering West Point, Poe moved back to Balti- After his early attempts at poetry, Poe had turned his atten-
more for a time, to stay with his widowed aunt Maria tion to prose. He placed a few stories with a Philadelphia
Clemm, her daughter, Virginia Eliza Clemm (Poe’s first publication and began work on his only drama, Politian.
cousin), his brother Henry, and his invalid grandmother The Baltimore Saturday Visiter awarded Poe a prize in
Elizabeth Cairnes Poe.[27] Meanwhile, Poe published his October 1833 for his short story "MS. Found in a Bot-
second book, Al Aaraaf, Tamerlane and Minor Poems, in tle".[43] The story brought him to the attention of John
Baltimore in 1829.[28] P. Kennedy, a Baltimorean of considerable means. He
Poe traveled to West Point and matriculated as a cadet on helped Poe place some of his stories, and introduced him
July 1, 1830.[29] In October 1830, John Allan married his to Thomas W. White, editor of the Southern Literary Mes-
second wife, Louisa Patterson.[30] The marriage, and bit- senger in Richmond. Poe became assistant editor of the
ter quarrels with Poe over the children born to Allan out periodical in August 1835,[44] but was discharged within
of affairs, led to the foster father finally disowning Poe.[31] a few weeks for having been caught drunk by his boss.[45]
Poe decided to leave West Point by purposely getting court- Returning to Baltimore, Poe secretly married Virginia, his
102
In 1835, Poe, then 26, married his 13-year-old cousin, Virginia
Clemm. They were married for eleven years until her early death,
which may have inspired some of his writing.
cousin, on September 22, 1835. He was 26 and she was
13, though she is listed on the marriage certificate as being
21.[46] Reinstated by White after promising good behavior,
Poe went back to Richmond with Virginia and her mother.
He remained at the Messenger until January 1837. During
this period, Poe claimed that its circulation increased from
700 to 3,500.[5] He published several poems, book reviews,
critiques, and stories in the paper. On May 16, 1836, he
had a second wedding ceremony in Richmond with Virginia
Clemm, this time in public.[47]
The Narrative of Arthur Gordon Pym of Nantucket was pub-
lished and widely reviewed in 1838.[48] In the summer of
1839, Poe became assistant editor of Burton’s Gentleman’s
Magazine. He published numerous articles, stories, and re-
views, enhancing his reputation as a trenchant critic that he
had established at the Southern Literary Messenger. Also in
1839, the collection Tales of the Grotesque and Arabesque
was published in two volumes, though he made little money
off of it and it received mixed reviews.[49] Poe left Bur-
ton’s after about a year and found a position as assistant at
Graham’s Magazine.[50]
In June 1840, Poe published a prospectus announcing his
intentions to start his own journal, The Stylus.[51] Originally,
Poe intended to call the journal The Penn, as it would have The Broadway Journal failed in 1846.[59] Poe moved to a
been based in Philadelphia. In the June 6, 1840 issue of cottage in the Fordham section of the Bronx. That home,
CHAPTER 4. AUTHORS & ILLUSTRATORS
Philadelphia’s Saturday Evening Post, Poe bought advertis-
ing space for his prospectus: “Prospectus of the Penn Mag-
azine, a Monthly Literary journal to be edited and published
in the city of Philadelphia by Edgar A. Poe.” [52] The journal
was never produced before Poe’s death. Around this time,
he attempted to secure a position with the Tyler administra-
tion, claiming he was a member of the Whig Party.[53] He
hoped to be appointed to the Custom House in Philadelphia
with help from president Tyler’s son Robert,[54] an acquain-
tance of Poe’s friend Frederick Thomas.[55] Poe failed to
show up for a meeting with Thomas to discuss the appoint-
ment in mid-September 1842, claiming to have been sick,
though Thomas believed he had been drunk.[56] Though he
was promised an appointment, all positions were filled by
others.[57]
Poe spent the last few years of his life in this small cottage in
Fordham, the Bronx.
One evening in January 1842, Virginia showed the first
signs of consumption, now known as tuberculosis, while
singing and playing the piano. Poe described it as break-
ing a blood vessel in her throat.[58] She only partially re-
covered. Poe began to drink more heavily under the stress
of Virginia’s illness. He left Graham’s and attempted
to find a new position, for a time angling for a govern-
ment post. He returned to New York, where he worked
briefly at the Evening Mirror before becoming editor of the
Broadway Journal and, later, sole owner.[59] There he alien-
ated himself from other writers by publicly accusing Henry
Wadsworth Longfellow of plagiarism, though Longfellow
never responded.[60] On January 29, 1845, his poem "The
Raven" appeared in the Evening Mirror and became a pop-
ular sensation. Though it made Poe a household name al-
most instantly,[61] he was paid only $9 for its publication.[62]
It was concurrently published in The American Review: A
Whig Journal under the pseudonym “Quarles”.[63]
4.4. EDGAR ALLAN POE
known today as the “Poe Cottage”, is on the southeast cor-
ner of the Grand Concourse and Kingsbridge Road, where
he befriended the Jesuits at St. John’s College nearby (now
Fordham University).[64] Virginia died there on January 30,
1847.[65] Biographers and critics often suggest that Poe’s
frequent theme of the “death of a beautiful woman” stems
from the repeated loss of women throughout his life, includ-
ing his wife.[66]
Increasingly unstable after his wife’s death, Poe attempted
to court the poet Sarah Helen Whitman, who lived in
Providence, Rhode Island. Their engagement failed, pur-
portedly because of Poe’s drinking and erratic behavior.
There is also strong evidence that Whitman’s mother inter-
vened and did much to derail their relationship.[67] Poe then
returned to Richmond and resumed a relationship with his
childhood sweetheart, Sarah Elmira Royster.[68]
4.4.2 Death
Edgar Allan Poe is buried at Westminster Hall and Burying Ground
in Baltimore, Maryland (Lat: 39.29027; Long: −76.62333). The
circumstances and cause of his death remain uncertain.
Main article: Death of Edgar Allan Poe
103
On October 3, 1849, Poe was found on the streets of Bal-
timore delirious, “in great distress, and... in need of im-
mediate assistance”, according to the man who found him,
Joseph W. Walker.[69] He was taken to the Washington
Medical College, where he died on Sunday, October 7,
1849, at 5:00 in the morning.[70] Poe was never coher-
ent long enough to explain how he came to be in his dire
condition, and, oddly, was wearing clothes that were not
his own. Poe is said to have repeatedly called out the
name “Reynolds” on the night before his death, though
it is unclear to whom he was referring. Some sources
say Poe’s final words were “Lord help my poor soul.”[70]
All medical records, including his death certificate, have
been lost.[71] Newspapers at the time reported Poe’s death
as “congestion of the brain” or “cerebral inflammation”,
common euphemisms for deaths from disreputable causes
such as alcoholism.[72] The actual cause of death remains
a mystery.[73] Speculation has included delirium tremens,
heart disease, epilepsy, syphilis, meningeal inflammation,[3]
cholera[74] and rabies.[75] One theory, dating from 1872, in-
dicates that cooping—in which unwilling citizens who were
forced to vote for a particular candidate were occasionally
killed—was the cause of Poe’s death.[76]
Griswold’s “Memoir”
The day Edgar Allan Poe was buried, a long obituary ap-
peared in the New York Tribune signed “Ludwig”. It was
soon published throughout the country. The piece began,
“Edgar Allan Poe is dead. He died in Baltimore the day be-
fore yesterday. This announcement will startle many, but
few will be grieved by it.”[77] “Ludwig” was soon identified
as Rufus Wilmot Griswold, an editor, critic and anthologist
who had borne a grudge against Poe since 1842. Griswold
somehow became Poe’s literary executor and attempted to
destroy his enemy’s reputation after his death.[78]
Rufus Griswold wrote a biographical article of Poe called
“Memoir of the Author”, which he included in an 1850 vol-
ume of the collected works. Griswold depicted Poe as a
depraved, drunk, drug-addled madman and included Poe’s
letters as evidence.[78] Many of his claims were either lies or
distorted half-truths. For example, it is now known that Poe
was not a drug addict.[79] Griswold’s book was denounced
by those who knew Poe well,[80] but it became a popularly
accepted one. This occurred in part because it was the only
full biography available and was widely reprinted and in part
because readers thrilled at the thought of reading works by
an “evil” man.[81] Letters that Griswold presented as proof
of this depiction of Poe were later revealed as forgeries.[82]
104 CHAPTER 4. AUTHORS & ILLUSTRATORS

4.4.3 Literary style and themes sponding in his writing to emerging technologies such as
hot air balloons in "The Balloon-Hoax".[94]
Poe wrote much of his work using themes aimed specifi-
cally at mass-market tastes.[95] To that end, his fiction of-
ten included elements of popular pseudosciences such as
phrenology[96] and physiognomy.[97]

Literary theory

Poe’s writing reflects his literary theories, which he pre-

sented in his criticism and also in essays such as "The Poetic
Principle".[98] He disliked didacticism[99] and allegory,[100]
though he believed that meaning in literature should be an
undercurrent just beneath the surface. Works with obvious
meanings, he wrote, cease to be art.[101] He believed that
work of quality should be brief and focus on a specific sin-
gle effect.[98] To that end, he believed that the writer should
carefully calculate every sentiment and idea.[102]
In "The Philosophy of Composition", an essay in which Poe
describes his method in writing “The Raven”, he claims to
have strictly followed this method. It has been questioned
whether he really followed this system. T. S. Eliot said: “It
is difficult for us to read that essay without reflecting that
if Poe plotted out his poem with such calculation, he might
have taken a little more pains over it: the result hardly does
1845 portrait by Samuel Stillman Osgood
credit to the method.”[103] Biographer Joseph Wood Krutch
described the essay as “a rather highly ingenious exercise in
the art of rationalization”.[104]
Genres

Poe’s best known fiction works are Gothic,[83] a genre 4.4.4 Legacy
he followed to appease the public taste.[84] His most re-
curring themes deal with questions of death, including Literary influence
its physical signs, the effects of decomposition, concerns
of premature burial, the reanimation of the dead, and During his lifetime, Poe was mostly recognized as a lit-
mourning.[85] Many of his works are generally considered erary critic. Fellow critic James Russell Lowell called
part of the dark romanticism genre, a literary reaction to him “the most discriminating, philosophical, and fearless
transcendentalism,[86] which Poe strongly disliked.[87] He critic upon imaginative works who has written in America”,
referred to followers of the latter movement as “Frog- suggesting—rhetorically—that he occasionally used prussic
Pondians”, after the pond on Boston Common.[88][89] and acid instead of ink.[105] Poe’s caustic reviews earned him
ridiculed their writings as "metaphor—run mad,”[90] laps- the reputation of being a “tomahawk man”.[106] A favorite
ing into “obscurity for obscurity’s sake” or “mysticism for target of Poe’s criticism was Boston’s then-acclaimed poet,
mysticism’s sake”.[87] Poe once wrote in a letter to Thomas Henry Wadsworth Longfellow, who was often defended by
Holley Chivers that he did not dislike Transcendentalists, his literary friends in what was later called “The Longfel-
“only the pretenders and sophists among them”.[91] low War”. Poe accused Longfellow of “the heresy of the
Beyond horror, Poe also wrote satires, humor tales, and didactic”, writing poetry that was preachy, derivative, and
hoaxes. For comic effect, he used irony and ludicrous ex- thematically plagiarized.[107] Poe correctly predicted that
travagance, often in an attempt to liberate the reader from Longfellow’s reputation and style of poetry would decline,
cultural conformity.[84] "Metzengerstein", the first story thatconcluding that “We grant him high qualities, but deny him
Poe is known to have published,[92] and his first foray into the Future”.[108]
horror, was originally intended as a burlesque satirizing the Poe was also known as a writer of fiction and became one
popular genre.[93] Poe also reinvented science fiction, re- of the first American authors of the 19th century to be-
4.4. EDGAR ALLAN POE 105

imitators.[115] One trend among imitators of Poe has been

claims by clairvoyants or psychics to be “channeling” po-
ems from Poe’s spirit. One of the most notable of these was
Lizzie Doten, who in 1863 published Poems from the Inner
Life, in which she claimed to have “received” new composi-
tions by Poe’s spirit. The compositions were re-workings of
famous Poe poems such as "The Bells", but which reflected
a new, positive outlook.[116]

Illustration by French impressionist Édouard Manet for the

Stéphane Mallarmé translation of "The Raven", 1875. Digitally
restored.

come more popular in Europe than in the United States.[109]

Poe is particularly respected in France, in part due to early
translations by Charles Baudelaire. Baudelaire’s transla-
1848 “Ultima Thule” daguerreotype of Poe
tions became definitive renditions of Poe’s work throughout
[110]
Europe.
Poe’s early detective fiction tales featuring C. Auguste
Dupin laid the groundwork for future detectives in litera- Even so, Poe has received not only praise, but criticism as
ture. Sir Arthur Conan Doyle said, “Each [of Poe’s de- well. This is partly because of the negative perception of his
tective stories] is a root from which a whole literature personal character and its influence upon his reputation.[109]
has developed.... Where was the detective story until Poe William Butler Yeats was occasionally critical of Poe
breathed the breath of life into it?"[111] The Mystery Writers and once called him “vulgar”.[117] Transcendentalist Ralph
of America have named their awards for excellence in the Waldo Emerson reacted to “The Raven” by saying, “I see
genre the "Edgars".[112] Poe’s work also influenced science nothing in it”,[118] and derisively referred to Poe as “the jin-
fiction, notably Jules Verne, who wrote a sequel to Poe’s gle man”.[119] Aldous Huxley wrote that Poe’s writing “falls
novel The Narrative of Arthur Gordon Pym of Nantucket into vulgarity” by being “too poetical”—the equivalent of
called An Antarctic Mystery, also known as The Sphinx of wearing a diamond ring on every finger.[120]
the Ice Fields.[113] Science fiction author H. G. Wells noted,
It is believed that only 12 copies of Poe’s first book, Tamer-
"Pym tells what a very intelligent mind could imagine about
lane and Other Poems, have survived. In December 2009,
the south polar region a century ago.”[114] one copy sold at Christie’s, New York for $662,500, a
Like many famous artists, Poe’s works have spawned record price paid for a work of American literature.[121]
106 CHAPTER 4. AUTHORS & ILLUSTRATORS

Physics and cosmology nius” or “tormented artist” and exploiting his personal
struggles.[135] Many such depictions also blend in with char-
Eureka: A Prose Poem, an essay written in 1848, included acters from his stories, suggesting Poe and his characters
a cosmological theory that presaged the Big Bang the- share identities.[136] Often, fictional depictions of Poe use
ory by 80 years,[122][123] as well as the first plausible so- his mystery-solving skills in such novels as The Poe Shadow
lution to Olbers’ paradox.[124][125] Poe eschewed the sci- by Matthew Pearl.[137]
entific method in Eureka and instead wrote from pure
intuition.[126] For this reason, he considered it a work of
Preserved homes, landmarks, and museums
art, not science,[126] but insisted that it was still true[127]
[128]
and considered it to be his career masterpiece. Even so,
Eureka is full of scientific errors. In particular, Poe’s sug-
gestions ignored Newtonian principles regarding the density
and rotation of planets.[129]

Cryptography

Poe had a keen interest in cryptography. He had placed

a notice of his abilities in the Philadelphia paper Alexan-
der’s Weekly (Express) Messenger, inviting submissions of
ciphers, which he proceeded to solve.[130] In July 1841,
Poe had published an essay called “A Few Words on Se-
cret Writing” in Graham’s Magazine. Capitalizing on pub-
lic interest in the topic, he wrote "The Gold-Bug" incor-
porating ciphers as an essential part of the story.[131] Poe’s
success with cryptography relied not so much on his deep
knowledge of that field (his method was limited to the sim-
ple substitution cryptogram), as on his knowledge of the
magazine and newspaper culture. His keen analytical abili-
ties, which were so evident in his detective stories, allowed
him to see that the general public was largely ignorant of
the methods by which a simple substitution cryptogram can
be solved, and he used this to his advantage.[130] The sen-
sation Poe created with his cryptography stunts played a
major role in popularizing cryptograms in newspapers and
magazines.[132]
The Edgar Allan Poe National Historic Site in Philadelphia is one
Poe had an influence on cryptography beyond increasing of several preserved former residences of Poe.
public interest during his lifetime. William Friedman,
America’s foremost cryptologist, was heavily influenced by No childhood home of Poe is still standing, including the
Poe.[133] Friedman’s initial interest in cryptography came Allan family’s Moldavia estate. The oldest standing home
from reading “The Gold-Bug” as a child, an interest he in Richmond, the Old Stone House, is in use as the Edgar
later put to use in deciphering Japan’s PURPLE code dur- Allan Poe Museum, though Poe never lived there. The col-
ing World War II.[134] lection includes many items Poe used during his time with
the Allan family and also features several rare first print-
ings of Poe works. 13 West Range, the dorm room Poe is
4.4.5 In popular culture believed to have used while studying at the University of
Virginia in 1826, is preserved and available for visits. Its
As a character upkeep is now overseen by a group of students and staff
known as the Raven Society.[138]
Main articles: Edgar Allan Poe in popular culture and The earliest surviving home in which Poe lived is in Bal-
Edgar Allan Poe in television and film timore, preserved as the Edgar Allan Poe House and Mu-
seum. Poe is believed to have lived in the home at the age of
The historical Edgar Allan Poe has appeared as a fic- 23 when he first lived with Maria Clemm and Virginia (as
tionalized character, often representing the “mad ge- well as his grandmother and possibly his brother William
4.4. EDGAR ALLAN POE 107

Henry Leonard Poe).[139] It is open to the public and is also claimed that he had started the tradition. Porpora said
the home of the Edgar Allan Poe Society. Of the several that the tradition began in 1949 in order to raise money
homes that Poe, his wife Virginia, and his mother-in-law and enhance the profile of the church. His story has not
Maria rented in Philadelphia, only the last house has sur- been confirmed,[154] and some details he gave to the press
vived. The Spring Garden home, where the author lived in have been pointed out as factually inaccurate.[155] The Poe
1843–1844, is today preserved by the National Park Service Toaster’s last appearance was on January 19, 2009, the day
as the Edgar Allan Poe National Historic Site.[140] Poe’s fi- of Poe’s bicentennial.
nal home is preserved as the Edgar Allan Poe Cottage in the
Bronx.[65]
4.4.6 Selected list of works
In Boston, a commemorative plaque on Boylston Street
is several blocks away from the actual location of Poe’s
Main article: Edgar Allan Poe bibliography
birth.[4][141][142][143] The house which was his birthplace at
62 Carver Street no longer exists; also, the street has since
been renamed “Charles Street South”.[144][145] A “square” Other works
at the intersection of Broadway, Fayette, and Carver Streets
had once been named in his honor,[146] but it disappeared • Politian (1835) – Poe’s only play
when the streets were rearranged. In 2009, the intersec-
tion of Charles and Boylston Streets (two blocks north • The Narrative of Arthur Gordon Pym of Nantucket
of his birthplace) was newly designated “Edgar Allan Poe (1838) – Poe’s only complete novel
[147]
Square”. In March 2014, fundraising was completed for
• "The Balloon-Hoax" (1844) – A journalistic hoax
construction of a permanent memorial sculpture at this lo-
printed as a true story
cation. The winning design, by Stefanie Rocknak, depicts
a life-sized Poe striding against the wind, accompanied by • "The Philosophy of Composition" (1846) – Essay
a flying raven, and trailed by papers falling from his open
suitcase.[148][149][150][151] The public unveiling on October • Eureka: A Prose Poem (1848) – Essay
5, 2014 was attended by former US poet laureate Robert
Pinsky.[152] • "The Poetic Principle" (1848) – Essay

Other Poe landmarks include a building in the Upper West • "The Light-House" (1849) – Poe’s last incomplete
Side, where Poe temporarily lived when he first moved to work
New York. A plaque suggests that Poe wrote “The Raven”
here. The bar where legend says Poe was last seen drinking
before his death still stands in Fells Point in Baltimore. The 4.4.7 See also
drinking establishment is now known as “The Horse You
Came In On”, and local lore insists that a ghost they call • Edgar Allan Poe and music
[153]
“Edgar” haunts the rooms above. • Edgar Allan Poe in television and film

• Edgar Allan Poe in popular culture

Poe Toaster
• List of coupled cousins
Main article: Poe Toaster
• USS E.A. Poe (IX-103)
Adding to the mystery surrounding Poe’s death, an un-
known visitor affectionately referred to as the “Poe Toaster” 4.4.8 References
paid homage at Poe’s grave annually beginning in 1949. As
the tradition carried on for more than 60 years, it is likely [1] Stableford 2003, pp. 18–19
that the “Poe Toaster” was actually more than one individ-
ual, though the tribute was always the same. Every January [2] Meyers 1992, p. 138
19, in the early hours of the morning, the person made a [3] Meyers 1992, p. 256
toast of cognac to Poe’s original grave marker and left three
roses. Members of the Edgar Allan Poe Society in Balti- [4] “Poe & Boston: 2009”. The Raven Returns: Edgar Allan Poe
more helped protect this tradition for decades. Bicentennial Celebration. The Trustees of Boston College.
Retrieved 2012-05-26.
On August 15, 2007, Sam Porpora, a former historian at
the Westminster Church in Baltimore where Poe is buried, [5] Allen 1927
108 CHAPTER 4. AUTHORS & ILLUSTRATORS

[6] Quinn 1998, p. 13 [39] Whalen 2001, p. 74

[7] Nelson 1981, p. 65 [40] Silverman 1991, p. 99

[8] Canada 1997 [41] Whalen 2001, p. 82

[9] Meyers 1992, p. 8 [42] Meyers 1992, p. 139

[10] Meyers 1992, p. 9 [43] Sova 2001, p. 162

[11] Quinn 1998, p. 61 [44] Sova 2001, p. 225

[12] Silverman 1991, pp. 16–18 [45] Meyers 1992, p. 73

[13] PoeMuseum.org 2006 [46] Meyers 1992, p. 85

[14] Meyers 1992, p. 20 [47] Silverman 1991, p. 124

[15] Silverman 1991, pp. 27–28 [48] Silverman 1991, p. 137

[16] Silverman 1991, pp. 29–30 [49] Meyers 1992, p. 113

[17] University of Virginia. A Catalogue of the Officers and Stu- [50] Sova 2001, pp. 39, 99
dents of the University of Virginia. Second Session, Com-
mencing February 1st, 1826. Charlottesville, VA: Chronicle [51] Meyers 1992, p. 119
Steam Book Printing House, 1880, p. 10
[52] Silverman 1991, p. 159
[18] Meyers 1992, pp. 21–22
[53] Quinn 1998, pp. 321–322
[19] Silverman 1991, pp. 32–34
[54] Silverman 1991, p. 186
[20] Meyers 1992, p. 32
[55] Meyers 1992, p. 144
[21] Silverman 1991, p. 41
[56] Silverman 1991, p. 187
[22] Cornelius 2002, p. 13
[57] Silverman 1991, p. 188
[23] Meyers 1992, pp. 33–34
[58] Silverman 1991, p. 179
[24] Meyers 1992, p. 35
[59] Sova 2001, p. 34
[25] Silverman 1991, pp. 43–47
[60] Quinn 1998, p. 455
[26] Meyers 1992, p. 38
[61] Hoffman 1998, p. 80
[27] Cornelius 2002, pp. 13–14
[62] Ostram 1987, p. 5
[28] Sova 2001, p. 5
[63] Silverman 1991, p. 530
[29] Krutch 1926, p. 32
[64] Schroth, Raymond A. Fordham: A History and Memoir.
[30] Cornelius 2002, p. 14 New York: Fordham University Press, 2008: 22–25.

[31] Meyers 1992, pp. 54–55 [65] BronxHistoricalSociety.org 2007

[32] Hecker 2005, pp. 49–51 [66] Weekes 2002, p. 149

[33] Meyers 1992, pp. 50–51 [67] Benton 1987, p. 19

[34] Hecker 2005, pp. 53–54 [68] Quinn 1998, p. 628

[35] Quinn 1998, pp. 187–188 [69] Quinn 1998, p. 638

[36] Whalen 2001, p. 64 [70] Meyers 1992, p. 255

[37] Quinn 1998, p. 305 [71] Bramsback 1970, p. 40

[38] Silverman 1991, p. 247 [72] Silverman 1991, pp. 435–436

 4.4. EDGAR ALLAN POE 109

[73] Silverman 1991, p. 435 [105] Quinn 1998, p. 432

[74] CrimeLibrary.com 2008 [106] Zimmerman, Brett (2005). Edgar Allan Poe: Rhetoric and
Style. Montreal: McGill-Queen’s University Press. pp. 85–
[75] Benitez 1996 87. ISBN 0-7735-2899-7.
[76] Walsh 2000, pp. 32–33 [107] Lewis, Paul (March 6, 2011). “Quoth the detective: Edgar
Allan Poe’s case against the Boston literati”. boston.com
[77] Meyers 1992, p. 259 To read Griswold’s full obituary, see
(Globe Newspaper Company). Retrieved 2013-04-09.
Edgar Allan Poe obituary at Wikisource.
[108] “Longfellow’s Serenity and Poe’s Prediction” (Exhibition at
[78] Hoffman 1998, p. 14
Boston Public Library and Massachusetts Historical Soci-
[79] Quinn 1998, p. 693 ety). Forgotten Chapters of Boston’s Literary History. The
Trustees of Boston College. March 28 – July 30, 2012. Re-
[80] Sova 2001, p. 101 trieved 2012-05-22.

[81] Meyers 1992, p. 263 [109] Meyers 1992, p. 258

[82] Quinn 1998, p. 699 [110] Harner 1990, p. 218

[83] Meyers 1992, p. 64 [111] Frank & Magistrale 1997, p. 103

[84] Royot 2002, p. 57 [112] Neimeyer 2002, p. 206

[85] Kennedy 1987, p. 3 [113] Frank & Magistrale 1997, p. 364

[86] Koster 2002, p. 336 [114] Frank & Magistrale 1997, p. 372

[87] Ljunquist 2002, p. 15 [115] Meyers 1992, p. 281

[88] Royot 2002, pp. 61–62 [116] Carlson 1996, p. 476

[89] "(Introduction)" (Exhibition at Boston Public Library). The [117] Meyers 1992, p. 274
Raven in the Frog Pond: Edgar Allan Poe and the City of
[118] Silverman 1991, p. 265
Boston. The Trustees of Boston College. December 17,
2009 – March 31, 2010. Retrieved 2012-05-26. [119] New York Times 1894
[90] Hayes 2002, p. 16 [120] Huxley 1967, p. 32
[91] Silverman 1991, p. 169 [121] New York Daily News 2009
[92] Silverman 1991, p. 88 [122] Cappi 1994
[93] Fisher 1993, pp. 142,149 [123] Rombeck 2005
[94] Tresch 2002, p. 114 [124] Harrison 1987
[95] Whalen 2001, p. 67 [125] Smoot & Davidson 1994
[96] Hungerford 1930, pp. 209–231 [126] Meyers 1992, p. 214
[97] Grayson 2005, pp. 56–77 [127] Silverman 1991, p. 399
[98] Krutch 1926, p. 225 [128] Meyers 1992, p. 219

[99] Kagle 1990, p. 104 [129] Sova 2001, p. 82

[100] Poe 1847, pp. 252–256 [130] Silverman 1991, p. 152

[101] Wilbur 1967, p. 99 [131] Rosenheim 1997, pp. 2, 6

[102] Jannaccone 1974, p. 3 [132] Friedman 1993, pp. 40–41

[103] Hoffman 1998, p. 76 [133] Rosenheim 1997, p. 15

[104] Krutch 1926, p. 98 [134] Rosenheim 1997, p. 146

 110
[135] Neimeyer 2002, p. 209
[136] Gargano 1967, p. 165
[137] Maslin 2006
[138] The Raven Society 2014
[139] Edgar Allan Poe Society 2007
[140] Burns 2006
[141] “Edgar Allan Poe Birth Place”. Massachusetts Historical
Markers on Waymarking.com. Groundspeak, Inc. Retrieved
2012-05-11.
[142] Van Hoy 2007
[143] Glenn 2007
[144] “An Interactive Map of Literary Boston: 1794–1862” (Ex-
hibition). Forgotten Chapters of Boston’s Literary History.
The Trustees of Boston College. March 28 – July 30, 2012.
Retrieved 2012-05-22.
[145] Glenn, Joshua (April 9, 2007). “The house of Poe – mystery
solved!". boston.com (The Boston Globe). Retrieved 2012-
05-22.
[146] “Edgar Allan Poe Square”. The City Record, and Boston
News-letter. Retrieved 2011-05-11.
[147] “Edgar Allan Poe Square”. Massachusetts Historical Markers
on Waymarking.com. Groundspeak, Inc. Retrieved 2012-
05-11.
[148] "[homepage]". Edgar Allan Poe Foundation of Boston.
Edgar Allan Poe Foundation of Boston, Inc. Retrieved
2013-04-09.
[149] Fox, Jeremy C. (February 1, 2013). “Vision for an Edgar
Allan Poe memorial in Boston comes closer to reality”.
boston.com (Boston Globe). Retrieved 2013-04-09.
[150] Kaiser, Johanna (April 23, 2012). “Boston chooses life-size
Edgar Allan Poe statue to commemorate writer’s ties to city”.
boston.com (Boston Globe). Retrieved 2013-04-09.
[151] “About the project”. Edgar Allan Poe Square Public Art
Project. Edgar Allan Poe Foundation of Boston, Inc. Re-
trieved 2013-04-09.
[152] Lee, M.G. (October 5, 2014). “Edgar Allan Poe immortal-
ized in the city he loathed”. Boston Globe. Retrieved 2015-
07-02.
[153] Lake 2006, p. 195
[154] Hall 2007
[155] Associated Press 2007
CHAPTER 4. AUTHORS & ILLUSTRATORS
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pp. 148–162. ISBN 978-0-521-79326-1.
• Whalen, Terance (2001). “Poe and the American Pub-
lishing Industry”. In Kennedy, J. Gerald. A Historical
Guide to Edgar Allan Poe. New York: Oxford Univer-
sity Press. pp. 63–94. ISBN 978-0-19-512150-6.
• Wilbur, Richard (1967). “The House of Poe”. In Re-
gan, Robert. Poe: A Collection of Critical Essays. En-
glewood Cliffs, NJ: Prentice-Hall. p. 99. ISBN 978-
0-13-684963-6.
• Ackroyd, Peter (2008). Poe: A Life Cut Short. Lon-
don: Chatto & Windus. ISBN 978-0-7011-6988-6.
• Bittner, William (1962). Poe: A Biography. Boston:
Little, Brown and Company. ISBN 0-316-09686-5.
• George Washington Eveleth (1922). Thomas Ollive
Mabbott, ed. The letters from George W. Eveleth to
Edgar Allan Poe. Volume 26 of Bulletin of the New
York Public Library (reprint ed.). The New York Pub-
lic Library. Retrieved 24 April 2014.
• Hutchisson, James M. (2005). Poe. Jackson: Univer-
sity Press of Mississippi. ISBN 1-57806-721-9.
4.5. H. G. WELLS 113

• William A. Pannapacker. "A Question of 'Character': science fiction, along with Jules Verne and Hugo Gerns-
Visual Images and the Nineteenth-Century Construc- back.[5][6][lower-alpha 1] His most notable science fiction works
tion of Edgar Allan Poe.” Harvard Library Bulletin, include The Time Machine (1895), The Island of Doctor
New Series Fall 1996, Volume 7, Number 3 Moreau (1896), The Invisible Man (1897), and The War of
the Worlds (1898).
• Poe, Harry Lee (2008). Edgar Allan Poe: An Illus-
trated Companion to His Tell-Tale Stories. New York: Wells’s earliest specialized training was in biology, and his
Metro Books. ISBN 978-1-4351-0469-3. thinking on ethical matters took place in a specifically and
fundamentally Darwinian context.[7] He was also from an
• Pope-Hennessy, Una (1934). Edgar Allan Poe, 1809- early date an outspoken socialist, often (but not always, as
1849: A Critical Biography. New York: Haskell at the beginning of the First World War) sympathising with
House. pacifist views. His later works became increasingly politi-
cal and didactic, and he wrote little science fiction, while he
• Robinson, Marilynne, “On Edgar Allan Poe”, The New
sometimes indicated on official documents that his profes-
York Review of Books, vol. LXII, no. 2 (5 February
sion was that of journalist.[8] Novels like Kipps and The His-
2015), pp. 4, 6.
tory of Mr Polly, which describe lower-middle-class life, led
to the suggestion, when they were published, that he was a
4.4.10 External links worthy successor to Charles Dickens,[9] but Wells described
a range of social strata and even attempted, in Tono-Bungay
• Works by Edgar Allan Poe at Project Gutenberg (1909), a diagnosis of English society as a whole.

• Works by or about Edgar Allan Poe at Internet Archive

• Works by Edgar Allan Poe at LibriVox (public domain 4.5.1 Life
audiobooks)
Early life
• Works by Edgar Allan Poe at Open Library
Herbert George Wells was born at Atlas House, 46 High
• Edgar Allan Poe National Historic Site
Street, Bromley, in Kent,[10] on 21 September 1866.[4]
• Edgar Allan Poe Society in Baltimore Called “Bertie” in the family, he was the fourth and last
child of Joseph Wells (a former domestic gardener, and at
• Poe Museum in Richmond, Virginia the time a shopkeeper and professional cricketer) and his
wife, Sarah Neal (a former domestic servant). An inher-
• Edgar Allan Poe’s Personal Correspondence Shapell
itance had allowed the family to acquire a shop in which
Manuscript Foundation
they sold china and sporting goods, although it failed to
• Edgar Allan Poe’s Collection at the Harry Ransom prosper: the stock was old and worn out, and the location
Center at The University of Texas at Austin was poor. Joseph Wells managed to earn a meagre income,
but little of it came from the shop and he received an un-
• 'Funeral' honours Edgar Allan Poe BBC News (with steady amount of money from playing professional cricket
video) 2009-10-11 for the Kent county team.[11] Payment for skilled bowlers
and batsmen came from voluntary donations afterwards, or
• Selected Stories from American Studies at the Univer-
from small payments from the clubs where matches were
sity of Virginia
played.
A defining incident of young Wells’s life was an accident
4.5 H. G. Wells in 1874 that left him bedridden with a broken leg.[4] To
pass the time he started reading books from the local li-
brary, brought to him by his father. He soon became de-
For other uses, see H. G. Wells (disambiguation). voted to the other worlds and lives to which books gave him
access; they also stimulated his desire to write. Later that
Herbert George Wells (21 September 1866 – 13 August year he entered Thomas Morley’s Commercial Academy,
1946), known primarily as H. G. Wells,[3][4] was a pro- a private school founded in 1849 following the bankruptcy
lific English writer in many genres, including the novel, his- of Morley’s earlier school. The teaching was erratic, the
tory, politics, and social commentary, and textbooks and curriculum mostly focused, Wells later said, on producing
rules for war games. He is now best remembered for his copperplate handwriting and doing the sort of sums useful
science fiction novels, and Wells is called the father of to tradesmen. Wells continued at Morley’s Academy until
114 CHAPTER 4. AUTHORS & ILLUSTRATORS

1880. In 1877, his father, Joseph Wells, fractured his thigh. December that year, however, Williams was dismissed for
The accident effectively put an end to Joseph’s career as a irregularities in his qualifications and Wells was returned
cricketer, and his subsequent earnings as a shopkeeper were to Uppark. After a short apprenticeship at a chemist in
not enough to compensate for the loss of the primary source nearby Midhurst, and an even shorter stay as a boarder at
of family income. Midhurst Grammar School, he signed his apprenticeship
No longer able to support themselves financially, the fam- papers at Hyde’s. In 1883 Wells persuaded his parents to
ily instead sought to place their sons as apprentices in var- release him from the apprenticeship, taking an opportunity
ious occupations. From 1880 to 1883, Wells had an un- offered by Midhurst Grammar School again to become a
pupil–teacher; his proficiency in Latin and science during
happy apprenticeship as a draper at the Southsea Drapery
Emporium, Hyde’s.[12] His experiences at Hyde’s, where he his previous, short stay had been remembered.[11][12]
worked a thirteen-hour day and slept in a dormitory with The years he spent in Southsea had been the most miserable
other apprentices,[10] later inspired his novels The Wheels of his life to that point, but his good fortune at securing
of Chance and Kipps,[13] which portray the life of a draper’s a position at Midhurst Grammar School meant that Wells
apprentice as well as providing a critique of society’s distri- could continue his self-education in earnest.[11] The follow-
bution of wealth. ing year, Wells won a scholarship to the Normal School of
Wells’s parents had a turbulent marriage, owing primarily to Science (later the Royal College of Science in South Kens-
his mother being a Protestant and his father a freethinker. ington, now part of Imperial College London) in London,
When his mother returned to work as a lady’s maid (at studying biology under Thomas Henry Huxley. As an alum-
Uppark, a country house in Sussex), one of the conditions nus, he later helped to set up the Royal College of Science
of work was that she would not be permitted to have liv- Association, of which he became the first president in 1909.
ing space for her husband and children. Thereafter, she and Wells studied in his new school until 1887 with a weekly al-
Joseph lived separate lives, though they never divorced and lowance of 21 shillings (a guinea) thanks to his scholarship.
remained faithful to each other. As a consequence, Her- This ought to have been a comfortable sum of money (at
bert’s personal troubles increased as he subsequently failed the time many working class families had “round about a
as a draper and also, later, as a chemist’s assistant. For- pound a week” as their entire household income)[14] yet in
tunately for Herbert, Uppark had a magnificent library in his Experiment in Autobiography, Wells speaks of constantly
which he immersed himself, reading many classic works, being hungry, and indeed, photographs of him at the time
including Plato's Republic, and More's Utopia. This would show a youth very thin and malnourished.
be the beginning of Herbert George Wells’s venture into lit- He soon entered the Debating Society of the school. These
erature. years mark the beginning of his interest in a possible refor-
mation of society. At first approaching the subject through
Plato’s Republic, he soon turned to contemporary ideas of
Teacher socialism as expressed by the recently formed Fabian So-
ciety and free lectures delivered at Kelmscott House, the
home of William Morris. He was also among the founders
of The Science School Journal, a school magazine that al-
lowed him to express his views on literature and society, as
well as trying his hand at fiction; a precursor to his novel
The Time Machine was published in the journal under the
title The Chronic Argonauts. The school year 1886–87 was
the last year of his studies.
During 1888 Wells stayed in Stoke-on-Trent, living in
Basford, and also at the Leopard Hotel in Burslem. The
unique environment of The Potteries was certainly an inspi-
ration. He wrote in a letter to a friend from the area that “the
district made an immense impression on me.” The inspira-
tion for some of his descriptions in The War of the Worlds
H. G. Wells studying in London, taken circa 1890 is thought to have come from his short time spent here, see-
ing the iron foundry furnaces burn over the city, shooting
In October 1879 Wells’s mother arranged through a dis- huge red light into the skies. His stay in The Potteries also
tant relative, Arthur Williams, for him to join the National resulted in the macabre short story "The Cone" (1895, con-
School at Wookey in Somerset as a pupil–teacher, a se- temporaneous with his famous The Time Machine), set in
nior pupil who acted as a teacher of younger children.[12] In the north of the city.
4.5. H. G. WELLS 115

In the mid-1890s Wells lived at 143 Maybury Road, Woking.[17]

H. G. Wells in 1907 at the door of his house at Sandgate Personal life

In 1891, Wells married his cousin Isabel Mary Wells; the

couple agreed to separate in 1894 when he fell in love with
one of his students, Amy Catherine Robbins (later known as
Jane), whom he married in 1895.[18] Poor health took him
to Sandgate, near Folkestone, where in 1901 he constructed
After teaching for some time, Wells found it necessary to a large family home: Spade House. He had two sons with
supplement his knowledge relating to educational princi- Jane: George Philip (known as “Gip”) in 1901 (died 1985)
ples and methodology and entered the College of Precep- and Frank Richard in 1903 (died 1982).
tors (College of Teachers). He later received his Licen- With his wife Jane’s consent, Wells had affairs with a num-
tiate and Fellowship FCP diplomas from the College. It ber of women, including the American birth control ac-
was not until 1890 that Wells earned a Bachelor of Science tivist Margaret Sanger, adventurer and writer Odette Keun,
degree in zoology from the University of London External Ukrainian spy Moura Budberg and novelist Elizabeth von
Programme. In 1889–90 he managed to find a post as a Arnim.[19] In 1909 he had a daughter, Anna-Jane, with
teacher at Henley House School, where he taught A. A. the writer Amber Reeves,[20] whose parents, William and
Milne.[15][16] His first published work was a Text-book of Maud Pember Reeves, he had met through the Fabian Soci-
Biology in two volumes - 1893. ety; and in 1914 a son, Anthony West (1914–1987), by the
Upon leaving the Normal School of Science, Wells was novelist and feminist Rebecca West, 26 years his junior.[21]
left without a source of income. His aunt Mary—his fa- In Experiment in Autobiography (1934), Wells wrote: “I
ther’s sister-in-law—invited him to stay with her for a while, was never a great amorist, though I have loved several peo-
which solved his immediate problem of accommodation. ple very deeply”.[22] David Lodge's novel A Man of Parts
During his stay at his aunt’s residence, he grew increasingly (2011) - a 'narrative based on factual sources’ (author’s
interested in her daughter, Isabel. He would later go on to note) - gives a convincing and generally sympathetic ac-
court her. count of Wells’s relations with the women mentioned above,
116
and others.
Artist
One of the ways that Wells expressed himself was through
his drawings and sketches. One common location for these
was the endpapers and title pages of his own diaries, and
they covered a wide variety of topics, from political com-
mentary to his feelings toward his literary contemporaries
and his current romantic interests. During his marriage to
Amy Catherine, whom he nicknamed Jane, he drew a con-
siderable number of pictures, many of them being overt
comments on their marriage. During this period, he called
these pictures “picshuas”.[23] These picshuas have been the
topic of study by Wells scholars for many years, and in 2006
a book was published on the subject.[24]
Writer
Statue of a The War of the Worlds tripod, erected as a tribute to H.
G. Wells in the centre of the town of Woking, England
Some of his early novels, called "scientific romances", in-
vented several themes now classic in science fiction in such
works as The Time Machine, The Island of Doctor Moreau,
The Invisible Man, The War of the Worlds, When the Sleeper
Wakes, and The First Men in the Moon. He also wrote realis-
CHAPTER 4. AUTHORS & ILLUSTRATORS
tic novels that received critical acclaim, including Kipps and
a satire on Edwardian advertising, Tono-Bungay. Wells also
wrote dozens of short stories and novellas, the best known
of which is "The Country of the Blind" (1904).
Though Tono-Bungay is not a science-fiction novel, radioac-
tive decay plays a small but consequential role in it. Ra-
dioactive decay plays a much larger role in The World Set
Free (1914). This book contains what is surely his biggest
prophetic “hit”. Scientists of the day were well aware that
the natural decay of radium releases energy at a slow rate
over thousands of years. The rate of release is too slow
to have practical utility, but the total amount released is
huge. Wells’s novel revolves around an (unspecified) inven-
tion that accelerates the process of radioactive decay, pro-
ducing bombs that explode with no more than the force of
ordinary high explosives—but which “continue to explode”
for days on end. “Nothing could have been more obvious
to the people of the earlier twentieth century”, he wrote,
“than the rapidity with which war was becoming impossi-
ble ... [but] they did not see it until the atomic bombs burst
in their fumbling hands”. In 1932, the physicist and con-
ceiver of nuclear chain reaction Leó Szilárd read The World
Set Free, a book which he said made a great impression on
him.[25]
Wells also wrote nonfiction. Wells’s first nonfiction
bestseller was Anticipations of the Reaction of Mechani-
cal and Scientific Progress upon Human Life and Thought
(1901). When originally serialized in a magazine it was sub-
titled, “An Experiment in Prophecy”, and is considered his
most explicitly futuristic work. It offered the immediate po-
litical message of the privileged sections of society contin-
uing to bar capable men from other classes from advance-
ment until war would force a need to employ those most
able, rather than the traditional upper classes, as leaders.
Anticipating what the world would be like in the year 2000,
the book is interesting both for its hits (trains and cars result-
ing in the dispersion of populations from cities to suburbs;
moral restrictions declining as men and women seek greater
sexual freedom; the defeat of German militarism, and the
existence of a European Union) and its misses (he did not
expect successful aircraft before 1950, and averred that “my
imagination refuses to see any sort of submarine doing any-
thing but suffocate its crew and founder at sea”).[26][27]
His bestselling two-volume work, The Outline of History
(1920), began a new era of popularised world history.
It received a mixed critical response from professional
historians.[28] However, it was very popular amongst the
general population and made Wells a rich man. Many
other authors followed with “Outlines” of their own in other
subjects. Wells reprised his Outline in 1922 with a much
shorter popular work, A Short History of the World,[29] and
two long efforts, The Science of Life (1930) and The Work,
Wealth and Happiness of Mankind (1931). The “Out-
4.5. H. G. WELLS 117

lines” became sufficiently common for James Thurber to

parody the trend in his humorous essay, “An Outline of
Scientists”—indeed, Wells’s Outline of History remains in
print with a new 2005 edition, while A Short History of the
World has been recently reedited (2006).
From quite early in his career, he sought a better way to or-
ganize society, and wrote a number of Utopian novels. The
first of these was A Modern Utopia (1905), which shows a
worldwide utopia with “no imports but meteorites, and no
exports at all";[30] two travellers from our world fall into its
alternate history. The others usually begin with the world
rushing to catastrophe, until people realize a better way of
living: whether by mysterious gases from a comet causing
people to behave rationally and abandoning a European war
(In the Days of the Comet (1906)), or a world council of
scientists taking over, as in The Shape of Things to Come
(1933, which he later adapted for the 1936 Alexander Ko-
rda film, Things to Come). This depicted, all too accurately,
the impending World War, with cities being destroyed by
aerial bombs. He also portrayed the rise of fascist dictators
in The Autocracy of Mr Parham (1930) and The Holy Ter-
ror (1939). Men Like Gods (1923) is also a utopian novel.
Wells in this period was regarded as an enormously influ-
ential figure; the critic Malcolm Cowley stated “by the time
he was forty, his influence was wider than any other living
English writer”.[31]
Wells contemplates the ideas of nature and nurture and
questions humanity in books such as The Island of Doc-
tor Moreau. Not all his scientific romances ended in a
Utopia, and Wells also wrote a dystopian novel, When the H. G. Wells circa 1918
Sleeper Wakes (1899, rewritten as The Sleeper Awakes,
1910), which pictures a future society where the classes
have become more and more separated, leading to a re- spent nearly nine months in the hands of Wells’s Canadian
volt of the masses against the rulers. The Island of Doctor publisher, Macmillan Canada.[33]
Moreau is even darker. The narrator, having been trapped In 2000, A. B. McKillop, a professor of history at Carleton
on an island of animals vivisected (unsuccessfully) into hu- University and a leading Canadian historian, produced a
man beings, eventually returns to England; like Gulliver on book on the Deeks versus Wells case, called The Spinster &
his return from the Houyhnhnms, he finds himself unable The Prophet: Florence Deeks, H. G. Wells, and the Mystery
to shake off the perceptions of his fellow humans as barely of the Purloined Past.[34] McKillop had been researching
civilised beasts, slowly reverting to their animal natures. another Canadian historical figure when he came across in-
Wells also wrote the preface for the first edition of W. N. formation relating to this, and intrigued, followed through
P. Barbellion's diaries, The Journal of a Disappointed Man, with this book. According to McKillop, the lawsuit was
published in 1919. Since “Barbellion” was the real author’s unsuccessful due to the prejudice against a woman suing
pen name, many reviewers believed Wells to have been the a well-known and famous male author; McKillop paints a
true author of the Journal; Wells always denied this, despite detailed story based on the circumstantial evidence of the
being full of praise for the diaries, but the rumours persisted case, and suggests that in a more modern court, she would
until Barbellion’s death later that year. have been successful.

In 1927 a Canadian citizen, Florence Deeks (1864–1959),
unsuccessfully sued Wells for infringement of copyright
and breach of trust, claiming that much of The Outline
of History had been plagiarized from her unpublished
manuscript,[32] The Web of the World’s Romance, which had
Deeks’s manuscript was apparently sent to MacMillan and
Company, UK, to check that references to other works did
not violate copyright. It appeared to go through the hands
of one of the editors in the UK who passed it onto Wells,
as he knew Wells was thinking of a similar project. The net
result was that Deeks’s eventually rejected work came back
118 CHAPTER 4. AUTHORS & ILLUSTRATORS

and when it was eventually opened, it was found “soiled,
thumbed, worn and torn, with over a dozen pages turned
down at the corners, and many others creased as if having
been bent back in use”.[35] When she compared her work to
The Outline of History in the winter of 1920–21 she found
remarkable similarities, exact text similarities, and the same
errors and omissions that marred her work, also in Wells’s.
also wrote Floor Games (1911) followed by Little Wars
(1913). Little Wars is recognised today as the first
recreational war game and Wells is regarded by gamers and
hobbyists as “the Father of Miniature War Gaming”.[41]
Final years

In 2004, Denis N. Magnusson, Professor Emeritus of the

Faculty of Law, Queen’s University, Kingston, Ontario, had
published in Queen’s Law Journal an article on Deeks v.
Wells. This re-examines the case in relation to McKillop’s
book (described as “a novel” in the editorial introduction).
While having some sympathy for Deeks, he “challenges the
outpouring of public support” for her. He argues that she
had a weak case that was not well presented, and though she
may have met with sexism from her lawyers, she did receive
a fair trial. He goes on to say that the law applied is essen-
tially the same law that would be applied to a similar case
today (i.e., 2004)[36]
In 1933 Wells predicted in The Shape of Things to Come that
the world war he feared would begin in January 1940,[37] a
prediction which ultimately came true four months early,
when the Second World War broke out in September
1939.[38]
In 1936, before the Royal Institution, Wells called for the
compilation of a constantly growing and changing World
Encyclopaedia, to be reviewed by outstanding authorities
and made accessible to every human being. In 1938, he
published a collection of essays on the future organisation of
knowledge and education, World Brain, including the essay,
“The Idea of a Permanent World Encyclopaedia”. H. G. Wells in 1943
Prior to 1933, Wells’s books were widely read in Germany
Wells’s literary reputation declined as he spent his later
and Austria, and most of his science fiction works had been
years promoting causes that were rejected by most of his
translated shortly after publication.[39] By 1933 he had at-
contemporaries as well as by younger authors whom he had
tracted the attention of German officials because of his
previously influenced, and in this connection George Or-
criticism of the political situation in Germany, and on 10
well described him as “too sane to understand the mod-
May 1933, Wells’s books were burned by the Nazi youth
ern world”.[42] G. K. Chesterton quipped: “Mr. Wells is
in Berlin’s Opernplatz, and his works were banned from li-
a born storyteller who has sold his birthright for a pot of
braries and bookstores.[39] Wells, as president of PEN In-
message”.[43]
ternational (Poets, Essayists, Novelists), angered the Nazis
by overseeing the expulsion of the German PEN club from Wells had diabetes,[44] and was a co-founder in 1934 of The
the international body in 1934 following the German PEN’s Diabetic Association (what is now Diabetes UK, the leading
refusal to admit non-Aryan writers to its membership. At a charity for people with diabetes in the UK).
PEN conference in Ragusa, Wells refused to yield to Nazi On 28 October 1940, on radio station KTSA in San Anto-
sympathisers who demanded that the exiled author Ernst nio, Texas, Wells took part in a radio interview with Orson
Toller be prevented from speaking.[39] Near the end of the Welles, who two years previously had performed a famous
Second World War, Allied forces discovered that the SS had radio adaptation of The War of the Worlds. During the
compiled lists of people slated for immediate arrest dur- interview, by Charles C Shaw, a KTSA radio host, Wells
ing the invasion of Britain in the abandoned Operation Sea admitted his surprise at the widespread panic that resulted
Lion, with Wells included in the alphabetical list of "The from the broadcast, but acknowledged his debt to Welles
Black Book".[40] for increasing sales of one of his “more obscure” titles.[45]
Seeking a more structured way to play war games, Wells Wells died of unspecified causes on 13 August 1946 at
4.5. H. G. WELLS 119

his home at 13 Hanover Terrace, Regent’s Park, London, of his wealth and comfort, the toiler assured of
aged 79.[46][47] Some reports also say he died of a heart his life and work. No doubt in that perfect world
attack at the flat of a friend in London. In his preface to there had been no unemployed problem, no social
the 1941 edition of The War in the Air, Wells had stated question left unsolved.[51]
that his epitaph should be: “I told you so. You damned
fools”.[48] He was cremated at Golders Green Crematorium
In his book The Way the World is Going, Wells called for
on 16 August 1946, his ashes scattered at sea near Old Harry
a non-Marxist form of socialism to be set up, that would
Rocks.[49] A commemorative blue plaque in his honour was
avoid both class war and conflict between nations.[52]
installed at his home in Regent’s Park.

4.5.2 Political views World government

The Fabian Society
Wells called his political views socialist. He was for a time
a member of the socialist Fabian Society, but broke with
them as his creative political imagination, matching the
originality shown in his fiction, outran theirs.[50] He later
grew staunchly critical of them as having a poor under-
standing of economics and educational reform. He ran as a
Labour Party candidate for London University in the 1922
and 1923 general elections after the death of his friend W.
H. R. Rivers, but at that point his faith in the party was weak year 2000 become the means “by which the final peace of
or uncertain.
Class
Social class was a theme in Wells’s The Time Machine in
which the Time Traveller speaks of the future world, with
its two races, as having evolved from
the gradual widening of the present (19th
century) merely temporary and social difference
between the Capitalist and the Labourer. ... Even
now, does not an East-end worker live in such ar-
tificial conditions as practically to be cut off from
the natural surface of the earth? Again, the ex-
clusive tendency of richer people ... is already
leading to the closing, in their interest, of consid-
erable portions of the surface of the land. About
London, for instance, perhaps half the prettier
[51]
country is shut in against intrusion.
Wells has this very same Time Traveller, reflecting his own In The New World Order, Wells admitted that the establish-
socialist leanings, refer in a tongue-in-cheek manner to an ment of such a government could take a long time, and be
imagined world of stark class division as “perfect” and with created in a piecemeal fashion.[58]
no social problem unsolved. His Time Traveller thus high-
lights how strict class division leads to the eventual downfall
of the human race:
His most consistent political ideal was the World State. He
stated in his autobiography that from 1900 onward he con-
sidered a World State inevitable. He envisioned the state to
be a planned society that would advance science, end na-
tionalism, and allow people to progress by merit rather than
birth.
In Anticipations (1900) Wells envisaged that “the great ur-
ban region between Chicago and the Atlantic” will unify the
English-speaking states, and this larger English-speaking
unit, “a New Republic dominating the world,” will by the
the world may be assured forever.” It will be “a new social
Hercules that will strangle the serpents of war and national
animosity in his cradle.” Such a synthesis “of the peoples
now using the English tongue, I regard not only as possi-
ble, but as a probable, thing.”[53] The New Republic “will
already be consciously and pretty freely controlling the gen-
eral affairs of humanity before this century closes…” Its
principles and opinions “must necessarily shape and deter-
mine that still ampler future of which the coming hundred
years is but the opening phase.” The New Republic must
ultimately become a “World-State.”[54]
Wells’s 1928 book The Open Conspiracy argued that groups
of campaigners should begin advocating for a “world com-
monwealth”, governed by a scientific elite, that would work
to eliminate problems such as poverty and warfare.[55] In
1932, he told Young Liberals at the University of Ox-
ford that progressive leaders must become liberal fascists
who would “compete in their enthusiasm and self-sacrifice”
against the advocates of dictatorship.[56][57] In 1940, Wells
published a book called The New World Order that outlined
his plan as to how a World Government would be set up.
Eugenics

Once, life and property must have reached al- Some of Wells’s early science fiction works reflect his
most absolute safety. The rich had been assured thoughts about the degeneration of humanity.[59] Wells
120 CHAPTER 4. AUTHORS & ILLUSTRATORS

doubted whether human knowledge had advanced suffi- “the utmost contempt and indignation for the unfairness of
ciently for eugenics to be successful. In 1904 he discussed the handicaps put upon men of colour”. Wells also de-
a survey paper by Francis Galton, co-founder of eugenics, nounced the South African government as a “petty white
saying, “I believe that now and always the conscious selec- tyranny”.[66]
tion of the best for reproduction will be impossible; that
to propose it is to display a fundamental misunderstanding
of what individuality implies ... It is in the sterilisation of Zionism
failure, and not in the selection of successes for breeding,
that the possibility of an improvement of the human stock Wells had given some moderate, unenthusiastic support for
lies”. In his 1940 book The Rights of Man: Or What Are Territorialism before the First World War, but later be-
We Fighting For? Wells included among the human rights came a bitter opponent of the Zionist movement in general.
he believed should be available to all people, "a prohibition
He saw Zionism as an exclusive and separatist movement
on mutilation, sterilization, torture, and any bodily punish-
which challenged the collective solidarity he advocated in
ment".[60] his vision of a world state. No supporter of Jewish iden-
tity in general, Wells had in his utopian writings predicted
the ultimate assimilation of the Jewish people.[67] In notes
Race
to accompany his biographical novel A Man of Parts David
Lodge describes how Wells came to regret his attitudes to
Wells’s 1906 book The Future in America, contains a chap-
the Jews as he became more aware of the extent of the Nazi
ter, “The Tragedy of Colour”, which discusses the problems
atrocities.[68] This included a letter of apology written to
facing black Americans.[61] While writing the book, Wells
Chaim Weizmann for earlier statements he had made.[68]
met with Booker T. Washington, who provided him with
much of his information for the book.[62] Wells praised the
“heroic” resolve of black Americans, stating he doubted if
First World War
the US could:
He supported Britain in the First World War in his 1914
show any thing finer than the quality of the article, “Why Britain Went To War”,[69] despite his many
resolve, the steadfast effort hundreds of black criticisms of British policy, and opposed, in 1916, moves
and coloured men are making to-day to live for an early peace.[70] In an essay published that year he
blamelessly, honourably, and patiently, getting acknowledged that he could not understand those British
for themselves what scraps of refinement, learn- pacifists who were reconciled to “handing over great blocks
ing, and beauty they may, keeping their hold on of the black and coloured races to the [German Empire]
a civilization they are grudged and denied.[61] to exploit and experiment upon” and that the extent of his
own pacifism depended in the first instance upon an armed
In his 1916 book What Is Coming? Wells states, “I hate and peace, with “England keep[ing] to England and Germany
despise a shrewish suspicion of foreigners and foreign ways; to Germany”. State boundaries would be established ac-
a man who can look me in the face, laugh with me, speak cording to natural ethnic affinities, rather than by planners
truth and deal fairly, is my brother, though his skin is as in distant imperial capitals, and overseen by his envisaged
black as ink or as yellow as an evening primrose”.[63] world alliance of states.[71]
In The Outline of History, Wells argued against the idea of
“racial purity”, stating: “Mankind from the point of view of
a biologist is an animal species in a state of arrested differ- Soviet Union
entiation and possible admixture. ... [A]ll races are more
or less mixed”.[64] The leadership of Joseph Stalin led to a change in his view
of the Soviet Union even though his initial impression of
In 1931 Wells was one of several signatories to a letter Stalin himself was mixed. He disliked what he saw as a
in Britain (along with 33 British MPs) protesting against narrow orthodoxy and intransigence in Stalin. He did give
the death sentence passed upon the African-American him some praise saying in an article in the left-leaning New
Scottsboro Boys.[65] Statesman magazine, “I have never met a man more fair,
In 1943 Wells wrote an article for the Evening Standard, candid, and honest” and making it clear that he felt the
“What a Zulu Thinks of the English”, prompted by re- “sinister” image of Stalin was unfair or false. Nevertheless,
ceiving a letter from a Zulu soldier, Lance Coporal Aaron he judged Stalin’s rule to be far too rigid, restrictive of in-
Hlope.[66] Wells’ article was a strong attack on anti-black dependent thought, and blinkered to lead toward the Cos-
discrimination in South Africa. Wells claimed he had mopolis he hoped for.[72] In the course of his visit to the
4.5. H. G. WELLS 121

Soviet Union in 1934, he debated the merits of reformist 4.5.3 Religious views
socialism over Marxism-Leninism with Stalin.[73]
Wells wrote in his book God the Invisible King (1917) that
In 1939 Wells denounced the ideological takeover by fas-
his idea of God did not draw upon the traditional religions
cism and communism;
of the world:

In Communist circles you may hear the most “This book sets out as forcibly and exactly
terrible balderdash about proletarian chemistry as possible the religious belief of the writer.
or proletarian mathematics. In Germany also it [Which] is a profound belief in a personal and
is alleged that some remarkable iniquity attaches intimate God. ... Putting the leading idea of this
to Jewish physics and Einstein is denounced and book very roughly, these two antagonistic typical
banned.[74] conceptions of God may be best contrasted by
speaking of one of them as God-as-Nature or the
Creator, and of the other as God-as-Christ or the
Redeemer. One is the great Outward God; the
Other endeavours other is the Inmost God. The first idea was per-
haps developed most highly and completely in the
Wells brought his interest in art and design, and politics to- God of Spinoza. It is a conception of God tend-
gether when he and other notables signed a memorandum ing to pantheism, to an idea of a comprehensive
to the Permanent Secretaries of the Board of Trade, among God as ruling with justice rather than affection,
others. The November 1914 memorandum expressed the to a conception of aloofness and awestriking wor-
signatories concerns about British industrial design in the shipfulness. The second idea, which is opposed
face of foreign competition. The suggestions were ac- to this idea of an absolute God, is the God of the
cepted, leading to the foundation of the Design and Indus- human heart. The writer would suggest that the
tries Association.[75] In the 1920s he was an enthusiastic great outline of the theological struggles of that
supporter of rejuvenation attempts by Eugen Steinach and phase of civilisation and world unity which pro-
others. He was a patient of Dr Norman Haire (perhaps a duced Christianity, was a persistent but unsuc-
rejuvenated one) and in response to Haire’s 1924 book Re- cessful attempt to get these two different ideas of
juvenation: the Work of Steinach, Voronoff, and Others,[76] God into one focus.”[79]
Wells prophesied a more mature, graver society with “ac-
tive and hopeful children” and adults “full of years” where Later in the work he aligns himself with a “renascent or
none will be “aged”.[77] modern religion ... neither atheist nor Buddhist nor Mo-
In his later political writing, Wells incorporated into his dis- hammedan nor Christian ... [that] he has found growing up
[80]
cussions of the World State a notion of universal human in himself”.
rights that would protect and guarantee the freedom of the Of Christianity he has this to say: “it is not now true for
individual. His 1940 publication The Rights of Man laid the me. ... Every believing Christian is, I am sure, my spiritual
groundwork for the 1948 Universal Declaration of Human brother ... but if systemically I called myself a Christian I
Rights.[78] feel that to most men I should imply too much and so tell a
lie”. Of other world religions he writes: “All these religions
are true for me as Canterbury Cathedral is a true thing and
Summary as a Swiss chalet is a true thing. There they are, and they
have served a purpose, they have worked. Only they are not
[81]
In the end Wells’s contemporary political impact was lim- true for me to live in them. ... They do not work for me”.
ited, excluding his fiction’s positivist stance on the leaps that
could be made by physics towards world peace. His efforts
regarding the League of Nations became a disappointment 4.5.4 Literary influence
as the organization turned out to be a weak one unable to
prevent the Second World War, which itself occurred to- The science fiction historian John Clute describes Wells as
wards the very end of his life and only increased the pes- “the most important writer the genre has yet seen”, and
simistic side of his nature. In his last book Mind at the End notes his work has been [82]
central to both British and Amer-
of Its Tether (1945) he considered the idea that humanity ican science fiction. He was nominated for the Nobel
being replaced by another species might not be a bad idea. Prize in Literature in 1921, 1932, 1935, and 1946.[83]
He also came to refer to the Second World War era as “The In Britain, Wells’s work was a key model for the British
Age of Frustration”. "Scientific Romance", and other writers in that mode,
122
Dramatic
H. G. Wells as depicted in Gernsback’s Science Wonder Stories in
1929
such as Olaf Stapledon,[84] J. D. Beresford,[85] S. Fowler
Wright,[86] and Naomi Mitchison,[87] all drew on Wells’s
example. Wells was also an important influence on British
science fiction of the period after the Second World War,
with Arthur C. Clarke[88] and Brian Aldiss[89] expressing
strong admiration for Wells’s work.
In the United States, Hugo Gernsback reprinted most of
Wells’s work in the pulp magazine Amazing Stories, re-
garding Wells’s work as “texts of central importance to
the self-conscious new genre”.[82] Later American writers
such as Ray Bradbury, Isaac Asimov,[90] Frank Herbert[91]
and Ursula K. Le Guin[92] all recalled being influenced by
Wells’s work.
Wells also inspired writers of European speculative fiction
such as Karel Čapek[92] and Yevgeny Zamyatin.[92]
4.5.5 Representations
Literary
• The superhuman protagonist of J. D. Beresford's 1911
novel, The Hampdenshire Wonder, Victor Stott, was
based on Wells.[85]
• In M. P. Shiel's short story “The Primate of the Rose”
(1928), there is an unpleasant womanizer named E.
CHAPTER 4. AUTHORS & ILLUSTRATORS
P. Crooks, who was written as a parody of Wells.[93]
Wells had attacked Shiel’s Prince Zaleski when it was
published in 1895, and this was Shiel’s response.[93]
Wells would later praise Shiel’s The Purple Cloud
(1901); in turn Shiel expressed admiration for Wells,
referring to him at a speech to the Horsham Rotary
Club in 1933 as “my friend Mr. Wells”.[93]
• In C. S. Lewis' novel That Hideous Strength (1945), the
character Jules is a caricature of Wells,[94] and much
of Lewis’s science fiction was written both under the
influence of Wells and as an antithesis to his work (or,
as he put it, an “exorcism”[95] of the influence it had
on him).
• In Saul Bellow's novel Mr. Sammler’s Planet (1970),
Wells is one of several historical figures the protagonist
met when he was a young man.[96]
• In Brian Aldiss' novella The Saliva Tree, Wells has a
small off screen guest role.[97]
• Malcolm MacDowell portrays Wells in the 1979
science fiction film Time After Time, in which Wells
uses a time machine to pursue Jack the Ripper to the
present day.
• Wells is portrayed in the 1985 story Timelash from the
22nd season of the BBC science-fiction television se-
ries Doctor Who. In this story, Herbert, an enthusi-
astic temporary companion to the Doctor, is revealed
to be a young H. G. Wells. The plot is loosely based
upon the themes and characters of The Time Machine
with references to The War of the Worlds, The Invisi-
ble Man and The Island of Doctor Moreau. The story
jokingly suggests that Wells’s inspiration for his later
novels came from his adventure with the Sixth Doctor.
• The character of Wells also appeared in several
episodes of Lois & Clark (1993–1997), usually pit-
ted against the time-traveling villain known as Tem-
pus (Lane Davies). Wells’s younger self was played
by Terry Kiser, and the older Wells was played by
Hamilton Camp.
• In the 2006 television docudrama HG Wells: War with
the World, Wells is played by Michael Sheen.
• On the science fiction television series Warehouse 13
(2009–2014), there is a female version Helena G.
Wells. When she appeared she explained that her
brother was her front for her writing because a female
science fiction author would not be accepted.
4.5. H. G. WELLS
• Comedian Paul F. Tompkins portrays a fictional Wells
as the host of The Dead Authors Podcast, wherein
Wells uses his time machine to bring dead authors
(played by other comedians) to the present and inter-
view them.
4.5.6 Literary papers
In 1954, the University of Illinois at Urbana–Champaign
purchased the H. G Wells literary papers and corre-
spondence collection.[98] The University’s Rare Book & [9] Vincent Brome, H. G. Wells: A Biography (London, New
Manuscript Library holds the largest collection of Wells
manuscripts, correspondence, first editions and publications
[10] Wells, H. G. (2005) [1905]. Claeys, Gregory; Parrinder,
in the United States.[99] Among these is an unpublished ma-
terial and the manuscripts of such works as The War of the
Worlds and The Time Machine. The collection includes first
editions, revisions, translations. The letters contain gen-
eral family correspondence, communications, from pub- [11] Smith, David C. (1986) H. G. Wells: Desperately mortal. A
lishers, material regarding the Fabian Society, and letters
from politicians and public figures, most notably George
Bernard Shaw and Joseph Conrad.[98]
4.5.7 Bibliography
Main article: H.G. Wells bibliography
4.5.8 Notes
[1] Science fiction magazine editors Hugo Gernsback and John
W. Campbell were the inaugural deceased members of the
Science Fiction and Fantasy Hall of Fame, inducted in 1996
and followed annually by fiction writers Wells and Isaac Asi-
mov, C. L. Moore and Robert Heinlein, Abraham Merritt
and Jules Verne.[100]
4.5.9 References
[1] “Lost daughter of Wells’ passion. (writer H.G. Wells) - Ver-
sion details - Trove”. Trove.nla.gov.au. 1996-08-11. Re-
trieved 2014-03-25.
[2] “Death Notice Summaries Available for Listings at A Mem-
ory Tree”. Amemorytree.co.nz. Retrieved 2014-03-25.
[3] “Wells, H. G.”. Revised 20 May 2015. The Encyclopedia of
Science Fiction (sf-encyclopedia.com). Retrieved 2015-08-
22. Entry by 'JC/BS', John Clute and Brian Stableford.
[4] Parrinder, Patrick (2004). Oxford Dictionary of National
Biography. Oxford University Press.
[5] Adam Charles Roberts (2000), “The History of Science Fic-
tion”, page 48. In Science Fiction, Routledge, ISBN 0-415-
19204-8.
123
[6] Siegel, Mark Richard (1988). Hugo Gernsback, Father of
Modern Science Fiction: With Essays on Frank Herbert and
Bram Stoker. Borgo Pr. ISBN 0-89370-174-2..
[7] Robert M. Philmus and David Y. Hughes, ed., H. G. Wells:
Early Writings in Science and Science Fiction (Berkeley, Los
Angeles, and London: University of California Press, 1975),
p. 179.
[8] Vincent Brome, H. G. Wells: A Biography (London, New
York, and Toronto: Longmans, Green, 1951).
York, and Toronto: Longmans, Green, 1951), p. 99.
Patrick, eds. A Modern Utopia. Gregory Claeys, Francis
Wheen, Andy Sawyer. Penguin Classics. ISBN 978-0-14-
144112-2.
biography. Yale University Press, New Haven and London
ISBN 0-300-03672-8
[12] Wells, Geoffrey H. (1925). The Works of H. G. Wells. Lon-
don: Routledge. p. xvi. ISBN 0-86012-096-1. OCLC
458934085.
[13] Batchelor, John (1985). H. G. Wells. Cambridge, England:
Cambridge University Press. p. 2. ISBN 0-521-27804-X.
[14] Reeves, M.S. Round About a Pound a Week. New York:
Garland Pub., 1980. ISBN 0-8240-0119-2 Some of the text
is available online.
[15] “Hampstead: Education”. A History of the County of Mid-
dlesex 9: 159–169. 1989. Retrieved 9 June 2008.
[16] Liukkonen, Petri. “A. A. Milne”. Books and Writers
(kirjasto.sci.fi). Finland: Kuusankoski Public Library.
Archived from the original on 10 February 2015.
[17] On the 143rd anniversary of Wells’s birth Google published
a riddle with this location on Google Maps as the solution,
but the significance of the 143rd birthday—143 Maybury
Road—was not explained: Schofield, Jack (21 September
2009). “HG Wells - Google reveals answer to teaser doo-
dles”. The Guardian. Retrieved 19 July 2010.
[18] Batchelor (1985: 165)
[19] Lynn, Andrea (2001). Shadow Lovers: The Last Affairs of
H. G. Wells. Boulder, CO: Westview. pp. 10; 14; 47 et sec.
ISBN 978-0-8133-3394-6.
[20] Margaret Drabble (1 April 2005). “A room of her own”.
The Guardian.
[21] Liukkonen, Petri. “H. G. Wells”. Books and Writers
(kirjasto.sci.fi). Finland: Kuusankoski Public Library.
Archived from the original on 10 February 2015.
124
[22] Wells, Herbert George (1934). Experiment in Autobiogra-
phy. Discoveries and Conclusions of a Very Ordinary Brain
(Since 1866). Gutenberg.
[23] “H. G. Wells’ cartoons, a window on his second marriage,
focus of new book | Archives | News Bureau”. University of
Illinois. 31 May 2006. Retrieved 10 June 2012.
[24] Rinkel, Gene and Margaret. The Picshuas of H. G. Wells: A
burlesque diary. Urbana: University of Illinois Press, 2006.
ISBN 0-252-03045-1 (cloth : acid-free paper).
[25] Richard Rhodes (1986). The Making of the Atomic Bomb.
New York: Simon & Schuster. p. 24. ISBN 0-684-81378-
5.
[26] “Annual HG Wells Award for Outstanding Contributions
to Transhumanism”. Web.archive.org. 20 May 2009.
Archived from the original on 20 May 2009. Retrieved 10
June 2012.
[27] Turner, Frank Miller (1993). “Public Science in Britain
1880–1919”. Contesting Cultural Authority: Essays in Victo-
rian Intellectual Life. Cambridge University Press. pp. 219–
20. ISBN 0-521-37257-7.
[28] “The Outline of History—H. G. Wells”. Cs.clemson.edu.
20 April 2003. Retrieved 21 September 2009.
[29] “Wells, H. G. 1922. A Short History of the World”.
Bartleby.com. Retrieved 21 September 2009.
[30] A Modern Utopia
[31] Cowley, Malcolm. “Outline of Wells’s History.” The New
Republic Vol. 81 Issue 1041, 14 November 1934 (pp. 22–
23).
[32] At the time of the alleged infringement in 1919-20, un-
published works were protected in Canada under common
law.Magnusson, Denis N. (Spring 2004). “Hell Hath No
Fury: Copyright Lawyers’ Lessons from Deeks v. Wells".
Queen’s Law Journal 29: 692, note 39.
[33] Magnusson, Denis N. (Spring 2004). “Hell Hath No Fury:
Copyright Lawyers’ Lessons from Deeks v. Wells". Queen’s
Law Journal 29: 682.
[34] McKillop, A. B. (2000) Macfarlane Walter & Ross, Toronto.
[35] Deeks, Florence A. (1930s) “Plagiarism?" unpublished
typescript, copy in Deeks Fonds, Baldwin Room, Toronto
Reference Library, Toronto, Ontario.
[36] Magnusson, Denis N. (Spring 2004). “Hell Hath No Fury:
Copyright Lawyers’ Lessons from Deeks v. Wells”. Queen’s
Law Journal 29: 680, 684..
[37] “9. The Last War Cyclone, 1940–50”. The shape of things
to come: the ultimate revolution (Penguin 2005 ed.). 1933.
p. 208. ISBN 0-14-144104-6..
CHAPTER 4. AUTHORS & ILLUSTRATORS
[38] Wagar, W. Warren (2004). H. G. Wells: traversing time.
Middletown, Conn: Wesleyan University Press. p. 209.
ISBN 0-8195-6725-6..
[39] Patrick Parrinder and John S. Partington (2005). The Re-
ception of H. G. Wells in Europe. pp. 106-108. Bloomsbury
Publishing.
[40] Wells, Frank. H. G. Wells—A Pictorial Biography. London:
Jupiter Books, 1977, p. 91.
[41] The Miniatures Page. The World of Miniatures—An
Overview.
[42] Orwell, George (August 1941). “Wells, Hitler and the World
State”. Horizon.
[43] Chesterton’s reference is to the biblical "mess of pottage",
implying that Wells had sold out his artistic birthright in mid-
career: Rolfe, Christopher; Parrinder, Patrick (1990). H.
G. Wells under revision: proceedings of the International H.
G. Wells Symposium, London, July 1986. Selinsgrove, PA:
Susquehanna University Press. p. 9. ISBN 0-945636-05-9..
[44] “HG Wells—Diabetes UK”. Diabetes.org.uk. 14 April
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[45] Flynn, John L. “The legacy of Orson Welles and the Radio
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0-5..
[46] “H. G. Wells Dies in London”. St. Petersburg Times. 13
August 1946. Retrieved 29 October 2008.
[47] “Calendar”. Classics & Cheese. Retrieved 12 February
2008..
[48] “Preface to the 1941 edition of The War in the Air". Re-
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[49] West, Anthony. H. G. Wells: Aspects of a Life, p. 153. Lon-
don: Hutchinson & Co, 1984. ISBN 0-09-134540-5.
[50] Cole, Margaret (1974). “H. G. Wells and the Fabian So-
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1900–1914: some aspects of British radicalism. London:
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[51] "The Time Machine". Retrieved 10 June 2012..
[52] H. G. Wells, The Way the World is Going. London, Ernest
Benn, 1928, (p. 49).
[53] Anticipations, pp 100-101.
[54] Anticipations, p 107.
[55] Wells, H. G. The Open Conspiracy: Blue Prints for a World
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[56] Mazower, Mark, Dark Continent:Europe’{}s Twentieth Cen-
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[65] Susan D. Pennybacker, From Scottsboro to Munich: Race
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[69] H. G. Wells: Why Britain Went To War (10 August 1914).
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[70] Daily Herald, 27 May 1916.
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 126 CHAPTER 4. AUTHORS & ILLUSTRATORS

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• Sherborne. Michael. H. G. Wells: Another Kind of
Life. London: Peter Owen, 2010, ISBN 978-0-72061-
351-3.
• West, Anthony. H. G. Wells: Aspects of a Life. Lon-
don: Hutchinson, 1984.
• Foot, Michael. H. G.: History of Mr. Wells. Double-
day, 1985 (ISBN 978-1-887178-04-4), Black Swan,
New edition, Oct 1996 (paperback, ISBN 0-552-
99530-4)

[96] R. A. York, The Extension of Life: Fiction and History in

4.5.11 External links
the American Novel. Fairleigh Dickinson University Press,
2003. ISBN 0838639895. p. 40. • H. G. Wells at DMOZ

[97] H.G. Wells: First Citizen of the Future • H. G. Wells at the Internet Movie Database

[98] “H.G. Wells papers, 1845-1946 | University of Illinois Rare

Sources—collections
Book & Manuscript Library”. University of Illinois at
Urbana–Champaign.
• H. G. Wells papers at University of Illinois
[99] “H. G. Wells Correspondence”. Library Illinois.
• Works by H. G. Wells at Project Gutenberg
[100] “Science Fiction and Fantasy Hall of Fame”. Mid American
Science Fiction and Fantasy Conventions, Inc. (midameri- • Works by H. G. Wells at Project Gutenberg Canada
can.org). 22 February 2008. Retrieved 2015-08-22. Last
updated in 2008, this was the official homepage of the Hall • Works by H. G. Wells at Project Gutenberg Australia,
of Fame to 2004. post-1923.
• Works by or about H. G. Wells at Internet Archive
4.5.10 Further reading
• Works by H. G. Wells at LibriVox (public domain au-
• Dickson, Lovat. H. G. Wells: His Turbulent Life & diobooks)
Times. 1969.
• H. G. Wells at the Internet Speculative Fiction
• Gilmour, David. The Long Recessional: The Imperial Database
Life of Rudyard Kipling. New York: Farrar, Straus
and Giroux, 2002 (paperback, ISBN 0-374-18702-9); • H. G. Wells at Goodreads
2003 (paperback, ISBN 0-374-52896-9). • H. G. Wells at the Internet Book List
• Gomme, A. W., Mr. Wells as Historian. Glasgow: • A Short History of the World, at bartleby.com.
MacLehose, Jackson, and Co., 1921.
• Quotes by H. G. Wells
• Gosling, John. Waging the War of the Worlds. Jef-
ferson, North Carolina, McFarland, 2009 (paperback, • Free H.G. Wells downloads for iPhone, iPad, Nook,
ISBN 0-7864-4105-4). Android, and Kindle in PDF and all popular eBook
reader formats (AZW3, EPUB, MOBI) at ebooktake-
• Mauthner, Martin. German Writers in French Exile,
away.com
1933–1940, London: Vallentine and Mitchell, 2007,
ISBN 978-0-85303-540-4.
Sources—letters, essays and interviews
• McLean, Steven. 'The Early Fiction of H. G.
Wells: Fantasies of Science'. Palgrave, 2009, ISBN • Archive of Wells’s BBC broadcasts
9780230535626.
• Film interview with H. G. Wells
• Partington, John S. Building Cosmopolis: The Political
Thought of H. G. Wells. Ashgate, 2003, ISBN 978- • “Stephen Crane. From an English Standpoint”, by
0754633839. Wells, 1900.
4.6. EDWARD GOREY
• Rabindranath Tagore: In conversation with H. G.
Wells. Rabindranath Tagore and Wells conversing in
Geneva in 1930.
• “Introduction”, to W. N. P. Barbellion’s The Journal
of a Disappointed Man, by Wells, 1919.
• “Woman and Primitive Culture”, by Wells, 1895.
• Letter, to M. P. Shiel, by Wells, 1937.
• New Statesman – In the footsteps of H G Wells at
www.newstatesman.com, H. G. Wells called for a Hu-
man Rights Act.
• H. G. Wells, The Open Conspiracy (1933)
Biography
• "Wells, Herbert George". Encyclopædia Britannica
(11th ed.). 1911.
• “H. G. Wells”. In Encyclopædia Britannica Online.
• Parrinder, Patrick. 'Wells, Herbert George (1866–
1946)', Oxford Dictionary of National Biography,
Oxford University Press, 2004; online edn, January
2011 accessed 21 March 2012.
• H. G. Wells biography at the Science Fiction and Fan-
tasy Hall of Fame
Critical essays
• An introduction to The War of the Worlds by Iain Sin-
clair on the British Library’s Discovering Literature
website.
• “An Appreciation of H. G. Wells”, by Mary Austin,
1911.
• “Socialism and the Family” (1906) by Belfort Bax,
Part 1, Part 2.
• “H. G. Wells warned us how it would feel to fight a War
of the Worlds", by Niall Ferguson, in The Telegraph,
24 Jun 2005.
• “H. G. Wells’s Idea of a World Brain: A Critical Re-
assessment”, by W. Boyd Rayward, in Journal of the
American Society for Information Science 50 (15 May
1999): 557–579
• “Mr H. G. Wells and the Giants”, by G. K. Chesterton, Edward St. John Gorey (February 22, 1925 – April 15,
from his book Heretics (1908).
• “The Internet: a world brain?", by Martin Gardner, in often depict vaguely unsettling narrative scenes in Victorian
Skeptical Inquirer, Jan–Feb 1999.
127
• “Science Fiction: The Shape of Things to Come”, by
Mark Bould, in The Socialist Review, May 2005.
• “Who needs Utopia? A dialogue with my utopian
self (with apologies, and thanks, to H. G. Wells)", by
Gregory Claeys in Spaces of Utopia: An Electronic
Journal, no 1, Spring 2006.
• “When H. G. Wells Split the Atom: A 1914 Preview
of 1945”, by Freda Kirchwey, in The Nation, posted 4
Sep 2003 (original 18 Aug 1945 issue).
• “Evil is in the Eye of the Beholder: Threatening
Children in Two Edwardian Speculative Satires,” by
George M. Johnson. Science Fiction Studies. Vol. 41,
No.1 (March 2014): 26-44.
• “Wells, Hitler and the World State”, by George Orwell.
First published: Horizon. GB, London. Aug 1941.
• “War of the Worldviews”, by John J. Miller, in The
Wall Street Journal Opinion Journal, 21 Jun 2005.
• “Wells’ Autobiography”, by John Hart, from New In-
ternational, Vol.2 No.2, Mar 1935, pp. 75–76
• “History in the Science Fiction of H. G. Wells”, by
Patrick Parrinder, Cycnos, 22.2 (2006).
• “From the World Brain to the Worldwide Web”, by
Martin Campbell-Kelly, Gresham College Lecture, 9
Nov 2006.
• “The Beginning of Wisdom: On Reading H. G.
Wells”, by Vivian Gornick, "Boston Review", 31.1
(2007).
• John Hammond, The Complete List of Short Stories
of H. G. Wells
• Biography at a website examining the legacy of The
War Of The Worlds
• “H. G. Wells Predictions Ring True, 143 Years Later”
at National Geographic
• “H.G. Wells,the man I knew” Obituary of Wells by
George Bernard Shaw, at the New Statesman
4.6 Edward Gorey
2000) was an American writer and artist noted for his il-
lustrated books.[1] His characteristic pen-and-ink drawings
and Edwardian settings.
128 CHAPTER 4. AUTHORS & ILLUSTRATORS

4.6.1 Early life for Mr. Gorey, presenting exhibitions of his work in the
store’s gallery and eventually turning him into an interna-
Edward St. John Gorey was born in Chicago. His parents, tional celebrity.”[6]
Helen Dunham (née Garvey) and Edward Lee Gorey,[2] di- Gorey’s illustrated (and sometimes wordless) books, with
vorced in 1936 when he was 11, then remarried in 1952 their vaguely ominous air and ostensibly Victorian and
when he was 27. One of his stepmothers was Corinna Edwardian settings, have long had a cult following. Gorey
Mura (1909–1965), a cabaret singer who had a small role in became particularly well-known through his animated in-
the classic film Casablanca as the woman playing the gui- troduction to the PBS series Mystery! in 1980, as well as
tar while singing "La Marseillaise" at Rick’s Café Améri- his designs for the 1977 Broadway production of Dracula,
cain. His father was briefly a journalist. Gorey’s maternal for which he won a Tony Award for Best Costume Design.
great-grandmother, Helen St. John Garvey, was a popu- He also was nominated for Best Scenic Design. In the intro-
lar nineteenth-century greeting card writer and artist, from duction of each episode of Mystery!, Vincent Price would
whom he claimed to have inherited his talents. welcome viewers to “Gorey Mansion”.
Gorey attended a variety of local grade schools and then
the Francis W. Parker School. He spent 1944 to 1946 in
the Army at Dugway Proving Ground in Utah, and then
attended Harvard University, beginning in 1946 and grad-
uating in the class of 1950, where he studied French and
roomed with poet Frank O'Hara.[3]
In the early 1950s, Gorey, with a group of recent Har-
vard alumni including Alison Lurie (1947), John Ashbery
(1949), Donald Hall (1951), and Frank O'Hara, amongst
others, founded the Poets’ Theatre in Cambridge, which
was supported by Harvard faculty members John Ciardi and
Thornton Wilder.[3][4][5]
He frequently stated that his formal art training was “negli-
gible"; Gorey studied art for one semester at the School of
the Art Institute of Chicago in 1943.
Edward Gorey’s home on Cape Cod, Yarmouth Port, Massachusetts
(2006)

4.6.2 Career Because of the settings and style of Gorey’s work, many
people have assumed he was British; in fact, he only left
From 1953 to 1960, he lived in New York City and worked the U.S. once, for a visit to the Scottish Hebrides. In
for the Art Department of Doubleday Anchor, illustrating
later years, he lived year-round in Yarmouth Port, Mas-
book covers and in some cases, adding illustrations to the sachusetts, on Cape Cod, where he wrote and directed
text. He illustrated works as diverse as Dracula by Bram
numerous evening-length entertainments, often featuring
Stoker, The War of the Worlds by H. G. Wells, and Old Pos- his own papier-mâché puppets, an ensemble known as Le
sum’s Book of Practical Cats by T. S. Eliot. In later years he Theatricule Stoique. The first of these productions, Lost
produced cover illustrations and interior artwork for many Shoelaces, premiered in Woods Hole, Massachusetts on Au-
children’s books by John Bellairs, as well as books begun gust 13, 1987. The last was The White Canoe: an Opera
by Bellairs and continued by Brad Strickland after Bellairs’ Seria for Hand Puppets, for which Gorey wrote the libretto,
death. with a score by the composer Daniel James Wolf. Based
His first independent work, The Unstrung Harp, was pub- on Thomas Moore’s poem The Lake of the Dismal Swamp,
lished in 1953. He also published under pen names that the opera was staged after Gorey’s death and directed by his
were anagrams of his first and last names, such as Ogdred friend, neighbor, and longtime collaborator Carol Verburg,
Weary, Dogear Wryde, Ms. Regera Dowdy, and dozens with a puppet stage made by his friends and neighbors, the
more. His books also feature the names Eduard Blutig noted set designers Herbert Senn and Helen Pond. In the
(“Edward Gory”), a German language pun on his own name, early 1970s, Gorey wrote an unproduced screenplay for a
and O. Müde (German for O. Weary). silent film, The Black Doll.
The New York Times credits bookstore owner Andreas Gorey was noted for his fondness for ballet (for many
Brown and his store, the Gotham Book Mart, with launch- years, he religiously attended all performances of the New
ing Gorey’s career: “it became the central clearing house York City Ballet), fur coats, tennis shoes, and cats, of
4.6. EDWARD GOREY 129

which he had many. All figure prominently in his work.
His knowledge of literature and films was unusually exten-
sive, and in his interviews, he named Jane Austen, Agatha
Christie, Francis Bacon, George Balanchine, Balthus, Louis
Feuillade, Ronald Firbank, Lady Murasaki Shikibu, Robert
Musil, Yasujirō Ozu, Anthony Trollope, and Johannes Ver-
meer as some of his favorite artists. Gorey was also an
unashamed pop-culture junkie, avidly following soap op-
eras and television comedies such as Petticoat Junction and
Cheers, and he had particular affection for dark genre series
such as Buffy the Vampire Slayer, Batman: The Animated
Series, and The X-Files; he once told an interviewer that
he so enjoyed the Batman series that it was influencing the
visual style of one of his upcoming books. Gorey treated
television commercials as an art form in themselves, even
taping his favorites for later study. Gorey was especially
fond of movies, and for a time he wrote regular reviews for
the Soho Weekly under the pseudonym Wardore Edgy.
After Gorey’s death, one of his executors, Andreas Brown,
turned up a large cache of unpublished work, some com-
pleted, some incomplete. Brown described the find as “Am-
ple material for many future books and for plays based on
his work.”[7]
was interviewed on Tribute To Edward Gorey, an hour-long
community, public-access television cable show produced
by artist and friend, Joyce Kenney. He contributed his
videos and personal thoughts. Edward served as a judge at
Yarmouth art shows and enjoyed activities at the local cable
station, studying computer art and serving as cameraman
on many Yarmouth shows. His Cape Cod house is called
Elephant House and is the subject of a photography book
entitled, Elephant House: Or, the Home of Edward Gorey,
with photographs and text by Kevin McDermott. The house
is now the Edward Gorey House Museum.[9]
Gorey left the bulk of his estate to a charitable trust bene-
fiting cats and dogs, as well as other species, including bats
and insects.[7]
4.6.4 Style

4.6.3 Personal life

Although Gorey’s books were popular with children, he
did not associate with children much and had no partic-
ular fondness for them. Gorey never married, professed
to have little interest in romance, and never discussed any
specific romantic relationships in interviews. In the book
The Strange Case of Edward Gorey, published after Gorey’s
death, his friend Alexander Theroux reported that when
Gorey was pressed on the matter of his sexual orientation,
he said that even he was not sure whether he was gay or
straight. When asked what his sexual orientation was in an
interview, he said,
Cover of The Willowdale Handcar (1962)
I'm neither one thing nor the other particu-
larly. I am fortunate in that I am apparently rea- Gorey is typically described as an illustrator. His books may
sonably undersexed or something ... I've never be found in the humor and cartoon sections of major book-
said that I was gay and I've never said that I wasn't stores, but books such as The Object Lesson have earned
... what I'm trying to say is that I am a person be- serious critical respect as works of surrealist art. His exper-
fore I am anything else ... imentation – creating books that were wordless, books that
were literally matchbox-sized, pop-up books, books entirely
Edward Gorey agreed in an interview that the “sexlessness” populated by inanimate objects – complicates matters still
of his works was a product of his asexuality.[8] further. As Gorey told Richard Dyer of The Boston Globe,
From 1995 to his death in April 2000, the normally reclu- “Ideally, if anything were any good, it would be indescrib-
sive artist was the subject of a cinema-verite style docu- able.” Gorey classified his own work as literary nonsense,
mentary directed by Christopher Seufert. (As of 2014, the the genre made most famous by Lewis Carroll and Edward
film has been screened as a work-in-progress; the finished Lear.
film and accompanying book have yet to be released.) He In response to being called gothic, he stated, “If you're do-
130 CHAPTER 4. AUTHORS & ILLUSTRATORS

ing nonsense it has to be rather awful, because there'd be no
point. I'm trying to think if there’s sunny nonsense. Sunny,
funny nonsense for children – oh, how boring, boring, bor-
ing. As Schubert said, there is no happy music. And that’s
true, there really isn't. And there’s probably no happy non-
sense, either.”[10]
4.6.5 Bibliography
Gorey wrote more than 100 books, including the following:
• Amphigorey Also, 1983 (ISBN 0-15-605672-0) – con-
tains The Utter Zoo, The Blue Aspic, The Epiplectic
Bicycle, The Sopping Thursday, The Grand Passion,
Les Passementeries Horribles, The Eclectic Abecedar-
ium, L'Heure bleue, The Broken Spoke, The Awdrey-
Gore Legacy, The Glorious Nosebleed, The Loathsome
Couple, The Green Beads, Les Urnes Utiles, The Stupid
Joke, The Prune People, and The Tuning Fork
• Amphigorey Again, 2006 (ISBN 0-15-101107-9) –
contains The Galoshes of Remorse, Signs of Spring,
Seasonal Confusion, Random Walk, Category, The
Other Statue, 10 Impossible Objects (abridged), The
Universal Solvent (abridged), Scenes de Ballet, Verse
Advice, The Deadly Blotter, Creativity, The Retrieved
Locket, The Water Flowers, The Haunted Tea-Cosy,
Christmas Wrap-Up, The Headless Bust, The Just
Dessert, The Admonitory Hippopotamus, Neglected
Murderesses, Tragedies Topiares, The Raging Tide,
The Unknown Vegetable, Another Random Walk, Se-
rious Life: A Cruise, Figbash Acrobate, La Malle Saig-
nante, and The Izzard Book

He also illustrated more than 50 works by other authors, in-

cluding Samuel Beckett, Edward Lear, John Bellairs, H. G.
Wells, Alain-Fournier, Charles Dickens, T. S. Eliot, Hilaire
Belloc (where new illustrations to Cautionary Tales for
Children[11] were published posthumously, Muriel Spark,
Florence Parry Heide, John Updike, John Ciardi, and
The Gashlycrumb Tinies (1963) Felicia Lamport.
Many of Gorey’s works were published obscurely and are
difficult to find (and priced accordingly), however, the fol- 4.6.6 Pseudonyms
lowing four omnibus editions collect much of his material.
Because his original books are rather short, these editions Gorey was very fond of word games, particularly anagrams.
may contain 15 or more in each volume. He wrote many of his books under pseudonyms that usually
were anagrams of his own name (most famously Ogdred
• Amphigorey, 1972 (ISBN 0-399-50433-8) – contains Weary). Some of these are listed below, with the corre-
The Unstrung Harp, The Listing Attic, The Doubtful sponding book title(s). Eduard Blutig is also a word game:
Guest, The Object-Lesson, The Bug Book, The Fatal “Blutig” is German (the language from which these two
Lozenge, The Hapless Child, The Curious Sofa, The books purportedly were translated) for “bloody” or “gory”.
Willowdale Handcar, The Gashlycrumb Tinies, The
Insect God, The West Wing, The Wuggly Ump, The
• Ogdred Weary – The Curious Sofa, The Beastly Baby
Sinking Spell, and The Remembered Visit
• Amphigorey Too, 1975 (ISBN 0-399-50420-6) – con- • Mrs. Regera Dowdy – The Pious Infant, The Izzard
tains The Beastly Baby, The Nursery Frieze, The Pi- Book
ous Infant, The Evil Garden, The Inanimate Tragedy,
• Eduard Blutig – The Evil Garden (translated from Der
The Gilded Bat, The Iron Tonic, The Osbick Bird, The
Böse Garten by Mrs. Regera Dowdy), The Tuning
Chinese Obelisks (bis), The Deranged Cousins, The
Fork (translated from Der Zeitirrthum by Mrs. Regera
Eleventh Episode, [The Untitled Book], The Lavender
Dowdy)
Leotard, The Disrespectful Summons, The Abandoned
Sock, The Lost Lions, Story for Sara [by Alphonse Al- • Raddory Gewe – The Eleventh Episode
lais], The Salt Herring [by Charles Cros], Leaves from
a Mislaid Album, and A Limerick • Dogear Wryde – The Broken Spoke/Cycling Cards
4.6. EDWARD GOREY 131

• E. G. Deadworry – The Awdrey-Gore Legacy The opening titles of the PBS series Mystery! are based on
Gorey’s art, in an animated sequence co-directed by Derek
• D. Awdrey-Gore – The Toastrack Enigma, The Blanc- Lamb.
mange Tragedy, The Postcard Mystery, The Pincush-
ion Affair, The Toothpaste Murder, The Dustwrap- In the last few decades of his life, Gorey merchandise
per Secret (Note: These books, although attributed became quite popular, with stuffed dolls, cups, stickers,
to Awdrey-Gore in Gorey’s book The Awdrey-Gore posters, and other items available at malls around the United
Legacy, were not really written) States.
In 2007, the Jim Henson Company announced plans to pro-
• Edward Pig – The Untitled Book
duce a feature film based on The Doubtful Guest to be di-
• Wardore Edgy rected by Brad Peyton. No release date was given and there
has been no further information since the announcement.
• Madame Groeda Weyrd – The Fantod Deck
The online journal Goreyesque publishes artwork, stories,
• Dewda Yorger – “The Deary Rewdgo Series for In- and poems in the spirit of Edward Gorey’s work.[15] The
trepid Young Ladies (D.R. on the Great Divide, D.R. journal is co-sponsored by the Department of Creative
in the Yukon, D.R. at Baffin Bay, etc.)"[12] Writing at Columbia College Chicago and Loyola Univer-
sity Chicago.[16] Goreyesque was launched in tandem with
the Chicago debut of two Gorey collections: Elegant Enig-
4.6.7 Legacy mas: The Art of Edward Gorey and G is for Gorey. The
collections were shown at the Loyola University Museum
Gorey has become an iconic figure in the Goth subculture. of Art (LUMA) in Chicago, Illinois from February 15 to
Events themed on his works and decorated in his charac- June 15, 2014.[17][18] Goreyesque features the work of both
teristic style are common in the more Victorian-styled el- emerging talents and seasoned professionals, such as writers
ements of the subculture, notably the Edwardian costume Sam Weller and Joe Meno.[19][20][21]
balls held annually in San Francisco and Los Angeles, which
include performances based on his works. The “Edwar-
dian” in this case refers less to the Edwardian period of 4.6.8 See also
history rather than to Gorey, whose characters are depicted
as wearing fashion styles ranging from those of the mid- • Charles Addams, contemporary American cartoonist
nineteenth century to the 1930s. with a similarly macabre style
Director Mark Romanek's music video for the Nine Inch
• Gahan Wilson
Nails song "The Perfect Drug" was designed specifically to
resemble a Gorey book, with familiar Gorey elements in-
cluding oversized urns, topiary plants, and glum, pale char-
4.6.9 References
acters in full Edwardian costume.[13] Also, Caitlín R. Kier-
nan has published a short story entitled “A Story for Edward
Notes
Gorey” (Tales of Pain and Wonder, 2000), which features
Gorey’s black doll.
[1] Kelley, Tina (April 16, 2000). “Edward Gorey, Eerie Illus-
A more direct link to Gorey’s influence on the music world trator And Writer, 75”. The New York Times.
is evident in The Gorey End,[14] an album recorded in 2003
by The Tiger Lillies and the Kronos Quartet. This album [2] Ancestry of Edward Gorey
was a collaboration with Gorey, who liked previous work by
The Tiger Lillies so much that he sent them a large box of [3] Lumenello, Susan, “Edward Gorey: Brief life of an artful au-
his unpublished works, which were then adapted and turned thor: 1925–2000”, Harvard Magazine, March–April 2007
into songs. Gorey died before hearing the finished album. [4] Sayre, Nora, “The Poets’ Theatre: A Memoir of the Fifties”,
In 1976, jazz composer Michael Mantler recorded an album Grand Street, Vol. 3, No. 3 (Spring, 1984), pp. 92–105.
called The Hapless Child (Watt/ECM) with Robert Wyatt, Published by: Ben Sonnenberg
Terje Rypdal, Carla Bley, and Jack DeJohnette. It contains
[5] “Open Book: Obsessed at Harvard”, Harvard Magazine,
musical adaptations of The Sinking Spell, The Object Lesson,
January–February 2002
The Insect God, The Doubtful Guest, The Remembered Visit,
and The Hapless Child. The last three songs also have been [6] Gussow, Mel (April 17, 2000). “Edward Gorey, Artist and
published on his 1987 Live album with Jack Bruce, Rick Author Who Turned the Macabre into a Career, Dies at 75”.
Fenn, and Nick Mason. The New York Times.
132
[7] “The Data File: Gorey Discoveries”, Locus, December
2000, p.11.
[8] Gorey, Edward (2002), Ascending Peculiarity: Edward
Gorey on Edward Gorey, Harvest Books, ISBN 978-0-15-
601291-1
[9] McDermott, Kevin. Elephant House: Or, the Home of Ed-
ward Gorey. Pomegranate Communications (2003). ISBN
0-7649-2495-8 and ISBN 978-0-7649-2495-8
[10] Schiff, Stephen. “Edward Gorey and the Tao of Nonsense.”
The New Yorker, November 9, 1992: 84–94, p. 89.
[11] http://www.goreyography.com/west/articles/
CTFCreview020916.html A review of third reprint
of Hilaire Belloc's Cautionary Tales for Children interpreted
using 61 of Edward Gorey’s spare pen-and-ink illustrations
[12] Amphigorey Also – Edward Gorey. Google Books. Retrieved
February 22, 2013.
[13] Interview with Mark Romanek, in the currently unreleased
documentary by Christopher Seufert.
[14] The Tiger Lillies’ webpage for this album; EMI 7243 5
57513 2 4
[15] Kogan, Rick. “Step inside Edward Gorey’s weird, beautiful
world”. Chicago Tribune. Retrieved 11 April 2015.
[16] Chavez, Danette. “Goreyesque Wants Your Edward Gorey-
Inspired Writing and Artwork”. gapersblock.com. Retrieved
11 April 2015.
[17] “Goreyesque About”. Goreyesque.com. Retrieved 11 April
2015.
[18] “Call for submissions: Columbia College Chicago’s De-
partment of Creative Writing seeks Goreyesque work”.
ChicagoNow. Retrieved 11 April 2015.
[19] “Selling to CTA riders, veterinary house calls and another
Tea2Go”. Crain’s Chicago Business. Retrieved 11 April
2015.
[20] “Goreyesque Issue 3”. Goreyesque.com. Retrieved 11 April John Anthony Bellairs (January 17, 1938 – March 8,
2015. 1991) was an American author, best known for his fantasy
[21] “Goreyesque Issue 1”. Goreyesque.com. Retrieved 11 April novel The Face in the Frost and many gothic mystery novels
2015. for young adults featuring the characters Lewis Barnavelt,
Anthony Monday, and Johnny Dixon.
Further reading
• The World of Edward Gorey, Clifford Ross and Karen
Wilkin, Henry N. Abrams Inc., 1996 (ISBN 0-8109-
3988-6). Interview and monograph.
• The Strange Case of Edward Gorey, Alexander Ther-
oux, Fantagraphics Books, 2000 (ISBN 1-56097-385-
4). Biography and reminiscence by Theroux, a friend
of Gorey.
CHAPTER 4. AUTHORS & ILLUSTRATORS
• The Gorey Details. BBC Radio program compiled and
presented by Philip Glassborow, including interviews
with Andreas Brown of the Gotham Book Mart, ac-
tor Frank Langella (star of Gorey’s Dracula on Broad-
way), Alison Lurie, Alex Hand, Jack Braginton Smith,
Katherine Kellgren, and featuring David Suchet as the
voice of Gorey.
• “All The Gorey Details”, The Independent, by Philip
Glassborow, May 2003.
4.6.10 External links
• Media related to Edward Gorey at Wikimedia Com-
mons
• Edward Gorey House Official Site of the Edward
Gorey House and Gorey Trust
• Mystery! Edward Gorey interview from pbs.org
• Works by or about Edward Gorey in libraries
(WorldCat catalog)
• Gorey interviewed at his kitchen table with cats on
YouTube
• Edward Gorey in WorldCat Identities
• Edward Gorey documentary film
• Edward Gorey Doubleday Anchor paperbacks
• Edward Gorey at the Internet Speculative Fiction
Database
4.7 John Bellairs
After earning degrees at University of Notre Dame and the
University of Chicago, Bellairs taught English at various
midwestern and New England colleges for several years be-
fore turning full-time to writing in 1971. He maintained
a lifelong interest in archaeology, architecture, kitschy an-
tiques, bad poetry, traveling to the UK, and studying history
and Latin. His favorite authors included Charles Dickens,
Henry James, C.V. Wedgwood, and Garrett Mattingly, as
well as M.R. James, from whose ghost stories he occasion-
ally borrowed elements to work into his own fiction.
4.7. JOHN BELLAIRS
His first published work, St. Fidgeta and Other Parodies,
was a collection of short stories satirizing the rites and rit-
uals of Second Vatican Council-era Catholicism. The ti-
tle story of St. Fidgeta grew out of stories Bellairs made
up and shared with friends while living in Chicago. Af-
ter committing one such story to paper, he sent it to the
Chicago-based Catholic magazine the Critic, which pub-
lished the story in its summer 1965 edition. The following
year, the hagiography of St. Fidgeta was supplemented by
eleven other humorous stories, including an essay on lesser-
known popes of antiquity, a cathedral constructed over the
course of centuries, and a spoof letter from a modern-day
Xavier Rynne about the escapades at the fictional Third Vat-
ican Council. The book remained out of print for decades
until it was rereleased in a 2009 anthology.
The Pedant and the Shuffly, his second book, was a short of the Cronin House in Bellairs’s hometown of Marshall,
illustrated fable that detailed the chaotic encounter of the noting that the imposing Italianate mansion was the basis
two title characters and logic. It was originally published in for his 1973 book. Bellairs was inducted posthumously into
1968 and rereleased in 2001 and 2009.
Bellairs undertook The Face in the Frost while living in
Britain and after reading J.R.R. Tolkien's The Lord of the
Rings, but it is not much like that book, apart from sharing
the idea of a wizard who is palpably human and not a liter-
ary stereotype. Bellairs said of his third book: "The Face
in the Frost was an attempt to write in the Tolkien manner.
I was much taken by The Lord of the Rings and wanted to
do a modest work on those lines. In reading the latter book
I was struck by the fact that Gandalf was not much of a
person—just a good guy. So I gave Prospero, my wizard,
most of my phobias and crotchets. It was simply meant as
entertainment and any profundity will have to be read in.”
Writing in 1973, Lin Carter described The Face in the Frost
as one of the three best fantasy novels to appear since The
Lord of the Rings. Carter stated that Bellairs was planning a
sequel to The Face in the Frost at the time.[1] An unfinished
sequel titled The Dolphin Cross was included in the 2009
anthology Magic Mirrors, which was published by the New
England Science Fiction Association press.
The House with a Clock in Its Walls (1973), Bellairs’s next
novel, was originally composed as a contemporary adult
fantasy, but at the time there was little market for such a
thing. The second publisher to which it was submitted sug-
gested rewriting it as a young readers’ book; Bellairs did so,
and thus determined the future course of his career. Bellairs
wound up writing 15 young-adult novels.
Two books, The House with a Clock in its Walls and The
Treasure of Alpheus Winterborn, were adapted for television
in 1979 and 1980, respectively. A number of books have
also been released in such languages as German, French,
Japanese, and Polish, among others.
133
4.7.1 Death and afterward
Bellairs died of cardiovascular disease at his home in
Haverhill, Massachusetts, in 1991. He was 53 years old.
At the time of his death, he left behind two unfinished
manuscripts and two one-page synopses for future adven-
tures. Author Brad Strickland was commissioned by the
Bellairs estate to complete the two unfinished manuscripts
and to write novels based on the two one-page out-
lines. These would become The Ghost in the Mirror; The
Vengeance of the Witch-finder; The Drum, the Doll, and the
Zombie; and The Doom of the Haunted Opera, respectively.
Starting in 1996 with The Hand of the Necromancer, Strick-
land began writing his own stories based on the established
characters. In 1992, a historical marker was placed in front
the Haverhill Hall of Fame in 2000.
Strickland announced in spring 2005 that new adventures of
the Bellairs characters were under way, following contract
negotiations with the Bellairs estate and a two-year absence
since his last-published novel. The first of these new ad-
ventures was The House Where Nobody Lived, released on
October 5, 2006.
4.7.2 Illustrators
Edward Gorey provided cover illustrations and frontispieces
for all but three of Bellairs’ 15 children’s works, and con-
tinued to provide them for the Strickland novels until his
death in 2000. The novel The Beast Under the Wizard’s
Bridge featured Gorey’s last published artwork before his
death. Artists S. D. Schindler and Bart Goldman have cre-
ated cover art for the books published since 2001.
The Gorey covers are no longer in print, though some books
still contain interior Gorey illustrations.
Marilyn Fitschen provided the covers and illustrations for
Bellairs’s first three books, “St Fidgeta and Other Parodies”,
“The Pedant and the Shuffly” and “The Face in the Frost”
4.7.3 Movies
On November 18, 2011, Mythology Entertainment,
founded by Brad Fischer,[2] co-president of production at
Phoenix Pictures; Laeta Kalogridis; and James Vander-
bilt announced that they hired Eric Kripke, creator of
Supernatural and Revolution, to write and produce a fea-
ture film based on John Bellairs’ work through a partnership
with John’s estate. “Jamie, Laeta and I are thrilled to launch
Mythology Entertainment and to be partnering with Eric
134 CHAPTER 4. AUTHORS & ILLUSTRATORS

Kripke and the estate of John Bellairs for our first feature 4.7.9 External links
project,” Fischer said. “As a kid, Eric was inspired by Bel-
lairs’ work and these books have stayed with him through • Bellairsia | blog | forum – celebrating John Bellairs
the years…. As a company, we aspire to be a haven for
artists and friends who believe in the power of myth and re- • Bellairs’s grave in Greenwood Cemetery, Haverhill
member that feeling we all got as kids, when the lights went
down and the images came up and anything was possible.”[3] • John Bellairs at the Internet Speculative Fiction
Database

• John Bellairs at Library of Congress Authorities, with

4.7.4 Awards 42 catalog records

4.7.5 Published books

4.8 Gahan Wilson
Novels
Gahan Wilson (born February 8, 1930) is an American
Some Lewis Barnavelt and Johnny Dixon books
author, cartoonist and illustrator known for his cartoons de-
were outlined by Bellairs and completed by
picting horror-fantasy situations.
Strickland, who subsequently created new stories
in both series. Wilson was born in Evanston, Illinois. He has been married
to author Nancy Winters (née Nancy Dee Midyette) since
1966.[1]
Publishers

4.7.6 Adaptations 4.8.1 Life and work

Wilson’s cartoons and illustrations are drawn in a playfully

Audiobooks
grotesque style and have a dark humor that is often com-
pared to the work of The New Yorker cartoonist and Addams
Television
Family creator Charles Addams. But while both feature
vampires, cemeteries and other traditional horror elements
4.7.7 See also in their work, Addams’ cartoons are gothic, reserved and
old-fashioned, while Wilson’s work is more contemporary,
• Lewis Barnavelt (series) gross and confrontational, featuring atomic mutants, sub-
way monsters and serial killers. It could be argued that Ad-
• Johnny Dixon (series) dams’ work was probably meant to be funny without a lot of
satirical intent, while Wilson often has a very specific point
• Anthony Monday (series) to make.
Wilson was inspired by the irreverent work of the various
• List of horror fiction authors satiric Mad and Punch cartoonists, as well as the science
fiction monster films of the 1950s. His cartoons and prose
fiction appeared regularly in Playboy, Collier’s and The New
4.7.8 References Yorker for almost 50 years. In addition to his cartoons for
The Magazine of Fantasy & Science Fiction, he also wrote
[1] Lin Carter, Imaginary Worlds. New York: Ballan- movie and book reviews for that publication. From 1992
tine/Random House, 1973 (Cites Carter’s correspondence through end of publication, he prepared all the front covers
with Bellairs). for the annual book Passport to World Band Radio. He has
been a movie review columnist for The Twilight Zone Mag-
[2] “Brad Fischer – Co-President, Production”. September 10, azine and a book critic for Realms of Fantasy magazine.
2009. Retrieved June 17, 2012.
His comic strip Nuts, which appeared in National Lampoon,
[3] Mike Fleming (November 18, 2011). “Phoenix Co- was a reaction against what he saw as the saccharine view of
President Bradley Fischer Forms Mythology With Scribes childhood in strips like Peanuts. His hero, The Kid, sees the
Laeta Kalogridis And James Vanderbilt”. Deadline New world as dark, dangerous and unfair—but also occasionally
York. Retrieved June 17, 2012. a fun place.
4.8. GAHAN WILSON
Wilson wrote and illustrated a short story for Harlan Elli-
son's anthology Again, Dangerous Visions (1972). The “ti-
tle” is a black blob, and the story is about an ominous black
blob that appears on the page, growing at an alarming rate.
He has contributed short stories to other publications as
well; “M1” and “The Zombie Butler” both appeared in The
Magazine of Fantasy & Science Fiction and were reprinted
in Gahan Wilson’s Cracked Cosmos (1975).
Wilson created a computer game, Gahan Wilson’s The Ul-
timate Haunted House, with Byron Preiss. The goal is to
collect 13 keys in 13 hours from the 13 rooms of a house
by interacting in various ways with characters (two-headed
monster, mad scientist, vampiress), objects and the house
itself.
Wilson wrote the 1992 animated short Diner.[2]
In 2009, Fantagraphics Books released Gahan Wilson: 50
Years of Playboy Cartoons, a slipcased, three-volume col-
lection of Wilson’s cartoons and short stories for that maga-
zine. A collection of his work, Fifty Years of Gahan Wilson,
was published in 2010. Fantagraphics announced a “com-
plete” edition of Nuts for the Spring of 2011.
4.8.2 Awards
In 2005, Wilson was recognized with Lifetime Achieve-
ment from the World Fantasy Awards.[3] He received the
World Fantasy Convention Award in 1981 and the National
Cartoonists Society's Milton Caniff Lifetime Achievement
Award in 2005.
Wilson is the subject of a feature-length documentary film,
Gahan Wilson: Born Dead, Still Weird, directed by Steven-
Charles Jaffe.
He was an influence on later alternative cartoonists, includ- Children’s fantasy
ing Gary Larson, John Callahan and Bill Plympton.
• Matthew Looney series written by Jerome Beatty, Jr.,
4.8.3 Bibliography
• Gahan Wilson’s Graveside Manner (1965)
• The Man in the Cannibal Pot (1967)
• I Paint What I See (1971)
• Playboy’s Gahan Wilson (i) (1973)
• Gahan Wilson’s Cracked Cosmos (1975)
• The Weird World of Gahan Wilson (1975)
• And Then We'll Get Him! (1978)
• Nuts (strip collection) (1979)
• Playboy’s Gahan Wilson (ii) (1980)
135
• Is Nothing Sacred? (1982) ISBN 978-0-312-43707-7
• Gahan Wilson’s America (1985)
• Eddy Deco’s Last Caper (1987)
• Everybody’s Favorite Duck (1988)
• A Night in the Lonesome October (1993) (illustrated by
Gahan Wilson; written by Roger Zelazny)
• Still Weird (1994)
• Even Weirder (1996)
• The Big Book of Freaks (1996)
• The Cleft and Other Odd Tales (1998) (stories and il-
lustrations by Gahan Wilson)
• Gravediggers’ Party (2002)
• Monster Party (2003)
• The Best of Gahan Wilson (2004)
• Pop Art (2007) (illustrated by Gahan Wilson; written
by Joe Hill. 52 hard covers signed by Mr. Hill, limited
edition lettered from A to Z. Rare.
• Gahan Wilson: 50 Years of Playboy Cartoons (2010)
(slipcased three-volume set containing all of Wilson’s
cartoons for Playboy)
• Nuts: A Graphic Novel by Gahan Wilson (2011) (col-
lects his entire Nuts comic strip, Fantagraphics)
• Gahan Wilson Sunday Comics (2013) (Publication
Date: September 7, 2013)
illustrated by Gahan Wilson:
• Matthew Looney’s Voyage to the Earth (1961)
• Matthew Looney’s Invasion of the Earth (1965)
• Matthew Looney in the Outback (1969)
• Matthew Looney and the Space Pirates (1974)
• Maria Looney on the Red Planet (1977)
• Maria Looney and the Cosmic Circus (1978)
• Maria Looney and the Remarkable Robot (1978)
• Harry, the Fat Bear Spy (1973)
• Harry and the Sea Serpent (1976)
• The Bang Bang Family (1974)
• Spooky Stories for a Dark and Stormy Night (1994)
136
Books edited by Gahan Wilson
• Gahan Wilson’s Favorite Tales of Horror (1976)
• The First World Fantasy Awards (1977)
4.8.4 Blabber, Blabber, Blabber
On page 13 of American cartoonist Lynda Barry's 2011
book, Blabber, Blabber, Blabber: Volume 1 of Everything,
Barry lists Gahan Wilson as one of her early influences:
“By the time I graduated from high school I knew about bit-
ter and sweet, but thanks to cartoonists like M.K. Brown,
Gahan Wilson, and Ed Subitzky I also knew about weird
and rare and hilarious ways of changing one into the other.
These three cartoonists taught me to watch the people
around me and listen to how they talk and to write down 4.9 Kurt Vonnegut
what they say. But I learned the most by copying their draw-
ings, and these three were especially good teachers.” [4]
4.8.5 See also
• Edward Gorey
• Robert Crumb
• Charles Addams
4.8.6 References
[1] Gehr, Richard. The Comics Journal, April 27, 2011.
[2] http://www.imdb.com/title/tt0312624/
[3] World Fantasy Convention (2010). “Award Winners and taking refuge in a meat locker. After the war, Vonnegut
Nominees”. Retrieved 4 Feb 2011.
[4] Blabber, Blabber, Blabber: Volume 1 of Everything, Lynda cancer and her husband died in a train accident.
Barry, 31 October 2011, page 13, Drawn and Quarterly
Comics and Graphic Novels, ISBN 978-1-77046-052-2
4.8.7 Sources
Some bibliographical information derived from The Ency-
clopedia of Fantasy ed. John Clute and John Grant.
4.8.8 Further reading
• White, Dale Andrew (April 16, 2011). “Little, Wrin-
kled and Green": an interview with macabre cartoon-
ist Gahan Wilson (ebook). Twin Rivers Press. ASIN
B004WTUMGC.
CHAPTER 4. AUTHORS & ILLUSTRATORS
• Wiater, Stanley. “Gahan Wilson: Overheard In Ap-
preciation”. In Boston, MA: The Lovecraft Society
of New England (eds). NecronomiCon: The Cthulhu
Mythos Convention Aug 20-22, 1993 (convention sou-
venir book), pp. 13-16.
4.8.9 External links
• Official website
• Lambiek: Gahan Wilson
• Audio recording of Mr. Wilson as moderator and par-
ticipant in panel discussion at the First World Fantasy
Convention in 1975.
“Vonnegut” redirects here. For other uses, see Vonnegut
(disambiguation).
Kurt Vonnegut, Jr. (/ˈvɒnɨɡət/; November 11, 1922 –
April 11, 2007) was an American author. In a career span-
ning over 50 years, Vonnegut published fourteen novels,
three short story collections, five plays, and five works of
non-fiction. He is most famous for his darkly satirical, best-
selling novel Slaughterhouse-Five (1969).
Born and raised in Indianapolis, Indiana, Vonnegut attended
Cornell University, but dropped out in January 1943 and
enlisted in the United States Army. He was deployed to
Europe to fight in World War II, and was captured by the
Germans during the Battle of the Bulge. He was interned
in Dresden and survived the Allied bombing of the city by
married Jane Marie Cox, with whom he had three children.
He later adopted his sister’s three sons, after she died of
Vonnegut published his first novel, Player Piano, in 1952.
The novel was reviewed positively, but was not commer-
cially successful. In the nearly twenty years that fol-
lowed, Vonnegut published several novels that were only
marginally successful, such as Cat’s Cradle (1963) and God
Bless You, Mr. Rosewater (1964). Vonnegut’s magnum
opus, however, was his immediately successful sixth novel,
Slaughterhouse-Five. The book’s antiwar sentiment res-
onated with its readers amidst the ongoing Vietnam War,
and its reviews were generally positive. After its release,
Slaughterhouse-Five went to the top of The New York Times
Best Seller list, thrusting Vonnegut into fame. He was in-
vited to give speeches, lectures, and commencement ad-
dresses around the country and received many awards and
honors.
4.9. KURT VONNEGUT 137

Later in his career, Vonnegut published several autobio-
graphical essay and short-story collections, including Fates
Worse Than Death (1991), and A Man Without a Coun-
try (2005). After his death, he was hailed as a morbidly
comical commentator on the society in which he lived, and
as one of the most important contemporary writers. Von-
negut’s son Mark published a compilation of his father’s un-
published compositions, titled Armageddon in Retrospect.
Numerous scholarly works were released, examining Von-
negut’s writing and humor.
4.9.1 Biography
Family and early life
at Kurt, Sr.'s architectural firm to become scarce.[6] Von-
negut’s brother and sister had finished their primary and
secondary educations in private schools, but Vonnegut was
placed in a public school, called Public School No. 43, now
known as the James Whitcomb Riley High School.[7] He
was not bothered by this,[lower-alpha 1] but both his parents
were affected deeply by their economic misfortune. His
father withdrew from normal life and became what Von-
negut called a “dreamy artist”.[9] His mother became de-
pressed, withdrawn, bitter, and abusive. She labored to re-
gain the family’s wealth and status, and Vonnegut said she
expressed hatred “as corrosive as hydrochloric acid” for her
husband.[10] Edith Vonnegut forayed into writing and tried
to sell short stories to magazines like Collier’s and The Sat-
urday Evening Post with no success.[3]

Kurt Vonnegut, Jr. was born on November 11, 1922 in High school and Cornell
Indianapolis, Indiana. He was the youngest of three chil-
dren of Kurt Vonnegut, Sr. and his wife Edith (née Lieber).
His older siblings were Bernard (born 1914) and Alice
(born 1917). Vonnegut was almost entirely descended
from German immigrants who settled in the United States
in the mid-19th century; his patrilineal great-grandfather,
Clemens Vonnegut of Westphalia, Germany, settled in In-
dianapolis and founded the Vonnegut Hardware Company.
Kurt’s father, and his father before him, Bernard, were ar-
chitects; the architecture firm under Kurt, Sr. designed
such buildings as Das Deutsche Haus (now called “The
Athenæum”), the Indiana headquarters of the Bell Tele-
phone Company, and the Fletcher Trust Building.[1] Von-
negut’s mother was born into Indianapolis high society, as
her family, the Liebers, were among the wealthiest in the
city, their fortune derived from ownership of a successful
brewery.[2]
Although both of Vonnegut’s parents were fluent German
speakers, the ill feeling toward that country during and after
World War I caused the Vonneguts to abandon the culture
to show their American patriotism. Thus, they never taught
their youngest son German or introduced him to German
literature and tradition, leaving him feeling “ignorant and
rootless”.[3][4] Vonnegut later credited Ida Young, his fam-
ily’s African-American cook and housekeeper for the first
ten years of his life, for raising him and giving him values.
"[She] gave me decent moral instruction and was exceed- Kurt Vonnegut in his 1940 Shortridge High School yearbook
ingly nice to me. So she was as great an influence on me
as anybody.” Vonnegut described Young as “humane and Vonnegut enrolled at Shortridge High School in Indianapo-
wise”, adding that “the compassionate, forgiving aspects of lis in 1936. While there, he played clarinet in the school
[his] beliefs” came from her.[5] band and became an editor for the Tuesday edition of the
The financial security and social prosperity that the Von- school newspaper, The Shortridge Echo. Vonnegut said
neguts once enjoyed were destroyed in a matter of years. his tenure with the Echo allowed him to write for a large
The Liebers’s brewery was closed in 1921 after the advent audience—his fellow students—rather than for a teacher,
of Prohibition in the United States. When the Great Depres- an experience he said was “fun and easy”.[1] “It just turned
sion hit, few people could afford to build, causing clients out that I could write better than a lot of other people,”
138 CHAPTER 4. AUTHORS & ILLUSTRATORS

Vonnegut observed. “Each person has something he can do Corps, but poor grades and a satirical article in Cornell’s
easily and can't imagine why everybody else has so much newspaper cost him his place there. He was placed on
trouble doing it.” For him, that was writing.[7] academic probation in May 1942 and dropped out the fol-
After graduating from Shortridge in 1940, Vonnegut en- lowing January. No longer eligible for a student deferment,
rolled at Cornell University in Ithaca, New York. He he faced likely conscription into United States Army. In-
wanted to study the humanities or become an architect like stead of waiting to be drafted, he enlisted in the army and
his father, but his father[lower-alpha 2] and brother, a scientist, in March 1943[18] reported to Fort Bragg, North Carolina, for
[1]
urged him to study a “useful” discipline. As a result, Von- basic training. Vonnegut was trained to fire and main-
tain howitzers, a type of artillery, and later received instruc-
negut majored in biochemistry, but he had little proficiency
in the area and was indifferent towards his studies.[12] As tion in mechanical engineering at the Carnegie Institute of
Technology and the University of Tennessee as part of the
his father had been a member at MIT,[13] Vonnegut was en- [11]
titled to join the Delta Upsilon fraternity, and did. [14]
He Army Specialized Training Program (ASTP). In early
1944, the ASTP was canceled due to the Army’s need for
overcame stiff competition for a place at the university’s in-
dependent newspaper, The Cornell Daily Sun, first serving soldiers to support the D-Day invasion, and Vonnegut was
Camp Atterbury, south
as a staff writer, then as an editor.[15][16] By the end of his ordered to an infantry battalion at
freshman year, he was writing a column titled “Innocents of Indianapolis in Edinburgh, Indiana, where he trained
[19]
Abroad” which reused jokes from other publications. He as a scout. He lived so close to his home that he was
later penned a piece, “Well All Right”, focusing on pacifism, “able to sleep in [his] own bedroom and use the family car
[20]
[7]
a cause he strongly supported, arguing against U.S. inter- on weekends”. On May 14, 1944, Vonnegut returned
vention in World War II. [17] home on leave for Mother’s Day weekend to discover that
his mother had committed suicide the previous night by
overdosing on sleeping pills.[21][lower-alpha 3]
World War II Three months following his mother’s suicide, Vonnegut was
deployed as an intelligence scout with the 106th Infantry
Division. In December 1944, he fought in the Battle of the
Bulge, the final German offensive of the war.[21] On De-
cember 22, he was captured with about fifty other American
soldiers.[22] Vonnegut was taken by boxcar to a prison camp
south of Dresden, in Saxony. During the journey, the Royal
Air Force bombed the prisoner trains and killed about 150
men.[23] Vonnegut was sent to Dresden, the “first fancy city
[he had] ever seen”. He lived in a slaughterhouse when he
got to the city, and worked in a factory that made malt syrup
for pregnant women. Vonnegut recalled the sirens going off
whenever another city was bombed. The Germans did not
expect Dresden to get bombed, Vonnegut said. “There were
very few air-raid shelters in town and no war industries, just
cigarette factories, hospitals, clarinet factories.”[24]
On February 13, 1945, Dresden became the target of Allied
forces. In the hours and days that followed, the Allies en-
gaged in a fierce firebombing of the city.[21] The offen-
sive subsided on February 15, leaving tens of thousands
dead. Vonnegut marveled at the level of both the destruc-
tion in Dresden and the secrecy that attended it. He had
survived by taking refuge in a meat locker three stories
underground.[7] “It was cool there, with cadavers hanging
all around,” Vonnegut said. “When we came up the city
was gone ... They burnt the whole damn town down.”[24]
Vonnegut and other American prisoners were put to work
immediately after the bombing, excavating bodies from the
Portrait of Vonnegut in U.S. Army uniform between 1943 and 1945
rubble.[25] He described the activity as a “terribly elaborate
Easter-egg hunt”.[24]
The attack on Pearl Harbor brought the U.S. into the war.
Vonnegut was a member of Reserve Officers’ Training The American prisoners of war were evacuated on foot
4.9. KURT VONNEGUT 139

In 1949, Kurt and Jane had a daughter named Edith. Still

working for GE, Vonnegut had his first piece, titled “Re-
port on the Barnhouse Effect”, published in the February
11, 1950 issue of Collier’s, for which he received $750.[30]
Vonnegut wrote another story, after being coached by the
fiction editor at Collier’s, Knox Burger, and again sold it
to the magazine, this time for $950. Burger suggested he
quit GE, a course he had contemplated before. Vonnegut
moved with his family to Cape Cod, Massachusetts to write
full-time, and left GE in 1951.[31]

First novel
Dresden, 1945; Over ninety percent of the city’s center was de-
stroyed. On Cape Cod, Vonnegut made most of his money writ-
ing pieces for magazines such as Collier’s, The Saturday
Evening Post, and Cosmopolitan. He also did a stint as an
to the border of Saxony and Czechoslovakia after General English teacher, wrote copy for an advertising agency, and
George S. Patton captured Leipzig. With the captives aban- opened the first American Saab dealership, which eventu-
doned by their guards, Vonnegut reached a prisoner-of-war ally failed. In 1952, Vonnegut’s first novel, Player Piano,
repatriation camp in Le Havre, France, before the end of was published by Scribner’s. The novel has a post-third
May, 1945, with the aid of the Soviets.[23] He returned to world war setting, in which factory workers have been re-
the United States and continued to serve in the Army, sta- placed by machines.[32]
tioned at Fort Riley, Kansas, typing discharge papers for
other soldiers.[26] Soon after he was awarded a Purple Heart Player Piano draws upon Vonnegut’s experience as a young
about which he remarked “I myself was awarded my coun- executive at GE. He satirizes the drive to climb the corpo-
try’s second-lowest decoration, a Purple Heart for frost- rate ladder, one that in Player Piano is rapidly disappear-
bite.”[27] He was discharged from the U.S. Army and re- ing as automation increases, putting even executives out of
turned to Indianapolis.[28] work. His central character, Paul Proteus, has an ambitious
wife, a backstabbing assistant, and a feeling of sympathy
for the poor. Sent by his boss, Kroner, as a double agent
Marriage and early employment among the poor (who have all the material goods they want,
but little sense of purpose), he leads them in a machine-
smashing, museum-burning revolution.[33] Player Piano ex-
After he returned to the United States, 22-year-old Von-
negut married Jane Marie Cox, his high school girlfriend presses Vonnegut’s opposition to McCarthyism, something
made clear when the Ghost Shirts, the revolutionary orga-
and classmate since kindergarten, on September 1, 1945.
The pair relocated to Chicago, where Vonnegut enrolled in nization Paul penetrates and eventually leads, is referred to
by one character as "fellow travelers".[34]
the University of Chicago as a graduate anthropology stu-
dent, courtesy of the G.I. Bill, and worked for the Chicago In Player Piano, Vonnegut originates many of the tech-
City News Bureau at night. Jane accepted a scholarship niques he would use in his later works. The comic, heavy-
from the university to study Russian at a graduate level. drinking Shah of Bratpuhr, an outsider to this dystopian cor-
Neither of them finished their degrees. Jane dropped out porate United States, is able to ask many questions that an
of the school after becoming pregnant with the couple’s first insider would not think to ask, or would cause offense by
child, Mark (born May 1947), and after Kurt’s master’s the- doing so. For example, when taken to see the artificially
sis, which analyzed the Ghost Dance religious movement intelligent supercomputer EPICAC, the Shah asks it “what
among Native Americans, was unanimously rejected, he are people for?" and receives no answer. Speaking for Von-
left the university without his degree.[lower-alpha 4] negut, he dismisses it as a “false god”. This type of alien
[33]
General Electric (GE) hired Vonnegut as a publicist for visitor would recur throughout Vonnegut’s literature.
the company’s Schenectady, New York research laboratory. The New York Times writer and critic Granville Hicks gave
The job had required a college education, and, despite drop- the novel a positive review, comparing it to Aldous Hux-
ping out of his program, Vonnegut lied that he had a mas- ley's Brave New World. Hicks called Vonnegut a “sharp-
ter’s in anthropology from the University of Chicago. Kurt’s eyed satirist”. None of the reviewers considered the novel
brother Bernard had worked at GE since 1945, contribut- particularly important. Several editions were printed—one
ing significantly to an iodine-based cloud seeding project. by Bantam with the title Utopia 14, and another by the
140
Doubleday Science Fiction Book Club—whereby Vonnegut
gained the repute of a science fiction writer, a genre held in
disdain by writers at that time. He defended the genre, and
deplored a perceived sentiment that “no one can simultane-
ously be a respectable writer and understand how a refrig-
erator works.”[32]
Struggling writer
Vonnegut with his wife Jane, and children (from left to right): Mark,
Edith and Nanette, in 1955.
After Player Piano, Vonnegut continued to sell short stories
to various magazines. In 1954 the couple had a third child,
Nanette. With a growing family and no financially success-
ful novels yet, Vonnegut’s short stories sustained the fam-
ily. In 1958, his sister, Alice, died of cancer two days after
her husband, James Carmalt Adams, was killed in a train
accident. Vonnegut adopted Alice’s three young sons—
James, Steven, and Kurt, aged fourteen, eleven, and nine
respectively.[35]
Grappling with family challenges, Vonnegut continued to
write, publishing novels vastly dissimilar in terms of plot.
The Sirens of Titan (1959) features a Martian invasion of
Earth, as experienced by a bored billionaire, Malachi Con-
stant. He meets Winston Rumfoord, an aristocratic space
traveler, who is virtually omniscient but stuck in a time warp
that allows him to appear on Earth every 59 days. The bil-
lionaire learns that his actions and the events of all of history
are determined by a race of robotic aliens from the planet
Tralfamadore, who need a replacement part that can only
be produced by an advanced civilization in order to repair
their spaceship and return home—human history has been
manipulated to produce it. Some human structures, such as
the Kremlin, are coded signals from the aliens to their ship
as to how long it may expect to wait for the repair to take
place. Reviewers were uncertain what to think of the book,
with one comparing it to Offenbach’s opera The Tales of
Hoffmann.[36]
CHAPTER 4. AUTHORS & ILLUSTRATORS
Rumfoord, who is based on Franklin D. Roosevelt, also
physically resembles the former president. Rumfoord is de-
scribed, “he put a cigarette in a long, bone cigarette holder,
lighted it. He thrust out his jaw. The cigarette holder
pointed straight up.”[37] William Rodney Allen, in his guide
to Vonnegut’s works, stated that Rumfoord foreshadowed
the fictional political figures who would play major roles in
God Bless You, Mr. Rosewater and Jailbird.[38]
Mother Night, published in 1961, received little attention at
the time of its publication. Howard W. Campbell, Jr., Von-
negut’s protagonist, is an American who goes to Nazi Ger-
many during the war as a double agent for the U.S. Office
of Strategic Services, and rises to the regime’s highest ranks
as a radio propagandist. After the war, the spy agency re-
fuses to clear his name and he is eventually imprisoned by
the Israelis in the same cell block as Adolf Eichmann, and
later commits suicide. Vonnegut wrote in a foreword to a
later edition, “we are what we pretend to be, so we must
be careful about what we pretend to be”.[39] Literary critic
Lawrence Berkove considered the novel, like Mark Twain's
Adventures of Huckleberry Finn, to illustrate the tendency
for “impersonators to get carried away by their imperson-
ations, to become what they impersonate and therefore to
live in a world of illusion”.[40]
Also published in 1961 was Vonnegut’s short story,
"Harrison Bergeron", set in a dystopic future where all are
equal, even if that means disfiguring beautiful people and
forcing the strong or intelligent to wear devices that negate
their advantages. Fourteen-year-old Harrison is a genius
and athlete forced to wear record-level “handicaps” and
imprisoned for attempting to overthrow the government.
He escapes to a television studio, tears away his handi-
caps, and frees a ballerina from her lead weights. As they
dance, they are killed by the Handicapper General, Diana
Moon Glampers.[41] Vonnegut, in a later letter, suggested
that “Harrison Bergeron” might have sprung from his envy
and self-pity as a high school misfit. In his 1976 biogra-
phy of Vonnegut, Stanley Schatt suggested that the short
story shows “in any leveling process, what really is lost,
according to Vonnegut, is beauty, grace, and wisdom”.[42]
Darryl Hattenhauer, in his 1998 journal article on “Har-
rison Bergeron”, theorized that the story was a satire on
American Cold War misunderstandings of communism and
socialism.[42]
With Cat’s Cradle (1963), Allen wrote, “Vonnegut hit full
stride for the first time”.[43] The narrator, John, intends to
write of Dr. Felix Hoenikker, one of the fictional fathers
of the atomic bomb, seeking to cover the scientist’s human
side. Hoenikker, in addition to the bomb, has developed
another threat to mankind, Ice-9, solid water stable at room
temperature, and if a particle of it is dropped in water, all
of it becomes Ice-9. Much of the second half of the book
is spent on the fictional Caribbean island of San Lorenzo,
4.9. KURT VONNEGUT 141

where John explores a religion called Bokononism, whose novels have attacked our deepest fears of automation and
holy books (excerpts from which are quoted), give the novel the bomb, our deepest political guilts, our fiercest hatreds
the moral core science does not supply. After the oceans are and loves. No one else writes books on these subjects; they
converted to Ice-9, wiping out most of humankind, John are inaccessible to normal novelists.”[52] The book went im-
wanders the frozen surface, seeking to have himself and his mediately to the top of The New York Times Best Seller list.
story survive.[44][45] Vonnegut’s earlier works had appealed strongly to many col-
Vonnegut based the title character of God Bless You, Mr. lege students, and the antiwar message of Slaughterhouse
Rosewater (1964), on an accountant he knew on Cape Cod, Five resonated with a generation marked by the Vietnam
War. He later stated that the loss of confidence in govern-
who specialized in clients in trouble and often had to com-
fort them. Eliot Rosewater, the wealthy son of a Republican ment that Vietnam caused finally allowed[51] for an honest con-
versation regarding events like Dresden.
senator, seeks to atone for his wartime shooting of noncom-
batant firefighters by serving in a volunteer fire department,
and by giving away money to those in trouble or need. Stress
from a battle for control of his charitable foundation pushes Later career and events
him over the edge, and he is placed in a mental hospital by a
dishonest lawyer. He recovers, and ends the financial battle After Slaughterhouse-Five was published, Vonnegut em-
by declaring the children of his county to be his heirs.[46] braced the fame and financial security that attended its re-
Allen deemed God Bless You, Mr. Rosewater more “a cry lease. He was hailed as a hero of the burgeoning anti-war
from the heart than a novel under its author’s full intellec- movement in the United States, was invited to speak at nu-
tual control”, that reflected family and emotional stresses merous rallies, and gave [53]
college commencement addresses
Vonnegut was going through at the time. [47] around the country. In addition to lecturing on creative
writing at Harvard University, Vonnegut taught at the City
University of New York, where he was dubbed a Distin-
Slaughterhouse-Five guished Professor of English Prose. He was later elected
vice president of the National Institute of Arts and Let-
After spending much of two years at the writer’s work- ters, and given honorary degrees by, among others, Indiana
shop at the University of Iowa, teaching one course each University and Bennington College. Vonnegut also wrote
term, Vonnegut was awarded a Guggenheim Fellowship for a play called Happy Birthday, Wanda June, which opened
research in Germany. By the time he won it, in March on October 7, 1970 at New York’s Theatre de Lys. Receiv-
1967, he was becoming a well-known writer. He used ing mixed reviews, it closed on March 14, 1971. In 1972,
the funds to travel in Eastern Europe, including to Dres- Universal Pictures adapted Slaughterhouse-Five
[54]
into a film
den, where he found many prominent buildings still in ru- which the author said was “flawless”.
ins. At the time of the bombing, Vonnegut had not appreci- Meanwhile, Vonnegut’s personal life was disintegrating.
ated the sheer scale of destruction in Dresden; his enlight- His wife Jane had embraced Christianity, which was con-
enment came only slowly as information dribbled out, and trary to Vonnegut’s atheistic beliefs, and with five of their
based on early figures came to believe that 135,000 had died six children having left home, Vonnegut said the two were
there.[48][lower-alpha 5] forced to find “other sorts of seemingly important work to
Vonnegut had been writing about his war experiences at do.” The couple battled over their differing beliefs until
Dresden ever since he returned from the war, but had never Vonnegut moved from their Cape Cod home to New York
been able to write anything acceptable to himself or his in 1971. Vonnegut called the disagreements “painful,” and
publishers—Chapter 1 of Slaughterhouse-Five tells of his said the resulting split was a “terrible, unavoidable accident
difficulties.[50] Released in 1969, the novel rocketed Von- that we were ill-equipped to understand.”[53] The couple di-
negut to fame.[51] It tells of the life of Billy Pilgrim, who vorced and they remained friends until Jane’s death in late
like Vonnegut was born in 1922 and survives the bombing 1986.[55][53] Beyond his marriage, he was deeply affected
of Dresden. The story is told in a non-linear fashion, with when his son Mark suffered a mental breakdown in 1972,
many of the story’s climaxes—Billy’s death in 1976, his kid- which exacerbated Vonnegut’s chronic depression, and led
napping by aliens from the planet Tralfamadore nine years him to take Ritalin. When he stopped taking the drug in the
earlier, and the execution of Billy’s friend Edgar Derby in mid-1970s, he began to see a psychologist weekly.[54]
the ashes of Dresden for stealing a teapot—are disclosed in Requiem (ending)
the story’s first pages.[50]
Slaughterhouse-Five received generally positive reviews, When the last living thing
with Michael Crichton writing in The New Republic, “he has died on account of us,
writes about the most excruciatingly painful things. His how poetical it would be
142 CHAPTER 4. AUTHORS & ILLUSTRATORS

if Earth could say, opinion of human nature was low, and that low opinion ap-
in a voice floating up plied to his heroes and his villains alike — he was endlessly
perhaps disappointed in humanity and in himself, and he expressed
from the floor that disappointment in a mixture of tar-black humor and
of the Grand Canyon, deep despair. He could easily have become a crank, but he
“It is done.” was too smart; he could have become a cynic, but there was
People did not like it here.[1] something tender in his nature that he could never quite sup-
press; he could have become a bore, but even at his most de-
1. ^ Smith 2007. spairing he had an endless willingness to entertain his read-
ers: with drawings, jokes, sex, bizarre plot twists, science
fiction, whatever it took.[62]
–Kurt Vonnegut, A Man Without a Country, 2005
–Lev Grossman, Time magazine, 2007

Vonnegut’s difficulties materialized in numerous ways;

most distinctly though, was the painfully slow progress he Like Mark Twain, Mr. Vonnegut used humor to tackle the
was making on his next novel, the darkly comical Breakfast basic questions of human existence: Why are we in this
of Champions. In 1971, Vonnegut stopped writing the novel world? Is there a presiding figure to make sense of all this,
altogether.[54] When it was finally released in 1973, it was a god who in the end, despite making people suffer, wishes
panned critically. In Thomas S. Hischak’s book Ameri- them well?[61]
can Literature on Stage and Screen, Breakfast of Champi- –Dinitia Smith, The New York Times, 2007
ons was called “funny and outlandish,” but reviewers noted
that it “lacks substance and seems to be an exercise in liter-
In a 2006 Rolling Stone interview, Vonnegut sardonically
ary playfulness.”[56] Vonnegut’s 1976 novel Slapstick, which
stated that he would sue the Brown & Williamson tobacco
meditates on the relationship between him and his sister
company, the maker of the Pall Mall-branded cigarettes he
(Alice), met a similar fate. In The New York Times's re-
had been smoking since he was twelve or fourteen years
view of Slapstick, Christopher Lehmann-Haupt said Von-
old, for false advertising. “And do you know why?" he
negut “seems to be putting less effort into [storytelling] than
said. “Because I'm 83 years old. The lying bastards! On
ever before,” and that “it still seems as if he has given up sto-
the package Brown & Williamson promised to kill me.”[62]
rytelling after all.”[57] At times, Vonnegut was disgruntled
He died on the night of April 11, 2007 in Manhattan,
by the personal nature of his detractors’ complaints.[54]
as a result of brain injuries incurred several weeks prior
In 1979, Vonnegut married Jill Krementz, a photographer from a fall at his New York brownstone home.[61][63] His
whom he met while she was working on a series about death was reported by his wife Jill. Vonnegut was 84 years
writers in the early 1970s. With Jill, he adopted a daugh- old.[61] At the time of his death, Vonnegut had written four-
ter, Lily, when the baby was three days old.[58] In subse- teen novels, three short story collections, five plays and five
quent years, his popularity resurged as he published several non-fiction books.[62] A book composed of Vonnegut’s un-
satirical books, including Jailbird (1979), Deadeye Dick published pieces, Armageddon in Retrospect, was compiled
(1982), Galápagos (1985), Bluebeard (1987), and Hocus and posthumously published by Vonnegut’s son Mark in
Pocus (1990).[59] In 1986, Vonnegut was seen by a younger 2008.[64]
generation when he played himself in Rodney Dangerfield's
When asked about the impact Vonnegut had on his work,
film Back to School.[60] The last of Vonnegut’s fourteen nov-
author Josip Novakovich stated that he has “much to
els, Timequake (1997), was, as University of Detroit history
learn from Vonnegut—how to compress things and yet
professor and Vonnegut biographer Gregory Sumner said,
not compromise them, how to digress into history, quote
“a reflection of an aging man facing mortality and testimony
from various historical accounts, and not stifle the narra-
to an embattled faith in the resilience of human awareness
tive. The ease with which he writes is sheerly masterly,
and agency.”[59] Vonnegut’s final book, a collection of es-
Mozartian.”[65] Los Angeles Times columnist Gregory Ro-
says entitled A Man Without a Country (2005), became a
driguez said that the author will “rightly be remembered as
best-seller.[61]
a darkly humorous social critic and the premier novelist of
the counterculture,”[66] and The New York Times’s Dinitia
Death and legacy Smith dubbed Vonnegut the "counterculture's novelist.”[61]
Kurt Vonnegut has inspired numerous posthumous tributes
Vonnegut’s sincerity, his willingness to scoff at received and works. In 2008, the Kurt Vonnegut Society was estab-
wisdom, is such that reading his work for the first time gives lished, and in November 2010, the Kurt Vonnegut Memo-
one the sense that everything else is rank hypocrisy. His
4.9. KURT VONNEGUT
rial Library was opened in Vonnegut’s hometown of Indi-
anapolis. The Library of America published a compendium
of Vonnegut’s compositions between 1963 and 1973 the
following April, and another compendium of his earlier
works in 2012. Late 2011 saw the release of two Von-
negut biographies, Gregory Sumner’s Unstuck in Time and
Charles J. Shields's And So It Goes.[67] Shields’s biography
of Vonnegut created some controversy. According to The
Guardian, the book portrays Vonnegut as distant, cruel and
nasty. “Cruel, nasty and scary are the adjectives commonly
used to describe him by the friends, colleagues, and rela-
tives Shields quotes,” said The Daily Beast's Wendy Smith.
“Towards the end he was very feeble, very depressed and al-
most morose,” said Jerome Klinkowitz of the University of
Northern Iowa, who has examined Vonnegut in depth.[68]
Vonnegut’s works have evoked ire on several occasions.
His most prominent novel, Slaughterhouse-Five, has been
objected to or removed at various institutions in at least
eighteen instances.[69] In the case of Island Trees School
District v. Pico, the United States Supreme Court ruled
that a school district’s ban on Slaughterhouse-Five—which
the board had called “anti-American, anti-Christian, anti-
Semitic, and just plain filthy”—and eight other novels was
unconstitutional. When a school board in Republic, Mis-
souri decided to withdraw Vonnegut’s novel from its li-
braries, the Kurt Vonnegut Memorial Library offered a free
copy to all the students of the district.[69]
Tally, writing in 2013, suggests that Vonnegut has only re-
cently become the subject of serious study rather than fan
adulation, and much is yet to be written about him. “The
time for scholars to say 'Here’s why Vonnegut is worth read-
ing' has definitively ended, thank goodness. We know he’s
worth reading. Now tell us things we don't know.”[70] Todd
F. Davis notes that Vonnegut’s work is kept alive by his
loyal readers, who have “significant influence as they con-
tinue to purchase Vonnegut’s work, passing it on to subse-
quent generations and keeping his entire canon in print—
an impressive list of more than twenty books that [Dell
Publishing] has continued to refurbish and hawk with new
cover designs.”[71] Donald E. Morse notes that Vonnegut,
“is now firmly, if somewhat controversially, ensconced in
the American and world literary canon as well as in high
school, college and graduate curricula”.[72] Tally writes of
Vonnegut’s work:
Vonnegut’s 14 novels, while each does its own
thing, together are nevertheless experiments in
the same overall project. Experimenting with the
form of the American novel itself, Vonnegut en-
gages in a broadly modernist attempt to appre-
hend and depict the fragmented, unstable, and
distressing bizarreries of postmodern American
experience ... That he does not actually succeed
143
in representing the shifting multiplicities of that
social experience is beside the point. What mat-
ters is the attempt, and the recognition that ... we
must try to map this unstable and perilous terrain,
even if we know in advance that our efforts are
doomed.[73]
The Science Fiction and Fantasy Hall of Fame inducted
Vonnegut posthumously in 2015.[74][75] Vonnegut once re-
marked that he would not be displeased at being relegated
to the drawer marked “science fiction” if critics didn't con-
tinue to mistake it for a urinal.
4.9.2 Views
War
In 2011, NPR wrote, “Kurt Vonnegut’s blend of anti-war
sentiment and satire made him one of the most popular
writers of the 1960s.” Vonnegut stated in a 1987 interview
that, “my own feeling is that civilization ended in World
War I, and we're still trying to recover from that,” and that
he wanted to write war-focused works without glamorizing
war itself.[76] Vonnegut had not intended to publish again,
but his anger against the George W. Bush administration
led him to write A Man Without a Country.[77]
Slaughterhouse-Five is the Vonnegut novel best known for
its antiwar themes, but the author expressed his beliefs
in ways beyond the depiction of the destruction of Dres-
den. He has one character, Mary O'Hare, opine that “wars
were partly encouraged by books and movies”, made by
"Frank Sinatra or John Wayne or some of those other glam-
orous, war-loving, dirty old men”.[78] Vonnegut made a
number of comparisons between Dresden and the bombing
of Hiroshima in Slaughterhouse-Five[79] and wrote in Palm
Sunday (1991) that “I learned how vile that religion of
mine could be when the atomic bomb was dropped on
Hiroshima”.[80]
Nuclear war, or at least deployed nuclear arms, is men-
tioned in almost all of Vonnegut’s novels. In Player Piano,
the computer EPICAC is given control of the nuclear ar-
senal, and is charged with deciding whether to use high-
explosive or nuclear arms. In Cat’s Cradle, John’s original
purpose in setting pen to paper is to write an account of
what prominent Americans had been doing as Hiroshima
was bombed.[81]
Religion
Some of you may know that I am neither Christian nor Jew-
ish nor Buddhist, nor a conventionally religious person of
any sort. I am a humanist, which means, in part, that I have
144 CHAPTER 4. AUTHORS & ILLUSTRATORS

tried to behave decently without any expectation of rewards those who seek the comfort of religion, hailing church as-
or punishments after I'm dead. [...] I myself have written, sociations as a type of extended family.[95]
“If it weren't for the message of mercy and pity in Jesus’
Sermon on the Mount, I wouldn't want to be a human be-
ing. I would just as soon be a rattlesnake.”[82] Politics

–Kurt Vonnegut, God Bless You, Dr. Kevorkian, 1999 Vonnegut did not particularly sympathize with liberalism
or conservatism, and mused on the specious simplicity of
Kurt Vonnegut was an atheist and a humanist, serving American politics. “If you want to take my guns away
as the honorary president of the American Humanist As- from me, and you're all for murdering fetuses, and love
sociation.[83][84] In an interview for Playboy, he stated it when homosexuals marry each other [...] you're a lib-
that his forebears who came to the United States did eral. If you are against those perversions and for the rich,
not believe in God, and he learned his atheism from his you're a conservative. What could be simpler?"[96] Regard-
parents.[85] Like his great-grandfather Clemens, Vonnegut ing political parties, Vonnegut said, “The two real political
was a freethinker.[86] Vonnegut went to a Unitarian church parties in America are the Winners and the Losers. The
several times, but with little consistency. In his autobio- people don’t acknowledge this. They claim membership in
graphical work Palm Sunday, Vonnegut says he is a “Chris- two imaginary parties, the Republicans and the Democrats,
tian worshipping agnostic.” He also talked about Jesus’ instead.”[97]
Sermon on the Mount, and the Beatitudes,[87] and made Vonnegut disregarded more mainstream political ideologies
these biblical ideologies part of his own doctrine.[88] Von- in favor of socialism, which he thought could provide a valu-
negut laced a number of his speeches with religion-focused able substitute for what he saw as social Darwinism and a
rhetoric,[82][83] and was prone to using such expressions as spirit of "survival of the fittest" in American society,[98] be-
“God forbid” and “thank God”.[84][89] lieving that “socialism would be a good for the common
Vonnegut would often talk about religion, in his novels and man”.[99] Vonnegut would often return to a quote by so-
elsewhere. In God Bless You, Dr. Kevorkian, Vonnegut goes cialist and five-time presidential candidate Eugene V. Debs,
to Heaven after he is euthanized by Dr. Jack Kevorkian. who went to prison for his beliefs: “As long as there is a
Once in Heaven, Vonnegut interviews twenty-one deceased lower class, I am in it. As long as there is a criminal ele-
celebrities, including Isaac Asimov, William Shakespeare, ment, I'm of it. As long as there is a soul in prison, I am
and Kilgore Trout—the last a fictional character from sev- not free.”[100][101] Vonnegut expressed disappointment that
eral of his novels.[90] Vonnegut’s works are filled with char- communism and socialism seemed to be unsavory topics
acters founding new faiths,[91] and religion often serves as a to the average American, and believed that they may offer
major plot device, for example in Player Piano, The Sirens beneficial substitutes to contemporary social and economic
of Titan and Cat’s Cradle. In The Sirens of Titans, Rum- systems.[102]
foord proclaims The Church of God the Utterly Indiffer-
ent. Slaughterhouse-Five sees Billy Pilgrim, lacking reli-
gion himself, nevertheless become a chaplain’s assistant in 4.9.3 Writing
the military and display a large crucifix on his bedroom
wall.[92] In Cat’s Cradle, Vonnegut invented the religion of Influences
Bokononism.[93]
Vonnegut’s writing was inspired by an eclectic mix of
Vonnegut had a deep dislike for the Christian religion, of- sources. When he was younger, Vonnegut stated that he
ten reminding his readers of the bloody history of the Cru- read works of pulp fiction, science fiction, fantasy, and
sades and other religion-inspired violence. He despised the action-adventure. He also read the Classics, like those of
televangelists of the late 20th century, feeling that their Aristophanes. Aristophanes, like Vonnegut, wrote humor-
thinking was narrow-minded. Realizing that humans need ous critiques of contemporary society.[103] Vonnegut’s life
a moral code by which to live, he greatly admired Christ’s and work also share similarities with that of Adventures of
Sermon on the Mount,[91] and there are a string of refer- Huckleberry Finn writer Mark Twain. Both shared pes-
ences to it across his works. In Palm Sunday, he writes, simistic outlooks on humanity, and a skeptical take on re-
“The Sermon on the Mount suggests a mercifulness that ligion, and, as Vonnegut put it, were both “associated with
can never waver or fade.”[94] Vonnegut, in his 1991 book the enemy in a major war,” as Twain briefly enlisted in the
Fates Worse than Death, suggests that during the Reagan South’s cause during the American Civil War, and Von-
administration, “anything that sounded like the Sermon negut’s German name and ancestry connected him with the
on the Mount was socialistic or communistic, and there- United States’ enemy in both world wars.[104]
fore anti-American”.[94] Vonnegut did not however disdain
Vonnegut called George Orwell his favorite writer, and ad-
4.9. KURT VONNEGUT 145

mitted that he tried to emulate Orwell. “I like his con- conversations.[109][100] Vonnegut’s compositions are also
cern for the poor, I like his socialism, I like his simplic- laced with distinct references to his own life, notably in
ity,” Vonnegut said.[105] Vonnegut also said that Orwell’s Slaughterhouse-Five and Slapstick.[110]
Nineteen Eighty-Four, and Brave New World by Aldous Vonnegut believed that ideas, and the convincing commu-
Huxley, heavily influenced his debut novel, Player Piano, in nication of those ideas to the reader, were vital to liter-
1952. Vonnegut commented that Robert Louis Stevenson's ary art. He did not always sugarcoat his points: much of
stories were emblems of thoughtfully put together works Player Piano leads up to the moment when Paul, on trial
that he tried to mimic in his own compositions.[95] Vonnegut and hooked up to a lie detector, is asked to tell a false-
also hailed playwright and socialist George Bernard Shaw as
hood, and states, “every new piece of scientific knowl-
“a hero of [his],” and an “enormous influence.”[106] Within edge is a good thing for humanity”.[111] Robert T. Tally,
his own family, Vonnegut stated that his mother, Edith, had
Jr., in his volume on Vonnegut’s novels, wrote, “rather
the greatest influence on him. "[M]y mother thought she than tearing down and destroying the icons of twentieth-
might make a new fortune by writing for the slick maga-
century, middle-class American life, Vonnegut gently re-
zines. She took short-story courses at night. She studied veals their basic flimsiness.”[112] Vonnegut did not simply
magazines the way gamblers study racing forms.”[107]
propose utopian solutions to the ills of American society,
Early on in his career, Vonnegut decided to model his but showed how such schemes would not allow ordinary
style after Henry David Thoreau, who wrote as if from people to live lives free from want and anxiety. The large
the perspective of a child, allowing Thoreau’s works to be artificial families that the U.S. population is formed into in
more widely comprehensible.[104] Using a youthful narra- Slapstick soon serve as an excuse for tribalism, with people
tive voice allowed Vonnegut to deliver concepts in a mod- giving no help to those not part of their group, and with the
est and straightforward way.[108] Other influences on Von- extended family’s place in the social hierarchy becoming
negut include The War of the Worlds author H. G. Wells, vital.[113]
and satirist Jonathan Swift. Vonnegut credited newspa- In the introduction to their essay “Kurt Vonnegut and Hu-
per magnate H. L. Mencken for inspiring him to become mor”, Tally and Peter C. Kunze suggest that Vonnegut
a journalist.[95] was not a "black humorist,” but a “frustrated idealist” who
used “comic parables” to teach the reader absurd, bit-
ter or hopeless truths, with his grim witticisms serving to
Style and technique make the reader laugh rather than cry. “Vonnegut makes
sense through humor, which is, in the author’s view, as
I've heard the Vonnegut voice described as “manic depres- valid a means of mapping this crazy world as any other
sive,” and there’s certainly something to this. It has an in- strategies.”[114] Vonnegut resented being called a black hu-
credible amount of energy married to a very deep and dark morist, feeling that, as with many literary labels, it allows
sense of despair. It’s frequently over-the-top, and scathingly readers to disregard aspects of a writer’s work that do not
satirical, but it never strays too far from pathos – from an fit the label’s stereotype.[115]
immense sympathy for society’s vulnerable, oppressed and
powerless. But, then, it also contains a huge allotment of Vonnegut’s works have, at various times, [116]
been labeled sci-
warmth. Most of the time, reading Kurt Vonnegut feels ence fiction, satire and postmodern. He also resisted
more like being spoken to by a very close friend. There’s an such labels, but his works do contain common tropes that
inclusiveness to his writing that draws you in, and his nar- are often associated with those genres. In several of his
rative voice is seldom absent from the story for any length books, Vonnegut imagines alien societies and civilizations,
of time. Usually, it’s right there in the foreground – direct, as is common in works of science fiction, but unlike con-
involving and extremely idiosyncratic.[109] ventional science fiction, Vonnegut does this to empha-
size or exaggerate absurdities and idiosyncrasies in our
–Gavin Extence, The Huffington Post, 2013 own world.[117] Furthermore, Vonnegut often humorizes
the problems that plague societies, as is done in satirical
In his book Popular Contemporary Writers, Michael D. works. However, literary theorist Robert Scholes noted in
Sharp describes Vonnegut’s linguistic style as straightfor- Fabulation and Metafiction that Vonnegut “reject[s] the tra-
ward; his sentences concise, his language simple, his para- ditional satirist’s faith in the efficacy of satire as a reforming
graphs brief, and his ordinary tone conversational.[100] Von- instrument. [He has] a more subtle faith in the humanizing
[118]
negut uses this style to convey normally complex sub- value of laughter.”
ject matter in a way that is intelligible to a large audi- Examples of postmodernism may also be found in Von-
ence. He credited his time as a journalist for his abil- negut’s works. Postmodernism often entails a response to
ity, pointing to his work with the Chicago City News Bu- the theory that the truths of the world will be discovered
reau, which required him to convey stories in telephone
146 CHAPTER 4. AUTHORS & ILLUSTRATORS

through science.[115] Postmodernists contend that truth is the U.S. government codifies that all Americans are a part
subjective, rather than objective, as it is biased towards of large extended families.[102]
each individual’s beliefs and outlook on the world. They Fear of the loss of one’s purpose in life is a theme in Von-
often use unreliable, first-person narration, and narrative negut’s works. The Great Depression forced Vonnegut to
fragmentation. While Vonnegut does use these elements witness the devastation many people felt when they lost their
in some of his works, he more distinctly focuses on the jobs, and while at General Electric, Vonnegut witnessed
peril posed by individuals who find subjective truths, mis- machines being built to take the place of human labor. He
take them for objective truths, then proceed to impose these confronts these things in his works through references to the
truths on others.[119]
growing use of automation and its effects on human society.
This is most starkly represented in his first novel, Player Pi-
ano, where many Americans are left purposeless and unable
Themes
to find work as machines replace human workers. Loss of
purpose is also depicted in Galápagos, where a florist rages
Vonnegut was a vocal critic of the society in which he
at her spouse for creating a robot able to do her job, and in
lived, and this was reflected in his writings. Several key
Timequake, where an architect kills himself when replaced
social themes recur in Vonnegut’s works, such as wealth,
by computer software.[122]
the lack of it, and its unequal distribution among a soci-
ety. In The Sirens of Titan, the novel’s protagonist, Malachi Suicide by fire is another common theme in Vonnegut’s
Constant, is exiled to one of Saturn's moons, Titan, as a re- works; the author often returns to the theory that “many
sult of his vast wealth, which has made him arrogant and people are not fond of life.” He uses this as an explana-
wayward.[120] In God Bless You, Mr. Rosewater, readers tion for why humans have so severely damaged their envi-
may find it difficult to determine whether the rich or the ronments, and made devices such as nuclear weapons that
[102]
poor are in worse circumstances as the lives of both group’s can make their creators extinct. In Deadeye Dick, Von-
[105] negut features the neutron bomb, designed to kill people,
members are ruled by their wealth or their poverty.
Further, in Hocus Pocus, the protagonist is named Eugene but leave buildings and structures untouched. He also uses
Debs Hartke, a homage to the famed socialist Eugene V. this theme to demonstrate the recklessness of those who
Debs and Vonnegut’s socialist views.[100] In Kurt Vonnegut: put powerful, apocalypse-inducing devices at the disposal
[123]
A Critical Companion, Thomas F. Marvin states: “Von- of politicians.
negut points out that, left unchecked, capitalism will erode “What is the point of life?" is a question Vonnegut often
the democratic foundations of the United States.” Marvin pondered in his works. When one of Vonnegut’s characters,
suggests that Vonnegut’s works demonstrate what happens Kilgore Trout, finds the question “What is the purpose of
when a “hereditary aristocracy” develops, where wealth is life?" written in a bathroom, his response is, “To be the eyes
inherited along familial lines: the ability of poor Ameri- and ears and conscience of the Creator of the Universe, you
cans to overcome their situations is greatly or completely fool.” Trout’s theory is curious seeing that Vonnegut was
diminished.[105] Vonnegut also often laments social Dar- an atheist, and thus for him, there is no Creator to report
winism, and a “survival of the fittest” view of society. He back to. Marvin comments that, "[a]s Trout chronicles one
points out that social Darwinism leads to a society that meaningless life after another, readers are left to wonder
condemns its poor for their own misfortune, and fails to how a compassionate creator could stand by and do nothing
help them out of their poverty because “they deserve their while such reports come in.” In the epigraph to Bluebeard,
fate”.[98] Vonnegut also confronts the idea of free will in a Vonnegut quotes his son Mark, and gives an answer to what
number of his pieces. In Slaughterhouse-Five and Time- he believes is the meaning of life: “We are here to help each
quake the characters have no choice in what they do; in other get through this thing, whatever it is.”[121]
Breakfast of Champions, a character believes that he has ev-
eryone’s free will; and in Cat’s Cradle, Bokononism views
free will as heretical.[95]
4.9.4 Works
The majority of Vonnegut’s characters are estranged from
their actual families and seek to build replacement or ex-
tended families. For example, the engineers in Player Pi- Main article: Kurt Vonnegut bibliography
ano called their manager’s spouse “Mom”. In Cat’s Cradle,
Vonnegut devises two separate methods for loneliness to be The following is an account of Vonnegut’s major works.
combated: A “karass”, which is a group of individuals ap- Unless otherwise cited, this list is taken from Thomas
pointed by God to do his will, and a "granfalloon", defined F. Marvin’s 2002 book Kurt Vonnegut: A Critical Com-
by Marvin as a “meaningless association of people, such as panion (date in brackets is the date the work was first
a fraternal group or a nation”.[121] Similarly, in Slapstick, published):[124]
4.9. KURT VONNEGUT 147

Novels 4.9.5 See also

• Player Piano (1952) 4.9.6 Notes

[1] In fact, Vonnegut often described himself as a “child of the
• The Sirens of Titan (1959)
Great Depression”. He also stated the Depression and its ef-
fects incited pessimism towards the validity of the American
• Mother Night (1961) Dream.[8]

• Cat’s Cradle (1963)
• God Bless You, Mr. Rosewater (1965)
• Slaughterhouse-Five (1969)
[2] Kurt, Sr. was embittered by his lack of work as an architect
during the Great Depression, and feared a similar fate for his
son. He dismissed his son’s desired areas of study as “junk
jewellery”, and persuaded his son against following in his
footsteps.[11]

[3] Possible factors that contributed to Edith Vonnegut’s suicide

• Breakfast of Champions (1973) include the family’s loss of wealth and status, Vonnegut’s
forthcoming deployment overseas, and her own lack of suc-
• Slapstick (1976) cess as a writer. She was inebriated at the time and under
the influence of prescription drugs.[21]
• Jailbird (1979)
[4] Vonnegut received his degree in anthropology 25 years after
• Deadeye Dick (1982) he left, when the University accepted his novel Cat’s Cradle
in lieu of his master’s thesis.[29]
• Galápagos (1985) [5] A 2010 report commissioned by the German government
estimated the toll at up to 25,000.[49]
• Bluebeard (1987)

• Hocus Pocus (1990) 4.9.7 References

• Timequake (1997) Citations

[1] Boomhower 1999; Farrell 2009, pp. 4–5

Fiction
[2] Marvin 2002, p. 2.

• Canary in a Cathouse (1961) [3] Sharp 2006, p. 1360

• Welcome to the Monkey House (1968) [4] Marvin 2002, p. 2; Farrell 2009, pp. 3–4

[5] Marvin 2002, p. 4

• Happy Birthday, Wanda June (1970)
[6] Sharp 2006, p. 1360.
• Between Time and Timbuktu (1972)
[7] Boomhower 1999
• Bagombo Snuff Box (1997) [8] Sumner 2014

• God Bless You, Dr. Kevorkian (1999) [9] Sharp 2006, p. 1360; Marvin 2002, pp. 2–3

[10] Marvin 2002, pp. 2–3

Nonfiction
[11] Farrell 2009, p. 5; Boomhower 1999

[12] Sumner 2014; Farrell 2009, p. 5

• Wampeters, Foma and Granfalloons (1974)
• Palm Sunday (1981)
• Fates Worse Than Death (1991)
[13] Shields 2011, p. 41
[14] Lowery 2007
[15] Farrell 2009, p. 5

• A Man Without a Country (2005)[61] [16] Shields 2011, pp. 41–42

148 CHAPTER 4. AUTHORS & ILLUSTRATORS

[17] Shields 2011, pp. 44–45 [50] Allen, pp. 82–85.

[18] Shields 2011, pp. 45–49 [51] Shields 2011, pp. 248–249.

[19] Shields 2011, pp. 50–51 [52] Shields 2011, p. 254.

[20] Farrell 2009, p. 6. [53] Marvin 2002, p. 10.

[21] Farrell 2009, p. 6; Marvin 2002, p. 3 [54] Marvin 2002, p. 11.

[22] Sharp 2006, p. 1363; Farrell 2009, p. 6 [55] Wolff 1987.

[23] Vonnegut 2008 [56] Hischak 2012, p. 31.

[24] Hayman et al. 1977 [57] Lehmann-Haupt 1976.
[25] Boomhower 1999; Farrell 2009, pp. 6–7. [58] Farrell 2009, p. 451.
[26] Vonnegut, Kurt (April 6, 2006). “Kurt Vonnegut”. Interview [59] Sumner 2014.
with Michael Silverblatt. Bookworm. KCRW. Santa Mon-
ica, California. Retrieved October 6, 2015. [60] Marvin 2002, p. 12.

[27] Dalton 2011 [61] Smith 2007.

[28] Thomas 2006, p. 7; Shields 2011, pp. 80–82 [62] Grossman 2007.

[29] Marvin 2002, p. 7. [63] Allen.

[30] Boomhower 1999; Sumner 2014; Farrell 2009, pp. 7–8 [64] Blount 2008.

[31] Boomhower 1999; Hayman et al. 1977; Farrell 2009, p. 8 [65] Banach 2013.

[32] Boomhower 1999; Farrell 2009, pp. 8–9; Marvin 2002, p. [66] Rodriguez 2007.
25
[67] Kunze & Tally, Jr. 2012, p. 7.
[33] Allen 1991, pp. 20–30
[68] Harris 2011.
[34] Allen 1991, p. 32
[69] Morais 2011.
[35] Farrell 2009, p. 9
[70] Tally 2013, pp. 14–15.
[36] Shields 2011, pp. 159–161
[71] Davis 2006, p. 2.
[37] Allen 1991, p. 39
[72] Morse 2013, p. 56.
[38] Allen 1991, p. 40
[73] Tally 2011, p. 158.
[39] Shields 2011, pp. 171–173
[74] “2015 SF&F Hall of Fame Inductees & James Gunn
[40] Morse 2003, p. 19 Fundraiser”. June 12, 2015. Locus Publications. Retrieved
July 17, 2015.
[41] Leeds 1995, p. 46.
[75] “Kurt Vonnegut: American author who combined satiric so-
[42] Hattenhauer 1998, p. 387. cial commentary with surrealist and science fictional ele-
[43] Allen 1991, p. 53 ments”. Science Fiction and Fantasy Hall of Fame. EMP
Museum (empmuseum.org). Retrieved September 10,
[44] Allen 1991, pp. 54–65 2015.

[45] Morse 2003, pp. 62–63 [76] NPR 2011.

[46] Shields 2011, pp. 182–183 [77] Daily Telegraph 2007.

[47] Allen 1991, p. 75 [78] Freese 2013, p. 101.

[48] Shields 2011, pp. 219–228. [79] Leeds 1995, p. 2.

[49] BBC 2010. [80] Leeds 1995, p. 68.

 4.9. KURT VONNEGUT 149

[81] Leeds 1995, pp. 1–2. [115] Marvin 2002, p. 16.

[82] Vonnegut 1999, introduction. [116] Marvin 2002, p. 13.

[83] Vonnegut 2009, pp. 177, 185, 191. [117] Marvin 2002, pp. 14–15.
[84] Niose 2007. [118] Marvin 2002, p. 15.
[85] Leeds 1995, p. 480. [119] Marvin 2002, pp. 16–17.
[86] Vonnegut 2009, p. 177. [120] Marvin 2002, pp. 19, 44–45.
[87] Vonnegut 2006b. [121] Marvin 2002, p. 20.
[88] Davis 2006, p. 142. [122] Sharp 2006, pp. 1365–1366.
[89] Vonnegut 2009, p. 191. [123] Marvin 2002, p. 21.
[90] Kohn 2001.
[124] Marvin 2002, pp. 157–158.
[91] Farrell 2009, p. 141.

[92] Leeds 1995, pp. 477–479. Sources

[93] Marvin 2002, p. 78. • Allen, William R. “A Brief Biography of Kurt Von-
[94] Leeds 1995, p. 525. negut”. Kurt Vonnegut Memorial Library. Archived
from the original on January 18, 2015. Retrieved Au-
[95] Sharp 2006, p. 1366. gust 14, 2015.
[96] Zinn & Arnove 2009, p. 620. • Allen, William R. (1991). Understanding Kurt Von-
[97] Vonnegut 2006a, “In a Manner that Must Shame God Him- negut. University of South Carolina Press. ISBN 978-
self”. 0-87249-722-1.

[98] Sharp 2006, pp. 1364–1365. • Banach, Je (April 11, 2013). “Laughing in the Face of
Death: A Vonnegut Roundtable”. The Paris Review.
[99] Gannon & Taylor 2013. Retrieved August 13, 2015.
[100] Sharp 2006, p. 1364.
• Barsamian, David (2004). Louder Than Bombs: Inter-
[101] Zinn & Arnove 2009, p. 618. views from the Progressive Magazine. South End Press.
ISBN 978-0-89608-725-5.
[102] Sharp 2006, p. 1365.
• Blount, Roy (May 4, 2008). “So It Goes”. Sunday
[103] Marvin 2002, pp. 17–18. Book Review. The New York Times. Retrieved August
[104] Marvin 2002, p. 18. 14, 2015.

[105] Marvin 2002, p. 19. • Boomhower, Ray E. (1999). “Slaughterhouse-Five:

Kurt Vonnegut Jr.”. Traces of Indiana and Midwest-
[106] Barsamian 2004, p. 15. ern History (Indiana Historical Society) 11. ISSN
[107] Hayman et al. 1977. 1040-788X. Archived from the original on February
7, 2015. Retrieved August 14, 2015.
[108] Marvin 2002, pp. 18–19.
• “Obituary of Kurt Vonnegut: Guru of the countercul-
[109] Extence 2013. ture whose science fiction novel Slaughterhouse-Five,
[110] Sharp 2006, pp. 1363–1364. inspired by his survival of the Dresden bombings, be-
came an anti-war classic”. The Daily Telegraph. May
[111] Davis 2006, pp. 45–46. 13, 2007. p. 25.
[112] Tally 2011, p. 157. • Dalton, Corey M. (October 24, 2011). “Treasures of
[113] Tally 2011, pp. 103–105.
the Kurt Vonnegut Memorial Library”. The Saturday
Evening Post. Archived from the original on December
[114] Kunze & Tally, Jr. 2012, introduction. 9, 2014. Retrieved August 14, 2015.
150
• Davis, Todd F. (2006). Kurt Vonnegut’s Crusade. State
University of New York Press. ISBN 978-0-7914-
6675-9.
• Extence, Gavin (June 25, 2013). “Most of What I
Know about Writing, I Learned from Kurt Vonnegut”.
The Huffington Post. Retrieved August 14, 2015.
• Farrell, Susan E. (2009). Critical Companion to Kurt
Vonnegut: A Literary Reference to His Life and Work.
Infobase Publishing. ISBN 978-1-4381-0023-4.
• Freese, Peter (2013). "'Instructions for use': the open-
ing chapter of Slaughterhouse-Five and the reader of
historiographical metafictions”. In Tally, Robert T.,
Jr. Kurt Vonnegut. Critical Insights. Salem Press. pp.
95–117. ISBN 978-1-4298-3848-1.
• Gannon, Matthew; Taylor, Wilson (September 4,
2013). “The working class needs its next Kurt Von-
negut”. Jacobin (Salon.com). Retrieved August 14,
2015.
• Grossman, Lev (April 12, 2007). “Kurt Vonnegut,
1922–2007”. Time.
• Harris, Paul (December 3, 2011). “Kurt Vonnegut’s
dark, sad, cruel side is laid bare”. The Guardian.
• Hattenhauer, Darryl (1998). “The Politics of Kurt
Vonnegut’s 'Harrison Bergeron'". Studies in Short Fic-
tion 35 (4): 387–392. ISSN 0039-3789. (subscription
required (help)).
• Hayman, David; Michaelis, David; et al. (1977).
“Kurt Vonnegut, The Art of Fiction No. 64”. The
Paris Review 69: 55–103. Archived from the original
on February 5, 2015.
• Hischak, Thomas S. (2012). American Literature on
Stage and Screen: 525 Works and Their Adaptations.
McFarland & Company. ISBN 978-0-7864-9279-4.
• Kohn, Martin (March 28, 2001). "God Bless You Dr.
Kevorkian listing”. New York University School of
Medicine. Retrieved August 14, 2015.
• Kunze, Peter C.; Tally, Jr., Robert T. (2012).
“Vonnegut’s sense of humor”. Studies in American Hu-
mor 3 (26): 7–11. Retrieved August 14, 2015.
• Leeds, Marc (1995). The Vonnegut Encyclopedia.
Greenwood Press. ISBN 978-0-313-29230-9.
• Lehmann-Haupt, Christopher (September 24, 1976).
“Books of The Times”. The New York Times. Re-
trieved August 14, 2015.
CHAPTER 4. AUTHORS & ILLUSTRATORS
• Lowery, George (April 12, 2007). “Kurt Vonnegut
Jr., novelist, counterculture icon and Cornellian, dies
at 84”. Cornell Chronicle. Archived from the original
on November 8, 2014. Retrieved August 14, 2015.
• Marvin, Thomas F. (2002). Kurt Vonnegut: A Criti-
cal Companion. Greenwood Publishing Group. ISBN
978-0-313-29230-9.
• Morais, Betsy (August 12, 2011). “The Neverending
Campaign to Ban 'Slaughterhouse Five'". The Atlantic.
Retrieved August 14, 2015.
• Morse, Donald E. (2013). “The curious reception of
Kurt Vonnegut”. In Tally, Robert T., Jr. Kurt Von-
negut. Critical Insights. Salem Press. pp. 42–59.
ISBN 978-1-4298-3848-1.
• Morse, Donald E. (2003). The Novels of Kurt Von-
negut: Imagining Being an American. Greenwood
Publishing Group. ISBN 978-0-313-29230-9.
• Niose, David A. (July 1, 2007). “Kurt Vonnegut saw
humanism as a way to build a better world.”. The
Humanist – via HighBeam Research (subscription re-
quired) . Retrieved August 14, 2015.
• Rodriguez, Gregory (April 16, 2007). “The kindness
of Kurt Vonnegut”. Los Angeles Times. Retrieved Au-
gust 14, 2015.
• Sharp, Michael D. (2006). Popular Contemporary
Writers 10. Marshall Cavendish Reference. ISBN
978-0-7614-7601-6 – via Questia. (subscription re-
quired (help)).
• Shields, Charles J. (2011). And So It Goes: Kurt Von-
negut, a Life. Henry Holt and Company. ISBN 978-
0-8050-8693-5.
• Smith, Dinitia (April 13, 2007). “Kurt Vonnegut,
Counterculture’s Novelist, Dies”. The New York
Times. Retrieved August 14, 2015.
• Sumner, Gregory (2014). “Vonnegut, Kurt, Jr.”.
American National Biography Online (Oxford Univer-
sity Press). Retrieved August 14, 2015. (subscription
required (help)).
• Tally, Robert T. Jr. (2011). Kurt Vonnegut and the
American Novel: A Postmodern Iconography. Contin-
uum Books. ISBN 978-1-441-16445-2.
• Tally, Robert T., Jr. (2013). “On Kurt Vonnegut”. In
Tally, Robert T., Jr. Kurt Vonnegut. Critical Insights.
Salem Press. pp. 3–17. ISBN 978-1-4298-3848-1.
4.10. NEAL SHUSTERMAN 151

• Thomas, Peter L. (2006). Reading, Learning, Teach- • Works by Kurt Vonnegut at LibriVox (public domain
ing Kurt Vonnegut. Peter Lang. ISBN 978-0-8204- audiobooks)
6337-7.
• Kurt Vonnegut, Jr. at the Internet Speculative Fiction
• “Up to 25,000 died in Dresden’s WWII bombing – re- Database
port”. BBC. March 18, 2010. Retrieved August 14,
2015. • Kurt Vonnegut at the Internet Movie Database
• Vitale, Tom (May 31, 2011). “Kurt Vonnegut: Still
Speaking To The War Weary”. NPR. Retrieved Au-
gust 13, 2015. 4.10 Neal Shusterman
• Vonnegut, Kurt (January 21, 2006). "A Man With-
out A Country, “Custodians of chaos"". The Guardian. Neal Shusterman (born November 12, 1962) is a popular
Retrieved August 14, 2015. and successful American writer of young-adult fiction.

• Vonnegut, Kurt (1999). God Bless You, Dr.

Kevorkian. Seven Stories Press. ISBN 978-1-5832- 4.10.1 Life
2020-7.
Shusterman was born and raised in Brooklyn, New York.
• Vonnegut, Kurt (June 28, 2008). “Kurt Vonnegut on Even from a young age, Shusterman was an avid reader.
His Time as a POW”. Newsweek. Archived from At age 8, Shusterman sent a letter to E. B. White, inform-
the original on March 1, 2015. Retrieved August 14, ing him that he believed Charlotte’s Web needed a sequel.
2015. White replied, stating that he thought the book was fine as
• Vonnegut, Kurt (2009). Palm Sunday: An Autobio- it was, requiring no sequel, but encouraged Shusterman to
graphical Collage. Random House Publishing. ISBN continue writing. At age [1]
16, Shusterman and his family
978-0-3075-6806-9. moved to Mexico City. He finished high school there at
the American School Foundation and quotes, “Having an
• Vonnegut, Kurt (2006). Wampeters, Foma & Gran- international experience changed my life, giving me a fresh
falloons. Dial Press. ISBN 978-0-3853-3381-8. perspective on the world, and a sense of confidence I might
not have otherwise.” He attended the University of Cali-
• Wolff, Gregory (October 25, 1987). “A Wildly Im- fornia, Irvine, where he double-majored in psychology and
probable Gang Of Nine”. The New York Times. Re- theater, and was also on the varsity swim team. During his
trieved August 14, 2015. years there, he wrote a popular humor column for the school
paper. After college, he got a job as an assistant at Irvin
• Zinn, Howard; Arnove, Anthony (2009). Voices of
Arthur Associates, a talent agency in Los Angeles, where
A People’s History of the United States. Seven Stories
Lloyd Segan became his agent. Within a year, Shusterman
Press. ISBN 978-1-5832-2916-3.
had his first book deal, and a screenwriting job. He cur-
rently lives in Southern California with his four children.[2]
4.9.8 External links Shusterman won the Boston Globe–Horn Book Award, and
the 2008 California Young Reader Medal for The Schwa
• Official website Was Here. He served as a judge for the PEN/Phyllis Naylor
Working Writer Fellowship in 2012.[3] Some of his other
• Kurt Vonnegut at DMOZ novels include The Dark Side of Nowhere, Everlost, What
• The Kurt Vonnegut Society Daddy Did, The Shadow Club, The Shadow Club Rising,
The Eyes of Kid Midas, and the Star Shards Chronicles:
• Kurt Vonnegut papers at the Lilly Library, Indiana Scorpion Shards, Thief of Souls, and Shattered Sky. His nov-
University Bloomington els Downsiders and Full Tilt have each won over 20 awards.
Unwind has won more than 30 awards, and is now in devel-
• Vonnegut, Kurt at the Library of Congress opment with Constantin Films as a feature film series. Shus-
terman’s latest novels are Ship Out of Luck (2013), which is
• Kurt Vonnegut Memorial Library
a sequel to his book The Schwa was Here[4] and “UnSouled
• Works by Kurt Vonnegut at Project Gutenberg (2013)", the third novel in the “Unwind” series. He can
be found on Facebook and Twitter as simply “nealshuster-
• Works by or about Kurt Vonnegut at Internet Archive man.”
152 CHAPTER 4. AUTHORS & ILLUSTRATORS

Shusterman has also written for TV, including the Original Star Shards
Disney Channel movie Pixel Perfect, as well as episodes of
Goosebumps and Animorphs.[2] • Scorpion Shards (1995) [34]
Shusterman was invited by Orson Scott Card to write novels • Thief of Souls (1999) [35]
parallel to Ender’s Game about other characters from the • Shattered Sky (2002) [36][37]
series, but schedules didn't permit, and Card wrote Ender’s
Shadow and the subsequent series himself.[5]
The Unwind Dystology
Shusterman’s is currently in early talks on writing for the
upcoming Goosebumps video game. • Unwind (2007) ISBN 978-1416912040 [38][39]
• UnStrung (2012) (digital novella)
4.10.2 Bibliography
• UnWholly (2012) ISBN 978-1442423664 [40][41]
Fictional Series • UnSouled (2013) ISBN 978-1442423695 [42][43]

The Accelerati Trilogy (with Eric Elfman) • UnDivided (2014) ISBN 978-1481409759 [44][45]
• UnBound (2015) (short story collection) [46]
• Tesla’s Attic (2014) ISBN 978-1423148036 [6][7][8]

• Edison’s Alley (2015) ISBN 978-1423148067 [9][10] The X-Files Universe

• Hawking’s Hallway (201?) [11] • The X-Files Young Adult Series

• 3) Bad Sign (1997) [writing as Easton

Antsy Bonano Royce] [47]
• 10) Dark Matter (1999) [writing as Easton
• The Schwa Was Here (2004) ISBN 978-0756967192 Royce]
[12][13]

• The X-Files Young Readers Series

• Antsy Does Time (2008) ISBN 978-0525478256
[14][15]
• 8) Voltage (1996) [writing as Easton
• Ship Out of Luck (2013) ISBN 978-0525422266 Royce]
[16][17]

Novels
Dark Fusion
• Dissidents (1989)
• Dread Locks (2005) [18][19]
• Speeding Bullet (1991) [48]
• Red Rider’s Hood (2005) [20][21] • What Daddy Did (1991) [49]
• Duckling Ugly (2006) [22][23] • The Eyes of Kid Midas (1992) [50]
• The Aliens Approach (1996) [writing as Easton Royce
Shadow Club ]

• The Shadow Club (1988) [24][25] • Mutiny (1996) [writing as Easton Royce ]
• The Dark Side of Nowhere (1997) ISBN 978-
• The Shadow Club Rising (2003) [26][27]
0316789073 [51][52]
• Downsiders (1999) [53][54]
Skinjacker Trilogy
• Full Tilt (2003) ISBN 978-0689803741 [55][56]
• Everlost (2006) [28][29]
• Bruiser (2010) ISBN 978-0061134081 [57][58]
• Everwild (2009) [30][31]
• Challenger Deep (2015) ISBN 978-0061134111
• Everfound (2011) [32][33] [59][60]
4.10. NEAL SHUSTERMAN
Picture Books
• Piggyback Ninja (1994)
Short Stories
• Resurrection Bay (2013) ISBN 978-0062295163
[published only as an ebook]
Short Story Collections
• Darkness Creeping: Tales to Trouble Your Sleep
(1993)
• Darkness Creeping II: More Tales to Trouble Your 4.10.3
Sleep (1995)
• Mindquakes: Stories to Shatter Your Brain (1996)
• Mindstorms: Stories to Blow Your Mind (1996)
• Mindtwisters: Stories To Shred Your Head (1997)
• Mindbenders: Stories to Warp Your Brain (2000)
• Darkness Creeping: Twenty Twisted Tales (2007)
Games
• How to Host a Murder: Roman Ruins (1997)
• How to Host a Murder: The Grapes of Frath (1997)
• How to Host a Teen Mystery: Hot Times at Hollywood
High (1997)
• How to Host a Murder: The Good, the Bad, and the
Guilty (1998)
• How to Host a Murder: Tragical Mystery Tour (1999)
• How to Host a Teen Mystery: Barbecue with the Vam-
pire (1999)
• How to Host a Murder: Saturday Night Cleaver (2000)
• How to Host a Murder: Maiming of the Shrew (2001)
• How to Host a Teen Mystery: Roswell That Ends Well [12] http://www.storyman.com/books/schwa/
(2002)
• How to Host a Murder: An Affair to Dismember
(2003) [14] http://www.storyman.com/books/antsydoestime/
153
Nonfiction
• Guy Talk (1987)
• It’s Ok to Say No to Cigarettes and Alcohol (1988)
• Neon Angel: The Cherie Currie Story (1989) with
Cherie Currie
[61]
• Kid Heroes: True Stories of Rescuers, Survivors, and
Achievers (1991)
Poems
• Shadows of Doubt (1993)
References
[1] Gale, Thomas. “Neal Shusterman Biography”. BookRags.
Retrieved 2009-05-08.
[2] Shusterman, Neal. “Neal Shusterman: Bio”. storyman.com.
Self published. Retrieved 2008-05-23.
[3] “Announcing the 2012 PEN Literary Award Recipients”.
PEN American Center. October 15, 2012. Retrieved Febru-
ary 6, 2013.
[4] Shusterman, Neal. “Neal Shusterman: News”. story-
man.com. Self published. Retrieved 2008-05-23.
[5] Card himself describes the origins of the idea for Ender’s
Shadow and Shusterman’s early involvement in the Foreword
of some editions of Ender’s Shadow, including ISBN 978-0-
7653-4240-9)
[6] “The Accelerati Trilogy, Book One: Tesla’s Attic”. Disney
Publishing Worldwide. 2014-01-23. Retrieved 2015-06-23.
[7] Shusterman, Neal. “Tesla’s Attic – Book Description”. sto-
ryman.com. Self published. Retrieved 2015-06-23.
[8] “TESLA'S ATTIC”. Kirkus Reviews. 2013-12-07. Re-
trieved 2015-06-23.
[9] “The Accelerati Trilogy, Book Two: Edison’s Alley”.
Disney Publishing Worldwide. 2014-12-04. Retrieved
2015-06-23.
[10] Shusterman, Neal. “Edison’s Alley – Book Description”.
storyman.com. Self published. Retrieved 2015-06-23.
[11] Shusterman, Neal. “June 2015 News Tidbits”. story-
man.com. Self published. Retrieved 2015-06-23.
[13] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/the-schwa-was-here/
154
[15] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/antsy-does-time/
[16] http://www.storyman.com/books/shipoutofluck/
[17] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/ship-out-luck/
[18] http://www.storyman.com/books/dreadlocks/
[19] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/dread-locks/
[20] http://www.storyman.com/books/redridershood/
[21] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/dark-fusion/
[22] http://www.storyman.com/books/ducklingugly/
[23] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/duckling-ugly/
[24] http://www.storyman.com/books/shadowclub/
[25] https://www.kirkusreviews.com/book-reviews/
neal-shusterman-5/the-shadow-club-2/
[26] http://www.storyman.com/books/shadowclubrising/
[27] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/the-shadow-club-rising/
[28] http://www.storyman.com/books/everlost/
[29] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/everlost/
[30] http://www.storyman.com/books/everwild/
[31] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/everwild/
[32] http://www.storyman.com/books/everfound/
[33] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/everfound/
[34] http://www.storyman.com/books/scorpion/
[35] http://www.storyman.com/books/thief/
[36] http://www.storyman.com/books/shattered/
[37] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/shattered-sky/
[38] http://www.storyman.com/books/unwind/
[39] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/unwind/
[40] http://www.storyman.com/books/unwholly/
[41] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/unwholly/
CHAPTER 4. AUTHORS & ILLUSTRATORS
[42] http://www.storyman.com/books/unsouled/
[43] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/unsouled/
[44] http://www.storyman.com/books/undivided/
[45] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/undivided/
[46] https://catalog.simonandschuster.com/TitleDetails/
TitleDetails.aspx?cid=1313&pn=1&isbn=
9781481457231&FilterBy=9&FilterVal=Teen+Fiction&
FilterByName=Subformat&ob=0&ed=&showcart=N&
camefrom=&find=&a=
[47] royce, easton (1997). the x files bad sign (first ed.). Harper-
Collins. ISBN 9780064471701.
[48] https://www.kirkusreviews.com/book-reviews/
neal-shusterman-2/speeding-bullet-2/
[49] https://www.kirkusreviews.com/book-reviews/
neal-shusterman-6/what-daddy-did-2/
[50] https://www.kirkusreviews.com/book-reviews/
neal-shusterman-3/the-eyes-of-kid-midas-2/
[51] http://www.storyman.com/books/darksideofnowhere/
[52] https://www.kirkusreviews.com/book-reviews/
neal-shusterman-3/the-dark-side-of-nowhere-2/
[53] http://www.storyman.com/books/downsiders/
[54] https://www.kirkusreviews.com/book-reviews/
neil-shusterman/downsiders/
[55] http://www.storyman.com/books/full-tilt/
[56] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/full-tilt/
[57] http://www.storyman.com/books/bruiser/
[58] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/bruiser/
[59] http://www.storyman.com/books/challenger-deep/
[60] https://www.kirkusreviews.com/book-reviews/
neal-shusterman/challenger-deep/
[61] http://www.harpercollins.com/9780062295163/
resurrection-bay
4.10.4 External links
• Official website
• Shusterman at Facebook
• Shusterman at Twitter
4.11. R. L. STINE 155

• Shusterman at Instagram Duck”, “The Teens of Ferret High”, “First Date” (a comic
strip by Alyse Newman), and “Ask Doctor Si N. Tific”.
• Neal Shusterman at the Internet Speculative Fiction
In 1986, Stine wrote his first horror novel, called Blind
Database
Date.[9] He followed with many other novels, including
• Neal Shusterman at the Internet Movie Database The Babysitter, Beach House, Hit and Run, and The Girl-
friend.[4] He was also the co-creator and head writer for the
• Neal Shusterman at Library of Congress Authorities, Nickelodeon Network children’s television show Eureeka’s
with 49 catalog records Castle,[10] original episodes of which aired as part of the
Nick Jr. programming block during the 1989 to 1995 sea-
sons.
4.11 R. L. Stine In 1989, Stine started writing Fear Street books.[11] Be-
fore launching the Goosebumps series, Stine authored three
humorous science fiction books in the Space Cadets se-
Robert Lawrence Stine (born October 8, 1943),[1] known
ries titled Jerks in Training, Bozos on Patrol, and Losers in
as R. L. Stine and Jovial Bob Stine, is an American
Space.[12] In 1992, Stine and Parachute went on to launch
writer and producer. Stine, who is called the "Stephen
Goosebumps.[4]
King of children’s literature,”[2] is the author of hundreds
of horror fiction novels, including the books in the Fear Also produced was a Goosebumps TV series that ran for
Street, Goosebumps, Rotten School, Mostly Ghostly, and The four seasons from 1995–1998[13] and three video games;
Nightmare Room series. Some of his other works include a Escape from HorrorLand, Attack of the Mutant[14] and
Space Cadets trilogy, two Hark gamebooks, and dozens of Goosebumps HorrorLand.[15] In 1995, Stine’s first novel tar-
joke books. R. L. Stine’s books have sold over 400 million geted at adults, called Superstitious, was published.[16] He
copies as of 2008. has since published three other adult-oriented novels; The
Sitter, Eye Candy,[8] and Red Rain.
In the first decade of the 21st century, Stine has
4.11.1 Early life worked on installments of five different book series,
Mostly Ghostly, Rotten School, Fear Street, The Nightmare
Stine was born on October 8, 1943 in Columbus, Ohio,[3] Room, Goosebumps Horrorland and the stand-alone nov-
the son of Anne (née Feinstein), a homemaker, and els Dangerous Girls (2003) and The Taste of Night (2004).
Lewis Stine, a shipping clerk. Stine grew up in Bexley, Also, a direct-to-DVD movie The Haunting Hour Volume
Ohio.[4][5][6] His family was Jewish. He began writing at age One: Don't Think About It, starring Emily Osment was re-
nine, when he found a typewriter in his attic, subsequently leased by Universal Home Entertainment on September 4,
beginning to type stories and joke books.[7] He graduated 2007.[17] Jack Black portrayed a fictionalized version of
from the Ohio State University (OSU) in 1965 with a bach- Stine in the 2015 film Goosebumps, while Stine himself
elor of arts degree in English.[8] While at OSU, R. L. Stine made a cameo appearance, playing a teacher named “Mr.
edited the OSU humor magazine The Sundial for three out Black”.[18]
of his four years there.[1] He later moved to New York City
to pursue his career as a writer.[4]
4.11.3 Best selling author
4.11.2 Career
According to Forbes List of the 40 best-paid Entertainers of
Stine wrote dozens of humor books for kids under the pen 1996–97, Stine placed 36th with an income of $41 million
name Jovial Bob Stine and created the humor magazine Ba- for the fiscal year.[19] His books have sold over 400 million
nanas.[4] Bananas was for teenagers published by Scholastic copies worldwide as of 2008,[20] landing on many bestseller
Press for 72 issues between 1975 and 1984, plus various lists. In three consecutive years during the 1990s, USA
“Yearbooks” and paperback books. Stine was editor and Today named Stine as America’s number one best-selling
responsible for much of the writing (other contributors in- author.[21]
cluded writers Robert Leighton, Suzanne Lord and Jane Among the awards he has received are the 2002 Cham-
Samuels and artists Sam Viviano, Samuel B. Whitehead, pion of Reading Award from the Free Public Library of
Bob K. Taylor, Bryan Hendrix, Bill Basso, and Howard Philadelphia (that award’s first year), the Disney Adven-
Cruse). Recurring features included “Hey – Lighten Up!", tures Kids’ Choice Award for Best Book-Mystery/Horror
“It Never Fails!", “Phone Calls”, “Joe” (a comic strip by (three-time recipient) and the Nickelodeon Kids’ Choice
John Holmstrom), “Phil Fly”, “Don't You Wish...”, “Doctor Awards (also received three times).[21] During the 1990s,
156 CHAPTER 4. AUTHORS & ILLUSTRATORS

Stine was listed on People Weekly's “Most Intriguing Peo- 11. Attack of the Graveyard Ghouls
ple” list, and in 2003, the Guinness Book of World Records
named Stine as the best-selling children’s book series author 12. Brain Juice
of all time. He won the Thriller Writers of America Silver 13. Return to HorrorLand
Bullet Award in 2007, and the Horror Writers Association’s
Lifetime Achievement Award in 2014.[22] His stories have 14. Jekyll and Heidi
even inspired R. L. Stine’s Haunted Lighthouse, 4D movie-
based attractions at SeaWorld (San Antonio and San Diego) 15. Scream School
and Busch Gardens (Williamsburg and Tampa).[23] 16. The Mummy Walks

17. The Werewolf in the Living Room

4.11.4 Personal life
18. Horrors of the Black Ring
On June 22, 1969, Stine married Jane Waldhorn, who be-
came an editor and writer,[8] and formed Parachute Press 19. Return to Ghost Camp
with Joan Waricha on April 1, 1983.[24] Their only child, 20. Be Afraid – Be Very Afraid!
Matthew, was born on June 7, 1980[8] and works in the mu-
sic industry.[25] 21. The Haunted Car

22. Full Moon Fever

4.11.5 Bibliography
23. Slappy’s Nightmare
Original series 24. Earth Geeks Must Go!

Space Cadets 25. Ghost in the Mirror

1. Jerks-in-Training
Give Yourself Goosebumps
2. Losers in Space
1. Escape from the Carnival of Horrors
3. Bozos on Patrol
2. Tick Tock, You're Dead!

Goosebumps Main article: List of Goosebumps books 3. Trapped in Bat Wing Hall
§ Goosebumps Series
4. The Deadly Experiments of Dr. Eeek

5. Night in Werewolf Woods

Goosebumps Series 2000 6. Beware of the Purple Peanut Butter

1. Cry of the Cat 7. Under the Magician’s Spell

2. Bride of the Living Dummy 8. The Curse of the Creeping Coffin

3. Creature Teacher 9. The Knight in Screaming Armor

4. Invasion of the Body Squeezers, Part I 10. Diary of a Mad Mummy

5. Invasion of the Body Squeezers, Part II 11. Deep in the Jungle of Doom

6. I Am Your Evil Twin 12. Welcome to the Wicked Wax Museum

7. Revenge R Us 13. Scream of the Evil Genie

8. Fright Camp 14. The Creepy Creations of Professor Shock

9. Are You Terrified Yet? 15. Please Don't Feed the Vampire!

10. Headless Halloween 16. Secret Agent Grandma

4.11. R. L. STINE 157

17. Little Comic Shop of Horrors Fear Street

18. Attack of the Beastly Baby-sitter
1. The New Girl
19. Escape from Camp Run-for-Your-Life
2. The Surprise Party
20. Toy Terror: Batteries Included
3. The Overnight
21. The Twisted Tale of Tiki Island
4. Missing
22. Return to the Carnival of Horrors
5. The Wrong Number
23. Zapped in Space
24. Lost in Stinkeye Swamp 6. The Sleepwalker

25. Shop Till You Drop...Dead! 7. Haunted

26. Alone in Snakebite Canyon 8. Halloween Party

27. Checkout Time at the Dead-End Hotel 9. The Stepsister
28. Night of a Thousand Claws 10. Ski Weekend
29. Invaders from the Big Screen 11. The Fire Game
30. You're Plant Food! 12. Lights Out
31. The Werewolf of Twisted Tree Lodge
13. The Secret Bedroom
32. It’s Only a Nightmare
14. The Knife
33. It Came from the Internet
15. The Prom Queen
34. Elevator to Nowhere
16. First Date
35. Hocus-Pocus Horror
17. The Best Friend
36. Ship of Ghouls
18. The Cheater
37. Escape from Horror House
38. Into the Twister of Terror 19. Sunburn

39. Scary Birthday to You 20. The New Boy

40. Zombie School 21. The Dare

41. Danger Time 22. Bad Dreams
42. All-Day Nightmare 23. Double Date
24. The Thrill Club
Give Yourself Goosebumps Special Edition
25. One Evil Summer
1. Into the Jaws of Doom
26. The Mind Reader
2. Return to Terror Tower
27. Wrong Number 2
3. Trapped in the Circus of Fear
28. Truth or Dare
4. One Night in Payne House
5. The Curse of the Cave Creatures 29. Dead End

6. Revenge of the Body Squeezers 30. Final Grade

7. Trick or...Trapped! 31. Switched

8. Weekend at Poison Lake 32. College Weekend
158 CHAPTER 4. AUTHORS & ILLUSTRATORS

33. The Stepsister 2 Fear Street Super Chiller

34. What Holly Heard 1. Party Summer

35. The Face 2. Silent Night

36. Secret Admirer 3. Goodnight Kiss

37. The Perfect Date 4. Broken Hearts

38. The Confession 5. Silent Night 2

39. The Boy Next Door 6. The Dead Lifeguard

40. Night Games 7. Cheerleaders: The New Evil

41. Runaway 8. Bad Moonlight

42. Killer’s Kiss 9. The New Year’s Party

43. All-Night Party 10. Goodnight Kiss 2

11. Silent Night 3

44. The Rich Girl
12. High Tide
45. Cat
13. Cheerleaders: The Evil Lives!
46. Fear Hall: The Beginning

47. Fear Hall: The Conclusion Cheerleaders

48. Who Killed The Homecoming Queen?
1. The First Evil
49. Into The Dark
2. The Second Evil
50. Best Friend 2 3. The Third Evil
51. Trapped 4. The New Evil
52. Party Games 5. The Evil Lives!
53. Don't Stay Up Late
The Fear Street Saga Trilogy
54. The Lost Girl
1. The Betrayal
55. Fear Street Super Thriller: Party Games & Don't Stay
Up Late 2. The Secret

3. The Burning
New Fear Street

1. The Stepbrother 99 Fear Street: The House of Evil

2. Camp Out 1. The First Horror

3. Scream, Jennifer, Scream! 2. The Second Horror

4. The Bad Girl 3. The Third Horror

4.11. R. L. STINE 159

Cataluna Chronicles Fear Street Seniors

1. The Evil Moon 1. Let’s Party

2. In Too Deep
2. The Dark Secret
3. The Thirst
3. The Deadly Fire
4. No Answer

5. Last Chance
Fear Park
6. The Gift
1. The First Scream 7. Fight Team, Fight

2. The Loudest Scream 8. Sweetheart, Evil Heart

9. Spring Break
3. The Last Scream
10. Wicked

11. The Prom Date

Fear Street Sagas
12. Graduation Day
1. A New Fear
Fear Street Nights
2. House of Whispers
1. Moonlight Secrets
3. Forbidden Secrets
2. Midnight Games
4. The Sign of Fear
3. Darkest Dawn
5. The Hidden Evil
Ghosts of Fear Street
6. Daughters of Silence
1. Hide and Shriek
7. Children of Fear
2. Who’s Been Sleeping in My Grave?
8. Dance of Death 3. The Attack of the Aqua Apes

9. Heart of the Hunter 4. Nightmare in 3-D

5. Stay Away from the Tree House

10. The Awakening Evil
6. Eye of the Fortuneteller
11. Circle of Fire
7. Fright Knight
12. Chamber of Fear 8. The Ooze

13. Faces of Terror 9. Revenge of the Shadow People

10. The Bugman Lives!

14. One Last Kiss
11. The Boy Who Ate Fear Street
15. Door of Death
12. Night of the Werecat

16. The Hand of Power 13. How to Be a Vampire

160 CHAPTER 4. AUTHORS & ILLUSTRATORS

14. Body Switchers from Outer Space Rotten School

15. Fright Christmas

1. The Big Blueberry Barf-Off!
16. Don't Ever Get Sick at Granny’s
2. The Great Smelling Bee
17. House of a Thousand Screams
3. The Good, the Bad and the Very Slimy
18. Camp Fear Ghouls
4. Lose, Team, Lose!
19. Three Evil Wishes
5. Shake, Rattle and Hurl!
20. Spell of the Screaming Jokers
6. The Heinie Prize
21. The Creature from Club Lagoona
7. Dudes, the School is Haunted!
22. Field of Screams
8. The Teacher from Heck
23. Why I'm Not Afraid of Ghosts

24. Monster Dog 9. Party Poopers

25. Halloween Bugs Me! 10. The Rottenest Angel

26. Go to Your Tomb – Right Now! 11. Punk'd and Skunked

27. Parents from the 13th Dimension 12. Battle of the Dum Diddys

28. Hide and Shriek II 13. Got Cake?

29. The Tale of the Blue Monkey 14. Night of the Creepy Things
30. I Was a Sixth-Grade Zombie 15. Calling All Birdbrains
31. Escape of the He-Beast 16. Dumb Clucks
32. Caution: Aliens at Work

33. Attack of the Vampire Worms The Nightmare Room

34. Horror Hotel Pt. 1: The Vampire Checks in 1. Don't Forget Me!
35. Horror Hotel Pt. 2: Ghost in the Guest Room 2. Locker 13
36. The Funhouse of Dr. Freek
3. My Name is Evil

4. Liar Liar
Mostly Ghostly
5. Dear Diary, I'm Dead
1. Who Let the Ghosts Out?
6. They Call Me Creature
2. Have You Met My Ghoulfriend?
7. The Howler
3. One Night in Doom House
8. Shadow Girl
4. Little Camp of Horrors

5. Ghouls Gone Wild 9. Camp Nowhere

6. Let’s Get This Party Haunted! 10. Full Moon Halloween

7. Freaks and Shrieks 11. Scare School

8. Don't Close Your Eyes! 12. Visitors

4.11. R. L. STINE 161

The Nightmare Room Thrillogy Goosebumps Most Wanted

1. Fear Games • Son of Slappy

• Planet of the Lawn Gnomes
2. What Scares You the Most?
• How I Met My Monster
3. No Survivors
• Frankenstein’s Dog

Goosebumps HorrorLand • Dr. Maniac Will See You Now

• Creature Teacher: The Final Exam
• Welcome to HorrorLand: A Survival Guide
• A Nightmare on Clown Street
• Revenge of the Living Dummy
Special Edition
• Creep from the Deep
• Zombie Halloween
• Monster Blood for Breakfast!
• The 12 Screams of Christmas
• The Scream of the Haunted Mask

• Dr. Maniac vs. Robby Schwartz Hark

• Who’s Your Mummy? 1. The Badlands of Hark

• My Friends Call Me Monster 2. The Invaders of Hark

• Say Cheese – And Die Screaming!

Dangerous Girls Both were re-released in 2010 under
• Welcome to Camp Slither the name Bitten. ISBN 978-0060530808

• Help! We Have Strange Powers! 1. Dangerous Girls

• Escape from HorrorLand 2. The Taste of Night

• The Streets of Panic Park

Stand-alone novels
• When the Ghost Dog Howls
• The Adventures of Shrinkman
• Little Shop of Hamsters
• The Beast
• Heads, You Lose!
• The Beast 2
• Weirdo Halloween • Curtains
• The Wizard Of Ooze • Eye Candy

• Slappy’s New Year! • It’s the First Day of School...Forever!

• The Horror at Chiller House • A Midsummer Night’s Scream

• Phone Calls
• Claws!
• Red Rain
• Night of Giant Everything
• The Sitter
• The Five Masks of Dr. Screem
• Superstitious
• Why I Quit Zombie School • Three Faces of Me
• Don't Scream! • When Good Ghouls Go Bad
• The Birthday Party of No Return • Zombie Town
162 CHAPTER 4. AUTHORS & ILLUSTRATORS

Anthologies • Blips: The First Book of Videogame Funnies

• Beware! (edited by Stine) • Cool Kids’ Guide to Summer Camp

• The Haunting Hour • Doggone Dog Joke Book

• The Nightmare Hour • Don't Stand in the Soup

• Tales to Give You Goosebumps • How to Be Funny

• More Tales to Give You Goosebumps • It Came From Ohio!: My Life As A Writer
(autobiography)[nb 1]
• Even More Tales to Give You Goosebumps
• Miami Mice
• Still More Tales to Give You Goosebumps
• Pork and Beans: Play Date
• More and More Tales to Give You Goosebumps
• The Sick of Being Sick Book
• More and More and More Tales to Give You Goose-
bumps • You Know It’s Going to Be A Long School Year When...
• Goosebumps Triple Header, Book 1 • My Secret Identity
• Goosebumps Triple Header, Book 2 • Pigs’ Book of World Records

• Jovial Bob’s Computer Joke Book

Short stories

• “The Spell” Movie novelizations

• “Dead of Night” • Ghostbusters II Storybook

• “The Head Start” • Spaceballs: The Book
• “Lucky at Cards” • Big Top Pee-Wee
• “The Kid Behind the Door”
• “The Terror After School” Zachary Blue books

• “Do Some Damage!" • The Jet Fighter Trap

• “Curse of the Smiling Mummy” • The Protectors: The Petrova Twist
• “Can You Keep a Secret?"
Picture books
• “The Vampire Club”
• “My Worst Nightmare” • Gnasty Gnomes

• “The Wrong Room”

Contributions to other series

Non-fiction and Jovial Bob Stine books Crosswinds

• 101 Vacation Jokes • Broken Date

• 101 Wacky Kid Jokes • How I Broke Up With Ernie
• 101 Silly Monster Jokes
Masters of the Universe
• The Absurdly Silly Encyclopaedia and Fly Swatter
• Amazing Adventure of Me, Myself and I • Demons of the Deep
4.11. R. L. STINE 163

Twist-a-plot G.I. Joe

• The Time Raider • Siege of Serpentor

• Golden Sword of Dragonwalk
• Jungle Raid
• Horrors of the Haunted Museum
• Instant Millionaire Horror High

Find Your Fate • Fatal Kiss

• Indiana Jones and the Curse of Horror Island • Grave Intentions

• Indiana Jones and the Giants of the Silver Tower • Deadly Rumours
• Indiana Jones and the Cult of the Mummy’s Crypt
Point Horror
• James Bond in Win, Place or Die
• Indiana Jones and the Ape Slaves of Howling Island • Blind Date

• Twisted
Find Your Fate Junior: Golden Girl
• The Babysitter
• Golden Girl and the Vanishing Unicorn
• Beach Party
Wizards, Warriors and You The books followed the • The Boyfriend
standard Choose Your Own Adventure formula, but also
featured “flagged” choices that were determined by choices • The Babysitter II
earlier in the book. (For example, “If you already have the
Unfathomable Pocket of Crowden, turn to page 65; other- • The Girlfriend
wise, turn to page 78.”) The books attempted to introduce a
• The Snowman
further "role-playing game-like” element with the inclusion
of randomization to determine events such as the outcome • Beach House
of a battle or success of a spell. These RPG-like elements
were designed for young readers, and were thus very simple, • Hit and Run
as opposed to the complex mechanics of the teen-oriented
Fighting Fantasy and Lone Wolf series of gamebooks. • The Hitchhiker

• Halloween Night
• The Forest of Twisted Dreams
• The Siege of the Dragonriders (as Eric Affabee) • The Babysitter III

• Challenge of the Wolf Knight • The Dead Girlfriend

• The Dragon Queen’s Revenge (as Eric Affabee) • Call Waiting
• Cavern of the Phantoms • Halloween Night II
• Attack on the King (as Eric Affabee)
• I Saw You That Night!

G.I. Joe: Find Your Fate • The Witness

• Operation: Star Raider (as Eric Affabee) • The Babysitter IV

• Operation: Deadly Decoy

• Operation: Mindbender
4.11.6 See also
• Serpentor and the Mummy Warrior • Dynamite (magazine)
164
4.11.7 Notes
[1] This book was originally published in 1997; an updated ver-
sion was published in 2015.
4.11.8 References
[1] “R.L. Stine”. Ohio Reading Road Trip. Retrieved February
27, 2011.
[2] “Emily Osment stars in 'R.L. Stine’s “The Haunting Hour"".
Cape Cod Times. October 26, 2007. Retrieved February 24,
2011.
[3] “The Nightmare Room by R.L. Stine”. KidsReads.com. Re-
trieved May 11, 2011.
[4] “About R.L. – For book and school reports”. Retrieved
February 27, 2011.
[5] http://www.encyclopedia.com/doc/1G2-2588500217.html
[6] Ken Gordon (9 December 2013). “R.L. Stine still scaring
up kids’ stories”. The Columbus Dispatch. Retrieved 22
November 2014.
[7] MacPherson, Karen (April 8, 2008). “Venture into R.L.
Stine’s 'HorrorLand' – if you dare!". Pittsburgh Post-Gazette.
Retrieved February 27, 2011.
[8] “2011 Thrillermaster: R.L. Stine”. ThrillerFest. Retrieved
February 25, 2011.
[9] M. Rosenberg, Joyce (October 27, 1996). “Success gives
bookstores Goosebumps”. The Albany Herald. Retrieved
February 27, 2011.
[10] Conradt, Stacy (October 14, 2009). “The Quick 10: The
Not-Very-Scary Former Jobs of 10 Very Scary People”.
Mental floss. Retrieved November 11, 2012.
[11] Meister, Cari (2001). R.L. Stine. ABDO Publishing Com-
pany. p. 17. ISBN 1-57765-484-6. Retrieved May 15,
2011.
[12] Marcovitz, Hal (2005). R.L. Stine. Chelsea House Publish-
ers. p. 94. ISBN 0-7910-8659-3. Retrieved May 15, 2011.
[13] Gunelius, Susan (2008). Harry Potter: The Story of a Global
Business Phenomenon. Palgrave Macmillan. p. 58. ISBN 0-
230-20323-X.
[14] “Technical Support – Goosebumps”. Scholastic. Retrieved
December 25, 2010.
[15] Paramchuk, Jeff. “Goosebumps HorrorLand”. Common
Sense Media. Retrieved January 10, 2011.
[16] “Superstitious”. Kirkus Reviews. July 15, 1995. Retrieved
December 7, 2010.
[17] “Cartoon Network – it’s not ...”. The Washington Post. Au-
gust 31, 2007. Retrieved November 11, 2012.
CHAPTER 4. AUTHORS & ILLUSTRATORS
[18] Stine, R. L. (May 20, 2014). ".@mdroush Jack Black plays
me in the GB movie, now filming in GA. I'm going down to
do a cameo next month.”. Twitter. Retrieved May 24, 2014.
[19] The 40 best-paid entertainers, Forbes magazine
[20] “Venture into R.L. Stine’s 'HorrorLand' – if you dare!". post-
gazette.com. April 8, 2008. Retrieved May 14, 2011.
[21] “R.L. Stine”. Parachute Publishing. Retrieved February 27,
2011.
[22] “Stine, Jones Win Horror Writers Association’s Lifetime
Achievement Award”. Publishers Weekly. February 25,
2014. Retrieved March 13, 2014.
[23] Norton, Wilma (May 29, 2003). “Busch Gardens’ new bea-
con beckons”. St. Petersburg Times. Retrieved November
11, 2012.
[24] “Books and entertainment kids choose for themselves.”.
Parachute Press. Retrieved February 25, 2011.
[25] “Elisabeth Weinberg, Matthew Stine”. The New York Times.
July 2, 2010. Retrieved February 25, 2011.
4.11.9 External links
• Official site
• Works by or about R. L. Stine in libraries (WorldCat
catalog)
• R. L. Stine at the Internet Movie Database
• R. L. Stine at the Internet Speculative Fiction Database
• R. L. Stine at Fantastic Fiction
• R.L Stine on Wattpad
• Writers Talk video Interview on YouTube
4.12 Ray Bradbury
For the author’s 1975 story collection, see Ray Bradbury
(collection).
Raymond Douglas “Ray” Bradbury[2] (August 22, 1920
– June 5, 2012) was an American fantasy, science fic-
tion, horror and mystery fiction author. Best known for his
dystopian novel Fahrenheit 451 (1953) and for the science
fiction and horror stories gathered together as The Martian
Chronicles (1950) and The Illustrated Man (1951), Brad-
bury was one of the most celebrated 20th- and 21st-century
American genre writers. He wrote and consulted on many
screenplays and television scripts, including Moby Dick[3]
and It Came from Outer Space. Many of his works have
been adapted into comic books, television shows, and films.
4.12. RAY BRADBURY 165

4.12.1 Early life tive in the drama club. He often roller-skated through Hol-
lywood in hopes of meeting celebrities. Among the cre-
ative and talented people Bradbury met this way were spe-
cial effects pioneer Ray Harryhausen and radio star George
Burns. (Bradbury’s first pay as a writer was at the age of
fourteen, when Burns hired him to write for the Burns and
Allen show.[12][13] )

4.12.2 Influences

Literature

Bradbury was a reader and writer throughout his youth.[14]

He knew as a young boy that he was “going into one of the
arts.” In 1931, at the age of eleven, the young Bradbury be-
gan writing his own stories. The country was going through
the Great Depression, and sometimes Bradbury wrote on
butcher paper.
In his youth, he spent much time in the Carnegie library
in Waukegan, reading such authors as H. G. Wells, Jules
Verne, and Edgar Allan Poe. At age twelve, Bradbury be-
gan writing traditional horror stories and said he tried to im-
itate Poe until he was about eighteen. In addition to comics,
he loved Edgar Rice Burroughs, creator of Tarzan of the
Apes,[15] especially Burroughs’ John Carter of Mars series.
Bradbury as a senior in high school, 1938 The Warlord of Mars impressed him so much that at the
age of twelve he wrote his own sequel.[16] The young Brad-
Bradbury was born on August 22, 1920[4][5] in Waukegan, bury was also a cartoonist and loved to illustrate. He wrote
Illinois,[6] to Esther (née Moberg) Bradbury, a Swedish im- about Tarzan and drew his own Sunday panels. He listened
migrant, and Leonard Spaulding Bradbury,[7] a power and to the radio show Chandu the Magician, and when the show
telephone lineman of English descent.[8] He was given the went off the air every night he would sit and write the entire
middle name “Douglas,” after the actor Douglas Fairbanks. script from memory.
Bradbury was related to the American Shakespeare scholar
Douglas Spaulding[9] and was descended from Mary Brad- In Beverly Hills, he often visited the science fiction writer
bury, who was tried at one of the Salem witch trials in Bob Olsen for mentorship as well as friendship while Brad-
1692.[10] bury was a teenager. They shared ideas and would keep
in contact. In 1936, at a secondhand bookstore in Holly-
Bradbury was surrounded by an extended family during his wood, Bradbury discovered a handbill promoting meetings
early childhood and formative years in Waukegan, Illinois. of the Los Angeles Science Fiction Society.[17] Thrilled to
An aunt read him short stories when he was a child.[11] This find there were others with his interests, at the age of sixteen
period provided foundations for both the author and his sto- Bradbury joined a weekly Thursday-night conclave.[18]
ries. In Bradbury’s works of fiction, 1920s Waukegan be-
comes “Green Town,” Illinois. When he was seventeen, Bradbury read stories published in
Astounding Science Fiction, and said he read everything by
The Bradbury family lived in Tucson, Arizona, in 1926–27 Robert A. Heinlein, Arthur C. Clarke, and the early writ-
and 1932–33 as the father pursued employment, each time ings of Theodore Sturgeon and A. E. van Vogt, but cited
returning to Waukegan, but eventually settled in Los An- H. G. Wells and Jules Verne as his big science fiction influ-
geles in 1934, when Bradbury was 14. The family arrived ences. Bradbury identified with Verne, saying, “He believes
with only 40 dollars, which paid for rent and food until his the human being is in a strange situation in a very strange
father finally found a job making wire at a cable company world, and he believes that we can triumph by behaving
for $14 a week. This meant that they could stay, however, morally.” [19] Bradbury admitted that he stopped reading
and Bradbury—who was in love with Hollywood—was ec- genre books in his twenties and embraced a broad field
static. of literature that included Alexander Pope and poet John
Bradbury attended Los Angeles High School and was ac- Donne.[20] Bradbury had just graduated from high school
166 CHAPTER 4. AUTHORS & ILLUSTRATORS

when he met Robert Heinlein, then 31 years old. Bradbury

recalled, “He was well known, and he wrote humanistic sci-
ence fiction, which influenced me to dare to be human in-
stead of mechanical.”[20]

Hollywood

The family lived about four blocks from the Uptown The-
ater on Western Avenue in Los Angeles, the flagship the-
ater for MGM and Fox. There, Bradbury learned how to
sneak in and watched previews almost every week. He
roller-skated there as well as all over town, as he put it
“hell-bent on getting autographs from glamorous stars. It
was glorious.” Among stars the young Bradbury was thrilled
to encounter were Norma Shearer, Laurel and Hardy, and
Ronald Colman. Sometimes he would spend all day in front
of Paramount Pictures or Columbia Pictures and then skate
to the Brown Derby to watch the stars who came and went
for meals. He recounted seeing Cary Grant, Marlene Di-
etrich and Mae West, who he would learn made a regular
appearance every Friday night, bodyguard in tow.[20]
Bradbury relates the following meeting with Sergei Bon-
darchuk, director of Soviet epic film series War and Peace,
at a Hollywood award ceremony in Bondarchuk’s honor:

They formed a long queue and as Bondarchuk

was walking along it he recognized several peo-
ple: “Oh Mr. Ford, I like your film.” He rec-
ognized the director, Greta Garbo, and someone
else. I was standing at the very end of the queue
and silently watched this. Bondarchuk shouted to
me; “Ray Bradbury, is that you?" He rushed up to
me, embraced me, dragged me inside, grabbed a
bottle of Stolichnaya, sat down at his table where
his closest friends were sitting. All the famous
Hollywood directors in the queue were bewil-
dered. They stared at me and asked each other
“who is this Bradbury?" And, swearing, they left,
leaving me alone with Bondarchuk…[21]
4.12.3 Career
Bradbury’s first published story was “Hollerbochen’s
Dilemma”, which appeared in the January 1938 number of
Forrest J. Ackerman’s fanzine Imagination!.[1] In July 1939,
Ackerman gave nineteen-year-old Bradbury the money to
head to New York for the First World Science Fiction Con-
vention in New York City, and funded Bradbury’s fanzine,
titled Futuria Fantasia.[22] Bradbury wrote most of its four
issues, each limited to under 100 copies. Between 1940 and
1947, he was a contributor to Rob Wagner's film magazine,
Script.[23]
Bradbury’s “Undersea Guardians” was the cover story for the De-
cember 1944 issue of Amazing Stories
Bradbury was free to start a career in writing when, owing
to his bad eyesight, he was rejected admission into the mil-
itary during World War II. Having been inspired by science
fiction heroes like Flash Gordon and Buck Rogers, Brad-
bury began to publish science fiction stories in fanzines in
1938.[24] Bradbury was invited by Forrest J. Ackerman to
attend the Los Angeles Science Fiction Society, which at
the time met at Clifton’s Cafeteria in downtown Los Ange-
les. This was where he met the writers Robert A. Heinlein,
Emil Petaja, Fredric Brown, Henry Kuttner, Leigh Brack-
ett, and Jack Williamson.
In 1939, Bradbury joined Laraine Day's Wilshire Players
Guild where for two years he wrote and acted in several
plays. They were, as Bradbury later described, “so incred-
ibly bad” that he gave up playwriting for two decades.[25]
Bradbury’s first paid piece, “Pendulum,” written with Henry
Hasse, was published in the pulp magazine Super Science
Stories in November 1941, for which he earned $15.[26]
Bradbury sold his first story, “The Lake”, for $13.75 at the
age of twenty-two.[20] He became a full-time writer by the
end of 1942. His first collection of short stories, Dark Car-
nival, was published in 1947 by Arkham House, a small
4.12. RAY BRADBURY 167

press in Sauk City, Wisconsin, owned by writer August Porter, who wrote about the American South, Edith Whar-
Derleth. Reviewing Dark Carnival for the New York Her- ton, and Jessamyn West.[34]
ald Tribune, Will Cuppy proclaimed Bradbury “suitable for Bradbury was once described as a "Midwest surrealist" and
general consumption” and predicted that he would become is often labeled a science fiction writer, which he described
a writer of the caliber of British fantasy author John Col- as “the art of the possible.” Bradbury resisted that catego-
lier.[27] rization, however:
After a rejection notice from the pulp Weird Tales, Brad-
bury submitted “Homecoming” to Mademoiselle which First of all, I don't write science fiction. I've
was spotted by a young editorial assistant named Truman only done one science fiction book and that’s
Capote. Capote picked the Bradbury manuscript from a Fahrenheit 451, based on reality. It was named
slush pile, which led to its publication. Homecoming won a so to represent the temperature at which paper
place in The O. Henry Prize Stories of 1947.[28] ignites. Science fiction is a depiction of the real.
It was in UCLA's Powell Library, in a study room with type- Fantasy is a depiction of the unreal. So Martian
writers for rent, that Bradbury wrote his classic story of a Chronicles is not science fiction, it’s fantasy. It
book-burning future, The Fireman, which was about 25,000 couldn't happen, you see? That’s the reason it’s
words long. It was later published at about 50,000 words going to be around a long time – because it’s a
under the name Fahrenheit 451, for a total cost of $9.80, Greek myth, and myths have staying power.[35]
due to the library’s typewriter-rental fees of ten cents per
half-hour.[29] Bradbury recounted when he came into his own as a writer,
the afternoon he wrote a short story about his first encounter
A chance encounter in a Los Angeles bookstore with the with death. When he was a boy, he met a young girl at
British expatriate writer Christopher Isherwood gave Brad- the beach and she went out into the water and never came
bury the opportunity to put The Martian Chronicles into the back. Years later, as he wrote about it, tears flowed from
hands of a respected critic. Isherwood’s glowing review[30] him. He recognized he had taken the leap from emulating
followed. the many writers he admired to connecting with his voice
as a writer.[36][37]
When later asked about the lyrical power of his prose, Brad-
4.12.4 Writing bury replied, “From reading so much poetry every day of
my life. My favorite writers have been those who’ve said
Bradbury attributed to two incidents his lifelong habit of things well.” He is quoted, “If you're reluctant to weep, you
writing every day. The first of these, occurring when he won't live a full and complete life.”[38]
was three years old, was his mother’s taking him to see In high school, Bradbury was active in both the Poetry Club
Lon Chaney's performance in The Hunchback of Notre and the Drama club, continuing plans to become an actor
Dame.[31] The second incident occurred in 1932, when a but becoming serious about his writing as his high school
carnival entertainer, one Mr. Electrico, touched the young years progressed. Bradbury graduated from Los Angeles
man on the nose with an electrified sword, made his hair High School, where he took poetry classes with Snow Lon-
stand on end, and shouted, “Live forever!"[32] Bradbury re- gley Housh, and short story writing courses taught by Jean-
marked, “I felt that something strange and wonderful had net Johnson.[39] The teachers recognized his talent and fur-
happened to me because of my encounter with Mr. Elec- thered his interest in writing,[40] but he did not attend col-
trico...[he] gave me a future...I began to write, full-time. I lege. Instead, he sold newspapers at the corner of South
have written every single day of my life since that day 69 Norton Avenue and Olympic Boulevard. In regard to his
years ago.”[32] It was at that age that Bradbury first started education, Bradbury said:
to do magic, which was his first great love. If he had not
discovered writing, he would have become a magician.[33] Libraries raised me. I don't believe in col-
Bradbury claimed a wide variety of influences, and de- leges and universities. I believe in libraries be-
scribed discussions he might have with his favorite poets cause most students don't have any money. When
and writers Robert Frost, William Shakespeare, John Stein- I graduated from high school, it was during the
beck, Aldous Huxley, and Thomas Wolfe. From Steinbeck, Depression and we had no money. I couldn't go
he said he learned “how to write objectively and yet insert all to college, so I went to the library three days a
[41][42]
of the insights without too much extra comment.” He stud- week for 10 years.
ied Eudora Welty for her “remarkable ability to give you
atmosphere, character, and motion in a single line.” Brad- He told The Paris Review, “You can't learn to write in col-
bury’s favorite writers growing up included Katherine Anne lege. It’s a very bad place for writers because the teach-
168 CHAPTER 4. AUTHORS & ILLUSTRATORS

ers always think they know more than you do – and they and the original exhibit housed in Epcot's Spaceship Earth
don’t.”[43] geosphere at Walt Disney World.[49][50][51] In the 1980s,
Bradbury concentrated on detective fiction.[52]
“Green Town” Bradbury was a strong supporter of public library systems,
and helped to raise money to prevent the closure of several
A reinvention of Waukegan, Green Town is a symbol of in California due to budgetary cuts. He iterated from his
safety and home, which is often juxtaposed as a contrasting past that “libraries raised me”, and shunned colleges and
backdrop to tales of fantasy or menace. It serves as the set- universities, comparing his own lack of funds during the
ting of his semi-autobiographical classics Dandelion Wine, Depression with poor contemporary students.[53] His opin-
Something Wicked This Way Comes, and Farewell Summer ion varied on modern technology. In 1985 Bradbury wrote,
as well as in many of his short stories. In Green Town, “I see nothing but good coming from computers. When
Bradbury’s favorite uncle sprouts wings, traveling carnivals they first appeared on the scene, people were saying, 'Oh
conceal supernatural powers, and his grandparents provide my God, I'm so afraid.' I hate people like that – I call
room and board to Charles Dickens.[44] Perhaps the most them the neo-Luddites", and “In a sense [computers] are
definitive usage of the pseudonym for his hometown, in simply books. Books are all over the place, and computers
Summer Morning, Summer Night, a collection of short sto- will be too”.[54] He resisted the conversion of his work into
ries and vignettes exclusively about Green Town, Bradbury e-books, stating in 2010 “We have too many cellphones.
returns to the signature locale as a look back at the rapidly We've got too many internets. We have got to get rid of
disappearing small-town world of the American heartland, those machines. We have too many machines now”.[55]
which was the foundation of his roots.[45] When the publishing rights for Fahrenheit 451 came up for
renewal in December 2011, Bradbury permitted its publi-
cation in electronic form provided that the publisher, Simon
4.12.5 Cultural contributions & Schuster, allowed the e-book to be digitally downloaded
by any library patron. The title remains the only book in
Bradbury wrote many short essays on the arts and culture, the Simon & Schuster catalog where this is possible.[56]
attracting the attention of critics in this field, but he used his Several comic book writers have adapted Bradbury’s sto-
fiction to explore and criticize his culture and society. Brad- ries. Particularly noted among these were EC Comics' line
bury observed, for example, that Fahrenheit 451 touches on of horror and science-fiction comics. Initially, the writers
the alienation of people by media: plagiarized his stories, but a diplomatic letter from Brad-
bury about it led to the company paying him and negotiat-
In writing the short novel Fahrenheit 451 ing properly licensed adaptations of his work. The comics
I thought I was describing a world that might featuring Bradbury’s stories included Tales from the Crypt,
evolve in four or five decades. But only a few Weird Science, Weird Fantasy, Crime Suspenstories, Haunt
weeks ago, in Beverly Hills one night, a hus- of Fear and others.
band and wife passed me, walking their dog.
Bradbury remained an enthusiastic playwright all his life,
I stood staring after them, absolutely stunned.
leaving a rich theatrical legacy as well as literary. Bradbury
The woman held in one hand a small cigarette-
headed the Pandemonium Theatre Company in Los Ange-
package-sized radio, its antenna quivering. From
les for many years and had a five-year relationship with the
this sprang tiny copper wires which ended in a
Fremont Centre Theatre in South Pasadena.[57]
dainty cone plugged into her right ear. There she
was, oblivious to man and dog, listening to far Bradbury is featured prominently in two documentaries re-
winds and whispers and soap opera cries, sleep lated to his classic 1950s-'60s era: Jason V Brock's Charles
walking, helped up and down curbs by a husband Beaumont: The Life of Twilight Zone’s Magic Man,[58]
who might just as well not have been there. This which details his troubles with Rod Serling, and his friend-
was not fiction.[46] ships with writers Charles Beaumont, George Clayton John-
son, and most especially his dear friend William F. Nolan,
In a 1982 essay he wrote, “People ask me to predict the as well as Brock’s The AckerMonster Chronicles!, which
Future, when all I want to do is prevent it.” This intent had delves into the life of former Bradbury agent, close friend,
been expressed earlier by other authors,[47] who sometimes mega-fan, and Famous Monsters of Filmland editor Forrest
attributed it to him. J Ackerman.

Bradbury hosted The Ray Bradbury Theater which was On May 24, 1956, Bradbury appeared on the popular quiz
based on his short stories. Bradbury was a consultant for the show, You Bet [59]
Your Life hosted by Groucho Marx (Season
American Pavilion at the 1964 New York World’s Fair [48] 6 Episode 35).
4.12. RAY BRADBURY 169

4.12.6 Personal life them was “Homecoming,” published in the 1946 Halloween
issue of Mademoiselle, with Addams illustrations. He and
Addams planned a larger collaborative work that would tell
the family’s complete history, but it never materialized, and
according to a 2001 interview, they went their separate
ways.[64] In October 2001, Bradbury published all the Fam-
ily stories he had written in one book with a connecting nar-
rative, From the Dust Returned, featuring a wraparound Ad-
dams cover of the original “Homecoming” illustration.[65]
Another close friend was animator Ray Harryhausen, who
was best man at Bradbury’s wedding.[66] During a BAFTA
2010 awards tribute in honor of Ray Harryhausen's 90th
birthday, Bradbury spoke of his first meeting Harryhausen
at Forrest J Ackerman's house when they were both 18 years
old. Their shared love for science fiction, King Kong, and
the King Vidor-directed film The Fountainhead, written by
Ayn Rand, was the beginning of a lifelong friendship. These
early influences inspired the pair to believe in themselves
and affirm their career choices. After their first meeting,
they kept in touch at least once a month, in a friendship that
spanned over 70 years.[67]
Late in life, Bradbury retained his dedication and passion
despite what he described as the “devastation of illnesses
and deaths of many good friends.” Among the losses that
deeply grieved Bradbury was the death of Star Trek creator
Gene Roddenberry, who was an intimate friend for many
years. They remained close friends for nearly three decades
after Roddenberry asked him to write for Star Trek, which
Bradbury never did, objecting that he “never had the ability
to adapt other people’s ideas into any sensible form.”[20]
Bradbury in December 2009.
Bradbury suffered a stroke in 1999[68] that left him par-
Bradbury was married to Marguerite McClure (January 16, tially dependent on a wheelchair for mobility.[69] Despite
1922 – November 24, 2003) from 1947 until her death; this he continued to write, and had even written an essay for
they had four daughters:[60] Susan, Ramona, Bettina and The New Yorker, about his inspiration for writing, published
Alexandra.[61] Though he lived in Los Angeles, Bradbury only a week prior to his death.[70] Bradbury made regular
never obtained a driver’s license but relied on public trans- appearances at science fiction conventions until 2009, when
portation or his bicycle.[62] He lived at home until he was he retired from the circuit.
twenty-seven and married. His wife of fifty-six years, Mag- Bradbury chose a burial place at Westwood Village Memo-
gie, as she was affectionately called, was the only woman rial Park Cemetery in Los Angeles, with a headstone that
Bradbury ever dated.[20] reads “Author of Fahrenheit 451”.[71][72][73] On February
He was raised Baptist by his parents who were themselves 6, 2015, the New York Times reported that the house
infrequent churchgoers. As an adult, Bradbury considered that Bradbury lived and wrote in for fifty years of his life,
himself a “delicatessen religionist” who resisted categoriza- at 10265 Cheviot
[74]
Drive in Los Angeles, CA, had been
tion of his beliefs and took guidance from both Eastern and demolished.
Western faiths. He felt that his career was “a God-given
thing, and I'm so grateful, so, so grateful. The best descrip-
tion of my career as a writer is, 'At play in the fields of the 4.12.7 Death
Lord.'"[63]
Bradbury was a close friend of Charles Addams, and Ad- Bradbury died in Los Angeles, California, on June 5, 2012,
dams illustrated the first of Bradbury’s stories about the El- at the age of 91, after a lengthy illness.[75] Bradbury’s per-
liotts, a family that would resemble Addams’ own Addams sonal library was willed to the Waukegan Public Library,
Family placed in rural Illinois. Bradbury’s first story about where he had many of his formative reading experiences.[76]
170 CHAPTER 4. AUTHORS & ILLUSTRATORS

career.... On the world of science fiction and fantasy and

imagination he is immortal”.[83] Writer Neil Gaiman felt
that “the landscape of the world we live in would have been
diminished if we had not had him in our world”.[82] Au-
thor Stephen King released a statement on his website say-
ing, “Ray Bradbury wrote three great novels and three hun-
dred great stories. One of the latter was called 'A Sound of
Thunder.' The sound I hear today is the thunder of a giant’s
footsteps fading away. But the novels and stories remain, in
all their resonance and strange beauty.”[84] Bradbury’s influ-
ence well exceeded the field of literature. Progressive house
music producer and performer, Joel Thomas Zimmerman,
who is most commonly known by his stage name Dead-
mau5, composed a song named after one of Bradbury’s
short stories “The Veldt” which was originally published in
Ray Bradbury’s headstone in May 2012 prior to his death
the Saturday Evening Post.[85] The EP of “The Veldt” was
released days after Bradbury’s death and is dedicated to the
[86]
The New York Times ' obituary stated that Bradbury was memory of the author.
“the writer most responsible for bringing modern science
fiction into the literary mainstream.”[77] The Los Angeles
Times credited Bradbury with the ability “to write lyri-
4.12.8 Bibliography
cally and evocatively of lands an imagination away, worlds
he anchored in the here and now with a sense of visual
clarity and small-town familiarity”.[78] Bradbury’s grand-
son, Danny Karapetian, stated that Bradbury’s works had
“influenced so many artists, writers, teachers, scientists,
and it’s always really touching and comforting to hear their
stories”.[61] The Washington Post hallmarked several mod-
ern day technologies that Bradbury had envisioned much
earlier in his writing, such as the idea of banking ATMs
and earbuds and Bluetooth headsets from Fahrenheit 451,
and the concepts of artificial intelligence within I Sing the
Body Electric.[79]
On June 6, 2012, in an official public statement from the
White House Press Office, President Barack Obama said:

For many Americans, the news of Ray Brad-

bury’s death immediately brought to mind im-
ages from his work, imprinted in our minds, of-
ten from a young age. His gift for storytelling re-
shaped our culture and expanded our world. But
Ray also understood that our imaginations could
be used as a tool for better understanding, a ve-
hicle for change, and an expression of our most
cherished values. There is no doubt that Ray will
continue to inspire many more generations with
his writing, and our thoughts and prayers are with
his family and friends.[80]
Bradbury’s “The Golden Apples of the Sun” was published in the
Several celebrity fans of Bradbury paid tribute to the author November 1953 issue of Planet Stories
by stating the influence of his works on their own careers
and creations.[81][82] Filmmaker Steven Spielberg stated that Main articles: Ray Bradbury bibliography and Ray Brad-
Bradbury was "[his] muse for the better part of [his] sci-fi bury short fiction bibliography
4.12. RAY BRADBURY 171

Bradbury is credited with writing 27 novels and over 600

short stories.[78] More than eight million copies of his
works, published in over 36 languages, have been sold
around the world.[77]

First novel

In 1949, Bradbury and his wife were expecting their first

child. He took a Greyhound bus to New York and checked
into a room at the YMCA for fifty cents a night. He took his
short stories to a dozen publishers and no one wanted them.
Just before getting ready to go home, Bradbury had dinner
with an editor at Doubleday. When Bradbury recounted
that everyone wanted a novel and he didn't have one, the
editor, coincidentally named Walter Bradbury, asked if the
short stories might be tied together into a book length col-
lection. The title was the editor’s idea; he suggested, “You
could call it “The Martian Chronicles.” Bradbury liked the
idea and recalled making notes in 1944 to do a book set on
Mars. That evening, he stayed up all night at the YMCA
Bradbury in 1959, when some of his short stories were adapted for
and typed out an outline. He took it to the Doubleday ed- television shows like Alfred Hitchcock Presents
itor the next morning, who read it and wrote Bradbury a
check for seven hundred and fifty dollars. When Bradbury
returned to Los Angeles, he connected all the short stories 4.12.9 Adaptations to other media
that became The Martian Chronicles.[34]
From 1951 to 1954, 27 of Bradbury’s stories were adapted
by Al Feldstein for EC Comics, and 16 of these were col-
lected in the paperbacks, The Autumn People (1965) and
Intended first novel Tomorrow Midnight (1966), both published by Ballantine
Books with cover illustrations by Frank Frazetta.
What was later issued as a collection of stories and vi-
Also in the early 1950s, adaptations of Bradbury’s sto-
gnettes, Summer Morning, Summer Night, started out to be ries were televised in several anthology shows, including
Bradbury’s first true novel. The core of the work was Brad-
Tales of Tomorrow, Lights Out, Out There, Suspense, CBS
bury’s witnessing of the American small-town and life in Television Workshop, Jane Wyman’s Fireside Theatre, Star
the American heartland. Tonight, Windows and Alfred Hitchcock Presents. “The
In the winter of 1955–56, after a consultation with his Dou- Merry-Go-Round,” a half-hour film adaptation of Brad-
bleday editor, Bradbury deferred publication of a novel bury’s “The Black Ferris,” praised by Variety, was shown
based on Green Town, the pseudonym for his hometown. on Starlight Summer Theater in 1954 and NBC’s Sneak Pre-
Instead, he extracted seventeen stories and, with three other view in 1956. During that same period, several stories were
Green Town tales, bridged them into his 1957 book Dande- adapted for radio drama, notably on the science fiction an-
lion Wine. Later, in 2006, Bradbury published the original thologies Dimension X and its successor X Minus One.
novel remaining after the extraction, and retitled it Farewell
Producer William Alland first brought Bradbury to movie
Summer. These two titles show what stories and episodes theaters in 1953 with It Came from Outer Space, a Harry Es-
Bradbury decided to retain as he created the two books outsex screenplay developed from Bradbury’s screen treatment
of one. “Atomic Monster”. Three weeks later came the release of
The most significant of the remaining unpublished stories, Eugène Lourié's The Beast from 20,000 Fathoms (1953),
scenes, and fragments were published under the originally which featured one scene based on Bradbury’s "The Fog
intended name for the novel, Summer Morning, Summer Horn", about a sea monster mistaking the sound of a fog
Night, in 2007.[87] horn for the mating cry of a female. Bradbury’s close friend
172 CHAPTER 4. AUTHORS & ILLUSTRATORS

a specialist aviation magazine. For the first issue Bradbury

wrote a poem – Planes that land on grass.
In 1969, The Illustrated Man was brought to the big screen,
starring Rod Steiger, Claire Bloom and Robert Drivas.
Containing the prologue and three short stories from the
book, the film received mediocre reviews. The same year,
Bradbury approached composer Jerry Goldsmith, who had
worked with Bradbury in dramatic radio of the 1950s and
later scored the film version of The Illustrated Man, to com-
pose a cantata Christus Apollo based on Bradbury’s text.[88]
The work premiered in late 1969, with the California
Chamber Symphony performing with narrator Charlton
Heston at UCLA.
Scene from The Beast from 20,000 Fathoms, based on Bradbury’s
The Fog Horn.

Ray Harryhausen produced the stop-motion animation of

the creature. Bradbury would later return the favor by writ-
ing a short story, “Tyrannosaurus Rex”, about a stop-motion
animator who strongly resembled Harryhausen. Over the
next 50 years, more than 35 features, shorts, and TV movies
were based on Bradbury’s stories or screenplays.
Bradbury was hired in 1953 by director John Huston to
work on the screenplay for his film version of Melville's
Ray Bradbury takes part in a symposium at Caltech with Arthur C.
Moby Dick (1956), which stars Gregory Peck as Captain
Clarke, journalist Walter Sullivan, and scientists Carl Sagan and
Ahab, Richard Basehart as Ishmael, and Orson Welles Bruce Murray. In this excerpt, Bradbury reads his poem 'If Only
as Father Mapple. A significant result of the film was We Had Taller Been' (poem begins at 2:20, full text[89] ). Video
Bradbury’s book Green Shadows, White Whale, a semi- released by NASA in honor of the naming of Bradbury Landing in
fictionalized account of the making of the film, including 2012.[90]
Bradbury’s dealings with Huston and his time in Ireland,
where exterior scenes that were set in New Bedford, Mas- In 1972 The Screaming Woman was adapted as an ABC
sachusetts, were filmed. Movie-of-the-Week starring Olivia de Havilland.
Bradbury’s short story I Sing the Body Electric (from the The Martian Chronicles became a three-part TV miniseries
book of the same name) was adapted for the 100th episode starring Rock Hudson which was first broadcast by NBC in
of The Twilight Zone. The episode was first aired on May 1980. Bradbury found the miniseries “just boring”.[91]
18, 1962. The 1982 television movie, The Electric Grandmother, was
In 1965, three of Bradbury’s stories were adapted for the based on Bradbury’s short story "I Sing the Body Electric.”
stage. These included “The Wonderful Ice Cream Suit”, The 1983 horror film Something Wicked This Way Comes,
“The Day It Rained Forever” and “Device Out Of Time”. starring Jason Robards and Jonathan Pryce, is based on the
The latter was adapted from his 1957 novel Dandelion Bradbury novel of the same name.
Wine. The plays debuted at the Coronet Theater in Hol-
lywood and featured Booth Coleman, Joby Baker, Fredric In 1984, Michael McDonough of Brigham Young Univer-
sity produced "Bradbury 13,” a series of 13 audio adapta-
Villani, Arnold Lessing, Eddie Sallia, Keith Taylor, Richard
Bull, Gene Otis Shane, Henry T. Delgado, F. Murray Abra- tions of famous stories from Bradbury, in conjunction with
ham, Anne Loos and Len Lesser. The director was Charles National Public Radio. The full-cast dramatizations fea-
Rome Smith and the production company was Pandemo- tured adaptations of “The Ravine,” “Night Call, Collect,”
nium Productions. "The Veldt", “There Was an Old Woman,” “Kaleidoscope,”
"Dark They Were, and Golden-Eyed", “The Screaming
Oskar Werner and Julie Christie starred in Fahrenheit 451 Woman,” "A Sound of Thunder,” “The Man,” “The Wind,”
(1966), an adaptation of Bradbury’s novel directed by “The Fox and the Forest,” "Here There Be Tygers" and
François Truffaut. “The Happiness Machine”. Voiceover actor Paul Frees pro-
In 1966, Bradbury helped Lynn Garrison create AVIAN, vided narration, while Bradbury himself was responsible for
4.12. RAY BRADBURY 173

the opening voiceover; Greg Hansen and Roger Hoffman tration. Bradbury expressed displeasure with Moore’s use
scored the episodes. The series won a Peabody Award as of the title but stated that his resentment was not politically
well as two Gold Cindy awards and was released on CD on motivated, even though Bradbury was conservative-leaning
May 1, 2010. The series began airing on BBC Radio 4 Ex- politically.[97] Bradbury asserted that he did not want any
tra on June 12, 2011. of the money made by the movie, nor did he believe that he
From 1985 to 1992 Bradbury hosted a syndicated anthol- deserved it. He pressured Moore to change the name, but
ogy television series, The Ray Bradbury Theater, for which to no avail. Moore called Bradbury two weeks before the
he adapted 65 of his stories. Each episode would begin with film’s release to apologize, saying that the film’s marketing
had been set in motion a long time ago and it was too late
a shot of Bradbury in his office, gazing over mementoes of
to change the title.[98]
his life, which he states (in narrative) are used to spark ideas
for stories. During the first two seasons, Bradbury also pro- In 2008, the film Ray Bradbury’s Chrysalis was produced
vided additional voiceover narration specific to the featured by Roger Lay Jr. for Urban Archipelago Films, based upon
story and appeared on screen. the short story of the same name. The film won the best
Deeply respected in the USSR, Bradbury’s fictions has been feature award at the International Horror and Sci-Fi Film
adapted into five episodes of the Soviet science fiction TV Festival in Phoenix. The film has international distribution
series This Fantastic World which adapted the stories I Sing by Arsenal Pictures and domestic distribution by Lightning
The Body Electric, Fahrenheit 451, A Piece of Wood, To the Entertainment.
Chicago Abyss, and Forever and the Earth.[92] In 1984 a car- In 2010, The Martian Chronicles was adapted for radio by
toon adaptation of There Will Come Soft Rains («Будет Colonial Radio Theatre on the Air.
ласковый дождь») came out by Uzbek director Nazim In 2012, EDM artist deadmau5, along with guest vocalist
Tyuhladziev.[93] He made a film adaptation of The Veldt Chris James, crafted a song called “The Veldt” inspired by
("Вельд") in 1987.[94] In 1989 came out a cartoon adap-
Bradbury’s short story of the same title. The lyrics featured
tation of Here There Be Tygers («Здесь могут водиться various references to the short story.
тигры») by director Vladimir Samsonov.[95]
Bradbury’s works and approach to writing are documented
Bradbury wrote and narrated the 1993 animated television in Terry Sanders' film Ray Bradbury: Story of a Writer
version of The Halloween Tree, based on his 1972 novel. (1963).
The 1998 film The Wonderful Ice Cream Suit, released by Bradbury’s poem “Groon” was voiced as a tribute in
Touchstone Pictures, was written by Bradbury. It was based 2012.[99]
on his story “The Magic White Suit” originally published
in The Saturday Evening Post in 1957. The story had also
previously been adapted as a play, a musical, and a 1958 4.12.10 Awards and honors
television version.
In 2002, Bradbury’s own Pandemonium Theatre Company The Ray Bradbury Award for excellency in screenwriting
production of Fahrenheit 451 at Burbank’s Falcon Theatre was occasionally presented by the Science Fiction and Fan-
combined live acting with projected digital animation by tasy Writers of America – presented to six people on four
[100]
the Pixel Pups. In 1984, Telarium released a game for occasions from 1992 to 2009. Beginning 2010, the Ray
[96]
Commodore 64 based on Fahrenheit 451. Bradbury and Bradbury Award for Outstanding Dramatic Presentation is
director Charles Rome Smith co-founded Pandemonium presented annually according to Nebula Awards rules and
[101]
in 1964, staging the New York production of The World procedures, although it is not a Nebula Award. The re-
of Ray Bradbury (1964), adaptations of "The Pedestrian", vamped Bradbury Award replaced the Nebula Award for
“The Veldt”, and “To the Chicago Abyss.” Best Script.
In 2005, the film A Sound of Thunder was released, loosely
• In 1971, an impact crater on Earth’s moon was named
based upon the short story of the same name. The film The
"Dandelion Crater" by the Apollo 15 astronauts, in
Butterfly Effect revolves around the same theory as A Sound
honor of Bradbury’s novel Dandelion Wine.
of Thunder and contains many references to its inspiration.
Short film adaptations of A Piece of Wood and The Small • In 1984, he received the Prometheus Award for
Assassin were released in 2005 and 2007 respectively. Fahrenheit 451.
In 2005, it was reported that Bradbury was upset with
• Ray Bradbury Park was dedicated in Waukegan, Illi-
filmmaker Michael Moore for using the title Fahrenheit
nois in 1990. He was present for the ribbon-cutting
9/11, which is an allusion to Bradbury’s Fahrenheit 451,
ceremony. The park contains locations described in
for his documentary about the George W. Bush adminis-
Dandelion Wine, most notably the “113 steps”. In
174 CHAPTER 4. AUTHORS & ILLUSTRATORS

at the 1980 World Science Fiction Convention.[107]

In 1989 the Horror Writers Association gave him
the fourth or fifth Bram Stoker Award for Lifetime
Achievement in horror fiction[108] and the Science Fic-
tion Writers of America made him its 10th SFWA
Grand Master.[109] He won a First Fandom Hall of
Fame Award in 1996[110] and the Science Fiction and
Fantasy Hall of Fame inducted him in 1999, its fourth
class of two deceased and two living writers.[111]

• In 2005 he was awarded the degree of Doctor of Laws

(honoris causa) by the National University of Ireland,
Galway at a conferring ceremony in Los Angeles.

• On April 14, 2007, Bradbury received the Sir Arthur

Clarke Award's Special Award, given by Clarke to a
recipient of his choice.

• On April 16, 2007, Bradbury received a special cita-

tion by the Pulitzer Prize jury “for his distinguished,
Bradbury receiving the National Medal of Arts in 2004 with prolific, and deeply influential career as an unmatched
President George W. Bush and his wife Laura Bush author of science fiction and fantasy.”[112]

• In 2007, Bradbury received the French Commandeur

2009, an interpretive panel designed by artist Michael Ordre des Arts et des Lettres medal.[113]
Pavelich was added to the park detailing the history of
Ray Bradbury and Ray Bradbury Park.[102] • In 2008, he was named SFPA Grandmaster.[114]

• An asteroid discovered in 1992 was named "9766 • On May 17, 2008, Bradbury received the inaugural
Bradbury" in his honor. J. Lloyd Eaton Lifetime Achievement Award in Sci-
ence Fiction, presented by the UCR Libraries at the
• In 1994, he received the Peggy V. Helmerich Dis- 2008 Eaton Science Fiction Conference, “Chronicling
tinguished Author Award, presented annually by the Mars”.[115]
Tulsa Library Trust.
• In 2009, Bradbury was awarded an Honorary Doctor-
• In 1994, he won an Emmy Award for the screenplay, ate by Columbia College Chicago.[116]
The Halloween Tree.
• In 2010, Spike TV Scream Awards Comic-Con Icon
• In 2000, he was awarded the Medal for Distinguished Award went to Bradbury
Contribution to American Letters from the National
Book Foundation.[103] • In 2012, the NASA Curiosity rover land-
ing site (4°35′22″S 137°26′30″E / 4.5895°S
• For his contribution to the motion picture industry, 137.4417°E)[117][118] on the planet Mars was named
Bradbury was given a star on the Hollywood Walk of "Bradbury Landing".[119][120]
Fame on April 1, 2002.[104]
• On December 6, 2012, the Los Angeles street corner
• In 2003, he received an honorary doctorate from at 5th and Flower Streets was named in his honor.[121]
Woodbury University where he presented the Ray
Bradbury Creativity Award each year at Woodbury • On February 24, 2013, Bradbury was honored dur-
University until his death.[105] ing the 85th Academy Awards in the 'In Memoriam'
segment.[122]
• On November 17, 2004, Bradbury received of the
National Medal of Arts, presented by President
George W. Bush and Laura Bush.[106] 4.12.11 Documentaries
• Bradbury received a World Fantasy Award for Life Bradbury appeared in the documentary The Fantasy Film
Achievement at the 1977 World Fantasy Convention Worlds of George Pal (1985) (Produced and directed by
and was named Gandalf Grand Master of Fantasy Arnold Leibovit).
4.12. RAY BRADBURY
4.12.12 See also
4.12.13 References
[1] Ray Bradbury at the Internet Speculative Fiction Database
(ISFDB). Retrieved April 22, 2013. Select a title to see its
linked publication history and general information. Select a
particular edition (title) for more data at that level, such as a
front cover image or linked contents.
[2] Marshall, Colin. “Who Was Afraid of Ray Bradbury & Sci-
ence Fiction? The FBI, It Turns Out (1959)". Open Culture.
Retrieved August 25, 2015.
[3] Internet Movie Database: Ray Bradbury
[4] Society for the Study of Midwestern Literature (2001).
Greasley, Philip A., ed. Dictionary of Midwestern Litera-
ture. 1, The Authors. Indiana University Press. p. 77. ISBN
9780253336095. Retrieved March 5, 2014.
[5] “Ray Bradbury – Information, Facts, and Links died”.
Enotes.com. Retrieved September 30, 2011.
[6] p.141 Bloom, Harold Ray Bradbury 2010 Infobase Publish-
ing
[7] Touponce, William F. “Ray (Douglas) Bradbury.” Ameri-
can Writers: A Collection of Literary Biographies, Supple-
ment 4. Ed. A Walton Litz and Molly Weigel. New York:
Charles Scribner’s Sons, 1996. Literature Resources from
Gale. November 16, 2010.
[8] Certificate of Birth, Ray Douglas Bradbury, August 22,
1920, Lake County Clerk’s Record #4750. Although he was
named after Rae Williams, a cousin on his father’s side, Ray
Bradbury’s birth certificate spells his first name as “Ray.”
[9] The Spaulding Family Memorial, 1899
[10] Eller, Jonathan (2011). Becoming Ray Bradbury. University
of Illinois Press. p. 202. ISBN 0252036298.
[11] Paradowski, Robert J. “Ray Bradbury.” Critical Survey of
Short Fiction, Second Revised Edition” 2001:1–5. EBSCO.
November 8, 2010.
[12] Ray Bradbury’s close encounters with W.C. Fields, George
Burns... by Susan King; Los Angeles Times, August 18, 2010
[13] Old Radio Shows
[14] Litz, A. Walton. American Writers Supplement IV. New
York: Charles Scribner’s Sons, 1996. Print.
[15] Contemporary Authors Online. Ray Bradbury. Detroit:
Gale, 2009. Web.
[16] Heller, Terry. Magill’s Survey of American Literature. Re-
vised Edition. Pasadena: Salem Press, 2006. Print.
[17] The article linked appears in the source, but this name con-
flicts with the group’s web site.
175
[18] “The Big Read”. Neabigread.org. Retrieved July 6, 2012.
[19] Ray Bradbury interview – The art of Fiction No. 203 The
Paris Review; Spring, 2009
[20] Ken Kelley (1996). “About Ray Bradbury Interview”. Play-
boy.
[21] “Ray Bradbury: “Russians have an unparalleled capacity for
love"". http://rbth.ru. Retrieved September 15, 2012.
[22] Marguerite bradbury – Ray Bradbury Discussion Ray Brad-
bury Official website
[23] Sam Weller (Spring 2010). “Ray Bradbury, The Art of Fic-
tion No. 203”. The Paris Review.
[24] Ray Bradbury at the Internet Movie Database
[25] Bradbury, Ray (1972). The Veldt. Woodstock, Illinois: Dra-
matic Publishing. p. 4. ISBN 1-58342-028-2.
[26] “Biographies: Bradbury, Raymond Douglas”. s9.com. Re-
trieved December 9, 2009.
[27] Cuppy, Will, “Review of Dark Carnival,” New York Herald
Tribune Books, May 25, 1947.
[28] Ray Bradbury, From Truman Capote to A.T.M.’s, by Dean
Robinson – 6th floor; The New York Times, June 6, 2012]
[29] A Bruin Birthday Tribute To Ray Bradbury Tweet (August
22, 2010). “First Spark: Ray Bradbury Turns 90; The Uni-
verse and UCLA Academy Celebrate”. Spotlight.ucla.edu.
Retrieved September 30, 2011.
[30] Isherwood, Christopher (October 1950), “A Review of The
Martian Chronicles", Tomorrow 10: 56–58
[31] Paradowski, Robert J. “Ray Bradbury.” Critical Survey
of Short Fiction, Second Revised Edition (2001): UFO.
November 10, 2010.
[32] “In His Words”. RayBradbury.com. Retrieved December 9,
2009.
[33] Terry Sanders’ film Ray Bradbury: Story of a Writer (1963)
[34] The Art of Fiction No. 203: Ray Bradbury, Interviewed by
Sam Weller; The Paris Review, Spring 2010
[35] Wil Gerken, Nathan Hendler, Doug Floyd, John Banks.
“Books: Grandfather Time (Weekly Alibi . 09-27-99)".
Weeklywire.com. Retrieved February 14, 2010.
[36] A Conversation with Ray Bradbury Point Loma Nazarene
University, Writer’s Symposium By The Sea; “The only sci-
ence fiction I have written is Fahrenheit 451. It’s the art of
the possible. Science fiction is the art of the possible. It
could happen. It has happened.” Discussion of genres, find-
ing one’s voice. April 2001; Cosmos Learning, English Lit-
erature
176
[37] Ray Bradbury interview “I am not a science fiction writer. I
am a fantasy writer. But the label got put on me and stuck.”
March 23, 2005
[38] Personal lessons from futurist Ray Bradbury on crying, es-
caping, laughing, by Mick Mortlock; Oregon Live, June 6,
2012
[39] Ray Bradbury Biography Ray Bradbury Online
[40] Litz, A. Walton, and Molly Weigel, eds. American Writers
(Supp. 4, Pt. 1). New York: Macmillian Library Reference.
1996. Print.
[41] Steinhauer, Jennifer (June 19, 2009). “A Literary Legend
Fights for a Local Library”. The New York Times. Retrieved
December 9, 2009.
[42] “Mayor, Author Launch Library Funding Drive”. Los An-
geles Times, October 1, 1988
[43] Ray Bradbury Interview The Paris Review
[44] “Summer Morning, Summer Night by Ray Bradbury”. Sub-
terranean Press.
[45] Sites from these works which still exist in Waukegan in-
clude his boyhood home, his grandparents’ home next door
(and their connecting lawns where he and his grandfather
gathered dandelions to make wine) and, less than a block
away, the famous ravine which Bradbury used as a metaphor
throughout his career.
[46] Quoted by Kingsley Amis in New Maps of Hell: A Survey of
Science Fiction (1960).
[47] “I Do Not Want to Predict the Future. I Want to Prevent It”.
Quote Investigator. Retrieved February 21, 2015.
[48] “The American Journey” by: Ray Bradbury http://nywf64.
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[49] Ray Bradbury. “In 1982 he created the interior metaphors
for the Spaceship Earth display at Epcot Center, Disney
World.” http://www.raybradbury.com/bio.html
[50] Ray Bradbury. “The images at Spaceship Earth in Disney-
World’s EPCOT Center in Orlando? Well, they are all Brad-
bury’s ideas.” http://www.raybradbury.com/articles_town_
talk.html
[51] Ray Bradbury. “He also serves as a consultant, having col-
laborated, for example, in the design of a pavilion in the Ep-
cot Center at Walt Disney World.” Referring to Spaceship
Earth ... http://www.raybradbury.com/articles_book_mag.
html
[52] Litz, A. Walton., and Molly V. Weigel. American Writers:
a Collection of Literary Biographies. New York: Scribner,
1996. Print
[53] Steinhauer, Jennifer (June 19, 2009). “A Literary Legend
Fights for a Local Library”. The New York Times. Retrieved
June 7, 2012.
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[57] Ray Bradbury, 91, leaves a rich theatrical legacy too by
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[58] French, Lawrence “Richard Matheson remembers his good
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[59] https://www.youtube.com/watch?v=NBTrUx46b8I
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[91] Weller, Sam (2005). The Bradbury Chronicles: The Life of [111] “Science Fiction and Fantasy Hall of Fame”. Mid American
Ray Bradbury. New York: HarperCollins. pp. 301–302. Science Fiction and Fantasy Conventions, Inc. Retrieved
ISBN 0-06-054581-X. March 22, 2013. This was the official website of the hall
of fame to 2004.
[92] “State Fund of Television and Radio Programs” (in Russian).
[112] “The 2007 Pulitzer Prize Winners: Special Awards and Ci-
[93] Будет ласковый дождь (in Russian). tations”. The Pulitzer Prizes. Retrieved November 2, 2013.
 178 CHAPTER 4. AUTHORS & ILLUSTRATORS

[113] “The US conference of mayors, 80th annual meeting: Hon-
oring the life of Ray Bradbury”. The US conference of may-
ors. June 13–16, 2012. Retrieved July 15, 2012.
[114] Wilson, Stephen M. (2008). “2008 SFPA Grandmaster”.
The Science Fiction Poetry Association. SFPA. Retrieved
August 3, 2008.
[115] “The Eaton Awards”. Eaton Science Fiction Conference.
University of California, Riverside (ucr.edu). Retrieved
April 2, 2013.
[116] “College history: Honorary degree recipients”. Columbia
University. 2011. Retrieved July 15, 2012.
[117] MSNBC Staff (August 6, 2012). “Video from rover looks
down on Mars during landing”. MSNBC. Retrieved October
7, 2012.
4.12.14
[118] Young, Monica (August 7, 2012). “Watch Curiosity De-
scend onto Mars”. SkyandTelescope.com. Retrieved Octo-
ber 7, 2012.
[119] Brown, Dwayne; Cole, Steve; Webster, Guy; Agle, D.C.
(August 22, 2012). “NASA Mars Rover Begins Driving at
Bradbury Landing”. NASA. Retrieved August 22, 2012.
[120] “Mars Curiosity Rover Twitter feed”.
[121] Bob Pool, Intersection near L.A. library named for Ray
Bradbury, Los Angeles Times, December 6, 2012
[122] “Oscars 'In Memoriam' 2013: Full list”. MSN.
• Reid, Robin Anne (2000). Ray Bradbury: A Critical
Companion. Greenwood Press. ISBN 0-313-30901-
9.
• Tuck, Donald H. (1974). The Encyclopedia of Science
Fiction and Fantasy. Chicago: Advent. pp. 61–63.
ISBN 0-911682-20-1.
• Weist, Jerry (2002). Bradbury, an Illustrated Life: A
Journey to Far Metaphor. William Morrow and Com-
pany. ISBN 0-06-001182-3.
• Weller, Sam (2005). The Bradbury Chronicles: The
Life of Ray Bradbury. HarperCollins. ISBN 0-06-
054581-X.
External links
• Official website
• Center for Ray Bradbury Studies, at Indiana University
• Ray Bradbury collected news and commentary at The
New York Times
• Ray Bradbury at the Internet Movie Database
• Ray Bradbury at the Internet Speculative Fiction
Database
• Works by Ray Bradbury at Project Gutenberg

Citations • Works by Ray Bradbury at Open Library

• Works by or about Ray Bradbury at Internet Archive

• Anderson, James Arthur (2013). The Illustrated Ray
Bradbury. Wildside Press. ISBN 978-1-4794-0007-
2.
• Albright, Donn (1990). Bradbury Bits & Pieces:
The Ray Bradbury Bibliography, 1974–88. Starmont
House. ISBN 1-55742-151-X.
• Works by Ray Bradbury at LibriVox (public domain
audiobooks)
• In Memoriam: Ray Bradbury 1920-2012 (YouTube).
Jet Propulsion Laboratory

• Eller, Jonathan R.; Touponce, William F. (2004). Ray

Bradbury: The Life of Fiction. Kent State University
4.13 Theodore Sturgeon
Press. ISBN 0-87338-779-1.
Theodore Sturgeon (/ˈstɜrdʒən/; born Edward Hamil-
• Eller, Jonathan R. (2011). Becoming Ray Bradbury. ton Waldo; February 26, 1918 – May 8, 1985) was an
Urbana, IL: University of Illinois Press. ISBN 0-252- American science fiction and horror writer and critic. The
03629-8. Internet Speculative Fiction Database credits him with
about 400 reviews and more than 200 stories.[2]
• Nolan, William F. (1975). The Ray Bradbury Com-
panion: A Life and Career History, Photolog, and Sturgeon’s most famous work may be the science fic-
Comprehensive Checklist of Writings. Gale Research. tion novel More Than Human (1953), an expansion of
ISBN 0-8103-0930-0. "Baby Is Three" (1952). More Than Human won the
1954 International Fantasy Award (for SF and fantasy) as
• Paradowski, Robert J.; Rhynes, Martha E. (2001). the year’s best novel and the Science Fiction Writers of
Ray Bradbury. Salem Press. America ranked “Baby is Three” number five among the
4.13. THEODORE STURGEON 179

An early version of Sturgeon’s first novel, “The Dreaming Jewels”,

was the cover story in the February 1950 issue of Fantastic Adven-
Sturgeon’s “The Perfect Host” was the cover story in the November tures
1948 Weird Tales

"Greatest Science Fiction Novellas of All Time" to 1964. ries ran in the same issue of Astounding. A few of his early
Ranked by votes for all of their pre-1965 novellas, Sturgeon stories were signed “Theodore H. Sturgeon.”
was second among authors, behind Robert Heinlein. Sturgeon ghost-wrote one Ellery Queen mystery novel, The
The Science Fiction and Fantasy Hall of Fame inducted Player on the Other Side (Random House, 1963). This novel
Sturgeon in 2000, its fifth class of two deceased and two gained critical praise from critic H. R. F. Keating, who “had
living writers.[3] almost finished writing Crime and Mystery: the 100 Best
Books, in which I had included The Player on the Other
Side ... placing the book squarely in the Queen canon”[5]
4.13.1 Biography when he learned that it had been written by Sturgeon. Sim-
ilarly, “William DeAndrea, author and ... winner of Mys-
Sturgeon was born Edward Hamilton Waldo in Staten Is- tery Writers of America awards, selecting his ten favorite
land, New York in 1918. His name was legally changed to mystery novels for the magazine Armchair Detective, picked
Theodore Sturgeon at age eleven after his mother’s divorce The Player on the Other Side as one of them. He said: “This
and remarriage to William Dicky (“Argyll”) Sturgeon.[4] book changed my life ... and made a raving mystery fan
He sold his first story in 1938 to the McClure Syndicate, (and therefore ultimately a mystery writer) out of me. ...
which bought much of his early work. His first genre story The book must be 'one of the most skilful pastiches in the
was “Ether Breather”, published by John W. Campbell in history [5] of literature. An amazing piece of work, whomever
the September 1939 issue of Astounding Science Fiction.[2] did it'.”
At first he wrote mainly short stories, primarily for genre Sturgeon wrote the screenplays for the Star Trek episodes
magazines such as Astounding and Unknown, but also for "Shore Leave" (1966) and "Amok Time" (1967, written up
general-interest publications such as Argosy Magazine. He and published as a Bantam Books “Star Trek Fotonovel” in
used the pen name “E. Waldo Hunter” when two of his sto- 1978).[2] The latter is known for its invention of pon farr,
180 CHAPTER 4. AUTHORS & ILLUSTRATORS

Sturgeon’s novella “Granny Won't Knit” took the cover of the Mar
1954 Galaxy Science Fiction, illustrated by Ed Emshwiller
Sturgeon’s novella “The Incubi of Parallel X” was the cover story in
the September 1951 Planet Stories
upon writers like Harlan Ellison and Samuel R. Delany was
seminal, and in his life and work he was a powerful and gen-
erally liberating influence in post-WWII US sf”. He is not
the Vulcan mating ritual; first use of the sentence “Live
much known by the general public, however, and he won
long and prosper";[6] and first use of the Vulcan hand sym-
comparatively few awards. (One was the World Fantasy
bol. Sturgeon is also sometimes credited as having delib-
Award for Life Achievement from the 1985 World Fantasy
erately put homosexual subtext in his work, like the back-
Convention.)[1] His best work was published before the es-
rub scene in “Shore Leave”, and the short story "The World
tablishment and consolidation of the leading genre awards,
Well Lost". Sturgeon also wrote several episodes of Star
while his later production was scarcer and weaker. He was
Trek that were never produced. One of these was notable
listed as a primary influence on the much more famous Ray
for having first introduced the Prime Directive. He also
Bradbury.
wrote an episode of the Saturday morning show Land of
the Lost, "The Pylon Express", in 1975. Two of Sturgeon’s Sturgeon lived for several years in Springfield, Oregon.[9]
stories were adapted for The New Twilight Zone. One, "A He died on May 8, 1985, of lung fibrosis, at Sacred Heart
Saucer of Loneliness", was broadcast in 1986 and was ded- General Hospital in the neighboring city of Eugene.[9]
icated to his memory. Another short story, “Yesterday He was a member of the all-male literary banqueting club
was Monday”, was the inspiration for the The New Twi- the Trap Door Spiders, which served as the basis of Isaac
light Zone episode "A Matter of Minutes". His 1944 novella Asimov's fictional group of mystery solvers the Black Wid-
"Killdozer!" was the inspiration for the 1970s made-for-TV owers. Sturgeon was the inspiration for the recurrent char-
movie, Marvel comic book, and alternative rock band of the acter of Kilgore Trout in the novels of Kurt Vonnegut.[10]
same name.
Sturgeon is well-known among readers of classic science-
fiction anthologies. At the height of his popularity in the 4.13.2 Sturgeon’s Law
1950s he was the most anthologized English-language au-
thor alive[7][8] and much respected by critics. John Clute Main article: Sturgeon’s law
wrote in The Encyclopedia of Science Fiction: “His influence
4.13. THEODORE STURGEON 181

In 1951, Sturgeon coined what is now known as Sturgeon’s • From 1935 (aged 17) to 1938, he was a sailor in
Law: “Ninety percent of [science fiction] is crud, but then, the merchant marine, and elements of that experience
ninety percent of everything is crud.” This was originally found their way into several stories.
known as Sturgeon’s Revelation; Sturgeon has said that
“Sturgeon’s Law” was originally “Nothing is always abso- • He sold refrigerators door to door.
lutely so.” However, the former statement is now widely
• He managed a hotel in Jamaica around 1940–1941,
referred to as Sturgeon’s Law. He is also known for his
worked in several construction and infrastructure jobs
dedication to a credo of critical thinking that challenged all
(driving a bulldozer in Puerto Rico, operating a gas
normative assumptions: “Ask the next question.” He rep-
station and truck lubrication center, work at a drydock)
resented this credo by the symbol of a Q with an arrow
for the US Army in the early war years, and by 1944
through it, an example of which he wore around his neck
was an advertising copywriter.
and used as part of his signature in the last 15 years of his
life. • In addition to freelance fiction and television writing,
he also operated a literary agency (which was eventu-
4.13.3 Life and family ally transferred to Scott Meredith), worked for Fortune
magazine and other Time Inc. properties on circula-
Sturgeon was a distant relative of Ralph Waldo Emerson, tion, and edited various publications. Sturgeon had
and through his Waldo, Hamilton Dicker and Dunn ances- somewhat irregular output, frequently suffering from
tors, a direct descendant of numerous influential Puritan, writer’s block.
Presbyterian, and Anglican clergymen. Both Sturgeon and
his brother Peter eventually became atheists, although Stur- Theodore Sturgeon vividly recalled being in the same room
geon continuously developed his own highly imaginative with L. Ron Hubbard, when Hubbard became testy with
spiritual side. If Sturgeon was aware of much of his ances- someone there and retorted, “Y'know, we're all wasting our
try or stories associated with it, he never shared them with time writing this hack science fiction! You wanta make real
his friends or children, although the short “I Say—Ernest” money, you gotta start a religion!" Reportedly Sturgeon also
(1972) does bring to life one wing of his ministerial family. told this story to others.
Sturgeon played guitar and wrote music which he some-
• Sturgeon’s sibling, Peter Sturgeon, wrote technical times performed at Science Fiction Conventions.
material for the pharmaceutical industry and eventu-
ally for the WHO, has been credited with bringing Sturgeon was married three times, had two long-term com-
Mensa to the United States. mitted relationships outside of marriage, divorced once,
and fathered a total of seven children.
• Peter and Theodore’s birth father, Edward Waldo, was
a color and dye manufacturer of middling success. • His first wife was Dorothe Fillingame (married 1940,
With his second wife, Anne, he had one daughter, divorced 1945) with whom he had two daughters, Pa-
Joan. tricia and Cynthia.

• Peter and Theodore’s mother, Christine Hamilton
Dicker (Waldo) Sturgeon, was a well-educated writer,
watercolorist, and poet who published journalism, po-
etry, and fiction under the name Felix Sturgeon.
• Their stepfather, William Dickie Sturgeon (sometimes
known as Argyll), was a mathematics teacher at a
prep school and then Romance Languages Professor
at Drexel Institute [later Drexel Institute of Technol-
ogy] in Philadelphia.
Sturgeon held a wide variety of jobs during his lifetime.
• He was married to singer Mary Mair from 1949 until
an annulment in 1951.
• In 1953, he wed Marion McGahan with whom he had
a son, Robin (b. 1952); daughters Tandy (b. 1954)
and Noël (b. 1956); and son Timothy (b. 1960).
• In 1969, he began living with Wina Golden, a journal-
ist, with whom he had a son, Andros.[11][12]
• Finally, his last long-term committed relationship was
with writer and educator Jayne Engelhart Tannehill,
with whom he remained until the time of his death.

• As an adolescent, he wanted to be a circus acrobat; an Sturgeon was a lifelong pipe smoker. His death from lung
episode of rheumatic fever prevented him from pursu- fibrosis may have been caused by exposure to asbestos dur-
ing this. ing his Merchant Marine years.
182 CHAPTER 4. AUTHORS & ILLUSTRATORS

4.13.4 Novels Collections published during Sturgeon’s lifetime

• The Dreaming Jewels (1950) Also published as The Syn- The following table includes sixteen volumes (one of them
thetic Man collecting western stories). These are considered “original”
collections of Sturgeon material, in that they compiled pre-
• More Than Human (1953) Fix-up of three linked novel- viously uncollected stories. However, some volumes did
las, the first and third written around Baby Is Three (Galaxy
contain a few reprinted stories: this list includes books that
Science Fiction, October 1952)
collected only previously uncollected material, as well as
those volumes that collected mostly new material, but also
contained up to three stories (representing no more than
• The Cosmic Rape (1958) Abridged version published as
half the book) that were previously published in a Sturgeon
To Marry Medusa
collection.
• Venus Plus X (1960) The following six collections consisted entirely of reprints
of previously collected material:
• Some of Your Blood (1961)
Complete short stories
• Godbody (1986) (published posthumously)
North Atlantic Books has released the chronologically as-
sembled The Complete Short Stories of Theodore Sturgeon,
Novelizations edited by Paul Williams, since 1994. The series runs to
13 volumes, the last appearing in September 2010. The
Sturgeon, under his own name, was hired to write noveliza- volumes offer an excellent presentation of Sturgeon’s best
tions of the following movies based on their scripts (links work—the short fiction. Introductions are provided by
go to articles about the movies): Harlan Ellison, Samuel R. Delany, Kurt Vonnegut, Gene
Wolfe, Connie Willis, Jonathan Lethem, and many others.
Extensive “Story Notes” are provided by Paul Williams and
• The King and Four Queens (1956) (in the last two volumes) Sturgeon’s daughter Noël.
The volumes include:
• Voyage to the Bottom of the Sea (1961)

• The Rare Breed (1966) 1. The Ultimate Egoist (1937 to 1940)

2. Microcosmic God (1940 to 1941)

Pseudonymous novels 3. Killdozer (1941 to 1946)

• I, Libertine (1956): Historical novel created as a for-
hire hoax. Credited to “Frederick R. Ewing”, written
from a premise by Jean Shepherd.
4. Thunder and Roses (1946 to 1948)
5. The Perfect Host (1948 to 1950)
6. Baby is Three (1950 to 1952)

• The Player on The Other Side (1963): Mystery
novel credited to Ellery Queen and ghost-written with
Queen’s assistance and supervision.
4.13.5 Short stories
Sturgeon published numerous short story collections during
his lifetime, many drawing on his most prolific writing years
of the 1940s and 1950s.
Note that some reprints of these titles (especially paperback
editions) may cut one or two stories from the line-up. Statis-
tics herein refer to the original editions only.
7. A Saucer of Loneliness (1953)
8. Bright Segment (1953 to 1955, as well as two “lost”
stories from 1946)
9. And Now the News ... (1955 to 1957)
10. The Man Who Lost the Sea (1957 to 1960)
11. The Nail and the Oracle (1961 to 1969)
12. Slow Sculpture (1970 to 1972, plus one 1954 novella
and one unpublished story)
13. Case and The Dreamer (1972 to 1983, plus one 1960
story and three unpublished stories)
4.13. THEODORE STURGEON
Representative short stories
Sturgeon was best known for his short stories and novellas.
The best-known include:
• “Ether Breather” (September 1939, his first published
science-fiction story)
• “Derm Fool” (March 1940)
• "It!" (August 1940)
• “Shottle Bop” (February 1941)
• "Microcosmic God" (April 1941)
• “Yesterday Was Monday” (1941)
• "Killdozer!" (November, 1944)
• “Maturity” (February, 1947)
• “Bianca’s Hands” (May, 1947)
• “Thunder and Roses” (November 1947)
• “The Perfect Host” (November 1948)
• “Minority Report” (June 1949, no connection to the
2002 movie, which was based on a later story by Philip 4.13.8
K. Dick)
• “One Foot and the Grave” (September 1949)
• "Baby Is Three" (October 1952)
• "A Saucer of Loneliness" (February 1953)
• "The World Well Lost" (June 1953)
• “Mr. Costello, Hero” (December 1953)
• “The [Widget], The [Wadget], and Boff” (1955)
• "The Skills of Xanadu" (July 1956)
• "The Other Man" (September 1956)
• “And Now The News” (December 1956)
• “The Girl Had Guts” (January 1957)
• “Need” (1960)
• “How to Forget Baseball” (Sports Illustrated, Decem-
ber 1964)
• “The Nail and the Oracle” (Playboy, October 1964)
• "Slow Sculpture" (Galaxy, February 1970) — winner
of a Hugo Award and a Nebula Award
183
• “Occam’s Scalpel” (August, 1971, with an introduc-
tion by Terry Carr)
• “Vengeance Is" (1980, Dark Forces anthology edited
by Kirby McCauley)
• "If All Men Were Brothers, Would You Let One
Marry Your Sister?" (1967, Dangerous Visions anthol-
ogy edited by Harlan Ellison)—Nebula Award 1967
Nominee Novella
• “The Man Who Learned Loving”—Nebula Award
1969 Nominee Short Story
4.13.6 Autobiography
• Argyll: A Memoir, (pamphlet, Sturgeon Project, 1993)
an autobiographical sketch about Sturgeon’s relation-
ship with his stepfather. Introduction by his editor
Paul Williams. Illustrated by Donna Nassar.
4.13.7 See also
• Theodore Sturgeon Award
References
[1] “Sturgeon, Theodore”. The Locus Index of SF Awards: Index
to Literary Nominees. Locus Publications. Retrieved 2013-
03-26.
[2] Theodore Sturgeon at the Internet Speculative Fiction
Database (ISFDB). Retrieved 2013-04-18. Select a title to
see its linked publication history and general information.
Select a particular edition (title) for more data at that level,
such as a front cover image or linked contents.
[3] “Science Fiction and Fantasy Hall of Fame”. Mid American
Science Fiction and Fantasy Conventions, Inc. Retrieved
2013-03-26. This was the official website of the hall of fame
to 2004.
[4] Williams, Paul (1976). “Theodore Sturgeon, Storyteller”.
First published 1997, online. Retrieved 2013-03-26.
Quote: “Sturgeon because that was the stepfather’s name—
he was a professor of modern languages at Drexel Institute in
Philadelphia—and Theodore because Edward was the boy’s
father’s name and the mother was still bitter and anyway
young Edward had always been known as Teddy.”
Quote: “To this day, libraries all over the world list
'Theodore Sturgeon' as a pseudonym for 'E. H. Waldo',
which is incorrect.”
[5] Keating, H. R. F. (1989). The Bedside Companion to Crime.
New York: Mysterious Press.
[6] Nimoy (1995), p. 67.
184 CHAPTER 4. AUTHORS & ILLUSTRATORS

[7] Engel, Joel (June 1, 1994). Gene Roddenberry: The Myth • Theodore Sturgeon at Goodreads
and the Man Behind Star Trek. Hyperion. p. 92. ISBN
0786860049. Theodore Sturgeon, the most anthologized • Theodore Sturgeon at the Internet Book List
writer in the English language but one who'd never written
for television before Star Trek, received several long letters • Theodore Sturgeon at the Internet Movie Database
and memos from Roddenberry.
•
[8] Meehan, Paul (November 1, 1998). Saucer Movies: A UFO-
logical History of the Cinema. Scarecrow Press. p. 166.
• Theodore Sturgeon at Memory Alpha (a Star Trek
ISBN 0810835738. Veteran science fiction writer Theodore wiki)
Sturgeon, reportedly the most anthologized science fiction
• Theodore Sturgeon’s online fiction at Free Speculative
writer of all time, wrote the teleplay adaptation of his own
short story for the ABC-TV movie Killdozer (1974).
Fiction Online

[9] Portal, Ann (May 10, 1985). “Famed author, award-winner, • Gary Westfahl’s Biographical Encyclopedia of Science
dies in Eugene”. The Register-Guard (Eugene, Oregon). Re- Fiction Film
trieved 2011-06-20.
• The Work of Theodore Sturgeon - lengthy biographi-
[10] Interview with Vonnegut at the Wayback Machine (archived cal and critical study of Sturgeon
January 15, 1998) “I think it’s funny when someone is named
after a fish”

[11] Noël Sturgeon [daughter], “Story Notes Volume XII”, Stur-

geon (2009), pp. 289–92.

[12] Sturgeon (1978), p. 12.

4.13.9 Sources
• Nimoy, Leonard (1995). I Am Spock. New York: Hy-
perion. ISBN 978-0-7868-6182-8.
• Sturgeon, Theodore (1978). Sturgeon is Alive and Well
... New York: Pocket Books. ISBN 0-671-81415-X.
• Sturgeon, Theodore (2009). Slow Sculpture: Vol-
ume XII: The Complete Stories of Theodore Sturgeon.
Berkeley, CA. ISBN 978-1-55643-834-9.

4.13.10 External links

• The Theodore Sturgeon Page - an informative and
comprehensive fan site
• The Theodore Sturgeon Literary Trust - owners of
Sturgeon copyrights, information on Sturgeon publi-
cations
• Theodore Sturgeon Papers housed at the Kenneth
Spencer Research Library, University of Kansas
• TCSOTS Listing and cover pictures from the book se-
ries The Collected Stories of Theodore Sturgeon
• Theodore Sturgeon biography at the Science Fiction
and Fantasy Hall of Fame
• Theodore Sturgeon at the Internet Speculative Fiction
Database
Chapter 5

Other

5.1 Point Horror ters as the ones who get “upset, killed, or dumped”.[8]

Point Horror is a series of young adult horror fiction books.

The series was most popular among teenaged girls.[1] 5.1.3 Offshoots

There have been three off-shoots of the Point Horror series

5.1.1 History that, while all showing the “Point Horror” Logo, are often
regarded as separate series in their own rights. They are
The Point Horror series was launched in 1991 by Scholas- Point Horror Unleashed, Nightmare Hall and Mutant Point
tic Inc, with the publisher re-releasing several of its previ- Horror. Nightmare Hall is unique amongst the off-shoots
ous titles under the Point Horror banner. Authors that pub- as the entire series was written solely by Diane Hoh.
lished under the label of Point Horror includes R.L. Stine,
Diane Hoh, Richie Tankersley Cusick, Christopher Pike,
and Caroline B. Cooney.[2] The series was notable as Blind 5.1.4 Publications
Date was one of R.L. Stine’s first works and helped launch
Stine’s career.[3] This list is incomplete; you can help by expanding
After an eight-year absence, Scholastic announced that it.
three new titles would be released in May 2013, with more
set to follow later in the year.

1986
5.1.2 Literary criticism
• Blind Date (R.L. Stine)
While the Point Horror series did not attract much serious
attention, Gillian Avery noted that the series was “invari- Kerry’s had a very bad year. But now his luck has finally
ably structured around oppositions” in that teen horror nov- changed. He’s got a blind date with a girl who sounds really
els “does not 'put an end to the opposition between the real hot. He can't wait. He knows this girl is going to be really
and the imaginary' but, instead, affirms the distinction”.[4] different. Kerry’s right. Because his blind date really is the
Roy Fisher wrote that the series embodied and represented girl of his dreams. Or maybe his worst nightmares...
“the fears and anxieties of young people about their lives in
general and about school in particular”.[5] Others noted the
series’ similarity to Stephen King, saying that there “was 1987
little difference between the approach and design... other
than length”.[6] • Twisted (R.L. Stine)
Will Davis of The Guardian attributed the decline of the
series to higher standards from teen readers and the series’ Abby would do anything to be in the school’s most exclu-
lack of real-life issues.[7] sive sorority. And now she’s got the chance. Because the
The series has received negative criticism for its portrayal sorority sisters have asked her to join them. All Abby has
of female characters. Mary Hilton wrote in her book Potent to do is get through the initiation. That might be a problem.
fictions that many young readers viewed the female charac- Because this year, the initiation is going to be.... Murder.

185
186 CHAPTER 5. OTHER

1988 • Mirror Mirror (D.E. Athkins)

• The Lifeguard (Richie Tankersley Cusick) • Mother’s Helper (A. Bates)

1989
• My Secret Admirer (Carol Ellis)
• The Babysitter (novel) (R.L. Stine)
• Trick or Treat (Richie Tankersley Cusick)
• Sister Dearest (D.E. Athkins)
• The Accident (Diane Hoh)
• The Babysitter II (R.L. Stine)
• The Cheerleader (Caroline B. Cooney)
• The Girlfriend (R.L. Stine)

• Party Line (A. Bates) • The Invitation (Diane Hoh)

• Prom Dress (Lael Littke) • The Snowman (R.L. Stine)

1990 1992

• April Fools (Richie Tankersly Cusick) • Beach House (R.L. Stine)

• Beach Party (R.L. Stine) • Fatal Secrets (Richie Tankersley Cusick)

• Funhouse (Diane Hoh) • Freeze Tag (Caroline B. Cooney)

• Teacher’s Pet (Richie Tankersley Cusick) • Hit and Run (R.L. Stine)

• The Boyfriend (R.L. Stine) • The Cemetery (D.E. Athkins)

• Final Exam (A. Bates) • The Dead Game (A. Bates)

• The Fever (Diane Hoh)
1991 • The Hitchhiker (R.L. Stine)

• Thirteen: 13 Tales of Horror An Anthology of short
horror stories; (These short stories are not published
individually)
• 01) Collect Call (Christopher Pike)
• 02) Lucinda (Lael Littke)
• 03) The Guccioli Miniature (Jay Bennett) Origi-
nally written and published in 1975.
• 04) Blood Kiss (D.E. Athkins)
• 05) A Little Taste of Death (Patricia Windsor)
• 06) The Doll (Carol Ellis)
• 07) House of Horrors (J.B. Stamper)
• The Mall (Richie Tankersley Cusick)
• The Perfume (Caroline B. Cooney)
• The Return of the Vampire (Caroline B. Cooney)
• The Train (Diane Hoh)
• The Waitress (Sinclair Smith)
• The Window (Carol Ellis)
• The Ripper (D.E. Athkins)
1993

• 08) Where the Deer Are (Caroline B. Cooney)
• 09) The Spell (R.L. Stine)
• 10) Dedicated to the One I Love (Diane Hoh)
• 11) Hacker (Sinclair Smith)
• 12) Deathflash (A. Bates)
• 13) The Boy Next Door (Ellen Emerson White)
• April Fools (Richie Tankersley Cusick)
• Camp Fear (Carol Ellis)
• Dream Date (Sinclair Smith)
• Halloween Night (R.L. Stine)
• Help Wanted (Richie Tankersley Cusick)
• Nightmare Hall 1 - The Silent Scream (Diane Hoh)
• Nightmare Hall 2 - The Roommate (Diane Hoh)
5.1. POINT HORROR
• Nightmare Hall 3 - Deadly Attraction (Diane Hoh)
• Nightmare Hall 4 - The Wish (Diane Hoh)
• Nightmare Hall 5 - The Scream Team (Diane Hoh)
• Nightmare Hall 6 - Guilty (Diane Hoh)
• Point Horror 1: Collection - A terrifying trio in one!
• 1) Mother’s Helper (A. Bates)
• 2) The Invitation (Diane Hoh)
• 3) Beach Party (R.L. Stine)
• Point Horror 2: Collection - A terrifying trio in one!
• 1) My Secret Admirer (Carol Ellis)
• 2) The Accident (Diane Hoh)
• 3) Funhouse (Diane Hoh)
• Point Horror 3: Collection - A terrifying trio in one!
• 1) April Fools (Richie Tankersly Cusick)
• 2) The Waitress (Sinclair Smith)
• 3) The Snowman (R.L. Stine)
• Point Horror 4: The R.L. Stine Collection - A terrifying
trio in one!
• 1) The Baby-sitter (R.L. Stine)
• 2) The Boyfriend (R.L. Stine)
• 3) The Girlfriend (R.L. Stine)
• The Dead Game (A. Bates)
• The Dead Girlfriend (R.L. Stine)
• The Hitchhiker (R.L. Stine)
• The Perfume (Caroline B. Cooney)
• The Phantom (Barbara Steiner)
• The Stranger (Caroline B. Cooney)
• The Vampire’s Promise (Caroline B. Cooney)
1994
• 13 More Tales of Horror An Anthology of short hor-
ror stories; (These short stories are not published in-
dividually)
• 01) The Cat-Dogs (Susan Price)
• 02) The Piano (Diane Hoh)
• 03) The Devil’s Footprints (Malcolm Rose)
• 04) Softies (Stan Nicholls)
187
• 05) The House That Jack Built (Garry Kilworth)
• 06) The Station With No Name (Colin Green-
land)
• 07) Something to Read (Phillip Pullman)
• 08) Killing Time (Jill Bennett)
• 09) J.R.E. Ponsford (Graham Masterton)
• 10) The Buyers (David Belbin)
• 11) Closeness (Chris Westwood)
• 12) The Ring (Margaret Bingley)
• 13) Bone Meal (John Gordon)
• Call Waiting (R.L. Stine)
• Driver’s Dead (Peter Lerangis)
• I Saw You That Night (R.L. Stine)
• Halloween Night II (R.L. Stine)
• Nightmare Hall 7 - Pretty Please (Diane Hoh)
• Nightmare Hall 8 - The Experiment (Diane Hoh)
• Nightmare Hall 9 - The Night Walker (Diane Hoh)
• Nightmare Hall 10 - Sorority Sister (Diane Hoh)
• Nightmare Hall 11 - Last Date (Diane Hoh)
• Nightmare Hall 12 - The Whisperer (Diane Hoh)
• Nightmare Hall 13 - Monster (Diane Hoh)
• Nightmare Hall 14 - The Initiation (Diane Hoh)
• Nightmare Hall 15 - Truth or Die (Diane Hoh)
• Nightmare Hall 16 - Book of Horrors (Diane Hoh)
• Nightmare Hall 17 - Last Breath (Diane Hoh)
• Nightmare Hall 18 - Win, Lose or Die (Diane Hoh)
• Point Horror 5: Collection - A terrifying trio in one!
• 1) The Cemetery (D.E. Athkins)
• 2) Freeze Tag (Caroline B. Cooney)
• 3) The Fever (Diane Hoh)
• Silent Witness (Carol Ellis)
• Twins (Caroline B. Cooney)
• The Diary (Sinclair Smith)
• The Forbidden Game 1: The Hunter (L.J. Smith)
• The Forbidden Game 2: The Chase (L.J. Smith)
• The Forbidden Game 3: The Kill (L.J. Smith)
188
• The Watcher (Lael Littke)
• The Witness (R.L. Stine)
• The Yearbook (Peter Lerangis)
• “Let Me Tell You How I Died” (Sinclair Smith)
1995
• 13 Again An Anthology of short horror stories;
(These short stories are not published individually)
• 01) Anjelica’s Room (Laurence Staig)
• 02) Foxgloves (Susan Price)
• 03) The Ultimate Assassin (Malcolm Rose)
• 04) The Rattan Collar (Garry Kilworth)
• 05) Boomerang (David Belbin)
• 06) The delinquent (Maresa Morgan)
• 07) The Ghost Trap (Lisa Tuttle)
• 08) Close Cut (Philip Gross)
• 09) Grandma (Colin Greenland)
• 10) Vampire in Venice (John Gordon)
• 11) Picking up the Tab (Stan Nicholls)
• 12) Evidence of Angels (Graham Masterton)
• 13) Hospital Trust (Dennis Hamley)
• Hide And Seek (Jane McFann)
• Night School (Caroline B. Cooney)
• Point Horror 6: The Caroline B. Cooney Collection - A
terrifying trio in one!
• 1) The Cheerleader (Caroline B. Cooney)
• 2) The Return of the Vampire (Caroline B.
Cooney)
• 3) The Vampire’s Promise (Caroline B. Cooney)
• Point Horror 7: Collection - A terrifying trio in one!
• 1) The Window (Carol Ellis)
• 2) The Train (Diane Hoh)
• 3) Hit and Run (R.L. Stine)
• The Babysitter III (R.L. Stine)
• The Babysitter IV (R.L. Stine)
• Nightmare Hall 19 - The Coffin (Diane Hoh)
• Nightmare Hall 20 - Deadly Visions (Diane Hoh)
• Nightmare Hall 21 - Student Body (Diane Hoh)
CHAPTER 5. OTHER
• Nightmare Hall 22 - The Vampire’s Kiss (Diane Hoh)
• Nightmare Hall 23 - Dark Moon (Diane Hoh)
• Nightmare Hall 24 - The Biker (Diane Hoh)
• Nightmare Hall 25 - Captives (Diane Hoh)
• Nightmare Hall 26 - Revenge (Diane Hoh)
• Nightmare Hall 27 - Kidnapped (Diane Hoh)
• Nightmare Hall 28 - The Dummy (Diane Hoh)
• Nightmare Hall 29 - The Voice in the Mirror (Diane
Hoh)
• The Body (Carol Ellis)
• The Boy Next Door (Sinclair Smith)
• The Claw (Carmen Adams)
• The Mummy (Barbara Steiner)
• The Surfer (Linda Cargill)
• Vampire’s Love 1: Blood Curse (Janice Harrell)[9]
• Vampire’s Love 2: Blood Spell (Janice Harrell)
1996
• Amnesia (Sinclair Smith)
• Double Date (Sinclair Smith)
• Homecoming Queen (John Hall)
• Krazy 4 U (A. Bates)
• Point Horror 8: Collection - A terrifying trio in one!
• 1) The Dead Game (A. Bates)
• 2) The Stranger (Caroline B. Cooney)
• 3) Call Waiting (R.L. Stine)
• Prom Date (Diane Hoh)
• Second Sight (Sinclair Smith)
• Spring Break (Barbara Steiner)
• Sweet Sixteen (Francescca Jeffries)
• The Bride (D.E. Athkins)
• The Caroline B. Cooney Special Edition
• 1) Freeze Tag (Caroline B. Cooney)
• 2) The Stranger (Caroline B. Cooney)
• 3) Twins (Caroline B. Cooney)
5.1. POINT HORROR 189

• The Diane Hoh Special Edition 2000

• 1) The Fever (Diane Hoh)
• Unleashed - Amy (Samantha Lee)
• 2) Funhouse (Diane Hoh)
• 3) The Invitation (Diane Hoh) • Unleashed - In Spirit (Nick Turnbull)

• The R.L. Stine Special Edition • Unleashed - The Bogle (Samantha Lee)
• 1) The Babysitter (novel) (R.L. Stine) • Unleashed - Scissorman (John Brindley)
• 2) The Babysitter II (R.L. Stine)
• 3) The Babysitter III (R.L. Stine)
2001
• The Stalker (Carol Ellis)
• Decayed - 10 Years of Point Horror
• Unleashed - Blood Sinister (Celia Rees)
• Unleashed - Transformer (Philip Gross) • 1) Trick or Treat (Richie Tankersly Cusick)
• 2) April Fools (Richie Tanklersly Cusick)
1997 • 3) Blood Sinister (Celia Rees)

• Point Horror 9: Collection - A terrifying trio in one! • Unleashed - Fright Train (Paul Stewart)

• 1) The Perfume (Caroline B. Cooney) • Unleashed - Lowlake (Roger Davenport)

• 2) Silent Witness (Carol Ellis)
• 3) The Phantom (Barbara Steiner)
2002
• Point Horror 10: Collection - A terrifying trio in one!
• Unleashed - Moonchildren (Andrew Mathews)
• 1) The Watcher (Lael Littke)
• 2) The Boy Next Door (Sinclair Smith) • Unleashed - The Belltower (Samantha Lee)
• 3) The Hitchhiker (R.L.Stine)
• Unleashed - Welcome Stranger (Anthony Masters)
• Unleashed - At Gehenna’s Door (Peter Beere)
• Unleashed - The Carver (Jenny Jones) 2003
• Unleashed - The Vanished (Celia Rees)
• Demon (Samantha Lee)

1998 • The Dark (Linda Cargill)

• Unleashed - Catchman (Chris Wooding) • The Unseen Part 1 - It Begins (Richie Tankersley Cu-
sick)
• Unleashed - Darker (Andrew Matthews)
• X-Isle (Peter Lerangis)
• Unleashed - House of Bones (Graham Masterton)
• Unleashed - The Hanging Tree (Paul Stewart)
2004

1999 • The Dark II (Linda Cargill)

• Unleashed - Eve’s Party (Nick Turnbull) • The Unseen Part 2 - Rest in Peace (Richie Tankersley
Cusick)
• Unleashed - Facetaker (Philip Gross)
• Unleashed - The Ghost Wife (Susan Price) • Return to X-Isle (Peter Lerangis)

• Unleashed - Skinners (John Gordon) • Demon II (Samantha Lee)

190 CHAPTER 5. OTHER

2005

• The Unseen part 3 - Blood Brothers (Richie Tankersley

Cusick)

• The Unseen part 4 - Sin and Salvation (Richie Tanker-

sley Cusick)

2013

• Defriended (Ruth Baron)

• Identity Theft (Anna Davies)

From left to right, Pugsley, Wednesday, Gomez, Aristotle the octo-

2014 pus, Uncle Fester, Morticia

• Wickedpedia (Chris Van Etten) - July 1st

The Addamses are a satirical inversion of the ideal Amer-
• Followers (Anna Davies) - July 1 ican family; an eccentric, wealthy clan who delight in the
macabre and are unaware, or do not care, that other peo-
ple find them bizarre or frightening. They originally ap-
5.1.5 References peared as an unrelated group of 150 single-panel cartoons,
about half of which were originally published in The New
[1] Coles, Martin. Hall, Christine. Children’s Reading Choices.
Routledge, 1998, p 46. Yorker between their debut in 1938 and Addams’s death in
1988. They have since been adapted to other media, includ-
[2] Reynolds, Kimberly. Frightening Fiction. Continuum, 2004, ing television series (both live and animated), films, video
pgs 20-44. games and a musical.
[3] Memory Wipe: Point Horror AV Club

[4] Avery, Gillian. Representations of Childhood Death. Pal- 5.2.1 Premise and background
grave Macmillan, 2000, p 193-194

[5] Fisher, Roy. Education in popular culture: telling tales on

teachers and learners. Routledge, 2008, p 54.

[6] Cullingford, Cedric. Children’s literature and its effects: the

formative years. Continuum, 2000, pgs 178-189.

[7] When did Point Horror lose its edge? The Guardian

[8] Hilton, Mary. Potent fictions: children’s literacy and the chal-
lenge of popular culture. Routledge, 1996, p 136.

[9] Wilson Overstreet, Deborah (2006). Not Your Mother’s

Vampire: Vampires in Young Adult Fiction. Scarecrow Press.
pp. 93–94. ISBN 0810853655. Addams Family cosplayers

Addams’ original cartoons were one-panel gags. The char-

5.2 The Addams Family
For other uses, see The Addams Family (disambiguation).
The Addams Family is a group of fictional characters
created by American cartoonist Charles Addams. The Ad-
dams Family characters have traditionally included Gomez,
Morticia, Uncle Fester, Lurch, Grandmama, Wednesday,
Pugsley and Thing.
acters were undeveloped and unnamed until the television
series production.
Gomez and Pugsley are enthusiastic. Mor-
ticia is even in disposition, muted, witty, some-
times deadly. Grandma Frump is foolishly good-
natured. Wednesday is her mother’s daugh-
ter. A closely knit family, the real head being
5.2. THE ADDAMS FAMILY
Morticia—although each of the others is a defi-
nite character—except for Grandma, who is eas-
ily led. Many of the troubles they have as a fam-
ily are due to Grandma’s fumbling, weak charac-
ter. The house is a wreck, of course, but this is a
house-proud family just the same and every trap
door is in good repair. Money is no problem.—
Charles Addams[1]
The family appears to be a single surviving branch of the
Addams clan. Many other “Addams families” exist all over
the world. According to the film version, the family credo
is, Sic gorgiamus allos subjectatos nunc (pseudo-Latin: “We
gladly feast on those who would subdue us.”). Charles Ad-
dams was first inspired by his hometown of Westfield, New
Jersey, an area full of ornate Victorian mansions and archaic
graveyards.[2] According to the television series, they live in
a gloomy mansion adjacent to a cemetery and a swamp at
0001 Cemetery Lane. In the The Addams Family musical
(first shown in Chicago in 2009), the house is located in
Central Park.[3]
Although most of the humor derives from the fact that they
share macabre interests, the Addamses are not typically
evil. They are a close-knit extended family. Morticia is an
exemplary mother, and she and Gomez remain passionate
towards each other. Created by the television series writers,
she calls him “bubbele”,[4] to which he responds by kissing
her arms, behavior Morticia can also provoke by speaking
a few words in French (the meaning is not important; any
French will do). The parents are supportive of their chil-
dren. The family is friendly and hospitable to visitors, in
some cases willing to donate large sums of money to causes
(television series and films), despite the visitors’ horror at
the Addams’s peculiar lifestyle.
Charles Addams began as a cartoonist in The New Yorker
with a sketch of a window washer that ran on February 6,
1932.[5] His cartoons ran regularly in the magazine from
1938, when he drew the first instance of what came to be
called The Addams Family, until his death in 1988.[5]
In 1946, Addams met science-fiction writer Ray Bradbury
after having drawn an illustration for Bradbury’s short story
“Homecoming” in Mademoiselle magazine, the first in a se-
ries of tales chronicling a family of Illinois monsters, the El-
liotts. Bradbury and Addams became friends and planned
to collaborate on a book of the Elliott Family’s complete
history, with Bradbury writing and Addams providing the
illustrations; but it never materialized. Bradbury’s Elliott
Family stories were anthologized in From the Dust Returned
(2001), with a connecting narrative, an explanation of his
work with Addams, and Addams’s 1946 Mademoiselle il-
lustration used for the book’s cover jacket. Although Ad-
dams’s own characters were well established by the time of
their initial encounter, in a 2001 interview, Bradbury states
191
that Addams “went his way and created the Addams Fam-
ily and I went my own way and created my family in this
book.”[6]
5.2.2 Adaptations
Television
The Addams Family (1964–1966) Main article: The
Addams Family (1964 TV series)
In 1964, the ABC TV network created The Addams Fam-
ily television series based on Addams’s cartoon characters.
The series was shot in black-and-white and aired for two
seasons in 64 half-hour episodes (September 18, 1964 –
September 2, 1966). During the original television run of
The Addams Family television series, The New Yorker ed-
itor William Shawn refused to publish any Addams Fam-
ily cartoons, though he continued to publish other Charles
Addams cartoons. Shawn regarded his magazine as target-
ing a more refined readership and did not want it associated
with characters who could be seen on television by just any-
body. After Shawn’s 1987 retirement, the characters were
welcomed back to The New Yorker.
The New Scooby-Doo Movies (1972) The Addams Fam-
ily’s first animated appearance was on the third episode of
Hanna-Barbera's The New Scooby-Doo Movies, “Scooby-
Doo Meets the Addams Family” (a.k.a. “Wednesday is
Missing”), which first aired on CBS Saturday morning,
September 23, 1972. Four of the original cast (John Astin,
Carolyn Jones, Jackie Coogan, and Ted Cassidy) returned
for the special, which involved the Addamses in a mystery
with the Scooby-Doo gang. The Addams Family characters
were drawn to the specifications of the original Charles Ad-
dams cartoons. After the episode aired, fans wanted more
animated adventures featuring the Addamses, and Hanna-
Barbera obliged.
The Addams Family Fun-House (1973) In late 1972,
ABC produced a pilot for a live-action musical variety show
titled The Addams Family Fun-House. The cast included
Jack Riley and Liz Torres as Gomez and Morticia (the pair
also co-wrote the special), Stubby Kaye as Uncle Fester, Pat
McCormick as Lurch and Butch Patrick (who had played
Eddie Munster in The Munsters) as Pugsley. Felix Silla
reprised his role of Cousin Itt, connecting it to the origi-
nal TV series. The pilot aired in 1973, but was not picked
up for a series.[7]
192 CHAPTER 5. OTHER

The Addams Family (1973–1975) Main article: The named Mikey into the house to investigate. Mikey panics
Addams Family (1973 animated series) and flees after treading on the tail of Kitty Kat the lion.
The crooks employ a fake Gomez and Morticia to help in
The first animated series ran on Saturday mornings from their plans, along with two strong-arm goons, Hercules and
1973 to 1975 on NBC. In a departure from the origi- Atlas. Gomez returns home for the Halloween party and
nal series, this series took the Addamses on the road in a trimming of the scarecrow. Lafferty poses as Quincy Ad-
Victorian-style RV. This series also marked the point where dams (from Boston) to gain entrance to the house during
the relations between characters were changed so that Fes- the party. He has his men tie up Gomez and Morticia, and
his doubles take their places, confusing Pancho, who is still
ter was now Gomez’s brother, and Grandmama was now
Morticia’s mother (though the old relations would be revis- in love with Morticia, and Ophelia, who is still in love with
Gomez. Gomez and Morticia escape (thanks to the “Old
ited in the 1977 television movie, to keep continuity with
the original sitcom). Although Coogan and Cassidy reprised Piccolo Game”), and rejoin the party, only to have Lafferty
use various methods to try to get rid of them. Lurch scares
their roles, Astin and Jones did not, their parts being re-
cast with Hanna-Barbera voice talents Lennie Weinrib as off the thugs and terrifies Lafferty’s other assistant. Fester,
trying to be nice, puts Lafferty on the rack. Lafferty tries to
Gomez and Janet Waldo as Morticia, while a ten-year-old
Jodie Foster provided the voice of Pugsley. Again, the escape through the secret passage and steps on Kitty Kat’s
characters were drawn to the specifications of the origi- tail. When the police arrive, the crooks gladly surrender.
nal Charles Addams cartoons. One season was produced, The Addamses are then free to celebrate Halloween hap-
and the second season consisted of reruns. A complemen- pily, ending the night by singing together in welcome for
tary comic book series was produced in connection with the Cousin Shy.
show, but it lasted only three issues. The show’s theme mu-
sic was completely different and had no lyrics and no finger The Addams Family: The Animated Series (1992–1993)
snaps, although it retained a bit of the four-note score from Main article: The Addams Family (1992 animated series)
the live-action show.

The remake series ran on Saturday mornings from 1992–

Halloween with the New Addams Family (1977) Main
article: Halloween with the New Addams Family
A television reunion movie, Halloween with the New Ad-
dams Family, aired on NBC on Sunday, October 30, 1977.
It features most of the original cast, except Blossom Rock,
who had played Grandmama but was very ill at the time;
she was replaced by Jane Rose. Veteran character actors
Parley Baer and Vito Scotti, who both had recurring roles
in the original series, also appeared in the movie. The movie
has a slightly different version of the theme song; the finger
snaps are used but not the lyrics.
Gomez and Morticia have had two more children, Wednes-
day, Jr. and Pugsley, Jr., who strongly resemble their older
siblings. Gomez’s brother, Pancho, is staying with the fam-
ily while Gomez attends a lodge meeting in Tombstone, Ari-
zona. Gomez is jealous of his brother, who once courted
Morticia. Halloween is nigh, and Pancho tells the chil-
dren the legend of the Great Pumpkin-like character of
Cousin Shy, who distributes gifts and carves pumpkins for
good children on Halloween night. Wednesday (now called
“Wednesday, Sr.”) is home from music academy, where she
is studying the piccolo (breaking glass with it). Pugsley
(now “Pugsley, Sr.”) is home from Nairobi medical school,
where he is training to be a witch doctor. The family’s home
has been bugged by a gang of crooks who intend to steal the
family fortune. Lafferty, the boss, sends a gang member
1993 on ABC after producers realized the success of the
1991 Addams Family movie. This series returned to the fa-
miliar format of the original series, with the Addams Family
facing their sitcom situations at home. John Astin returned
to the role of Gomez, and celebrities Rip Taylor and Carol
Channing took over the roles of Fester and Grandmama,
respectively. Veteran voice actors Jim Cummings, Debi
Derryberry, Jeannie Elias and Pat Fraley did the voices of
Lurch, Wednesday, Pugsley and Cousin Itt, respectively.
New artistic models of the characters were used for this se-
ries, though still having a passing resemblance to the orig-
inal cartoons. Two seasons were produced, with the third
year containing reruns. Oddly in this series, Wednesday
maintained her macabre, brooding attitude from the Ad-
dams Family movies, but her facial expressions and body
language conveyed the happy-go-lucky, fun attitude of her
portrayal in the original television show. The original Vic
Mizzy theme song, although slightly different, was used for
the opening.
The New Addams Family (1998–1999) Main article:
The New Addams Family
The New Addams Family was filmed in Vancouver, Canada,
and ran for 65 episodes (one more than the original TV
series) during the 1998–1999 season on the then-newly
launched Fox Family Channel. Many storylines from the
5.2. THE ADDAMS FAMILY 193

original series were reworked for this new series, incorpo-
rating more modern elements and jokes. John Astin re-
turned to the franchise in some episodes of this series, albeit
as “Grandpapa” Addams (Gomez’s grandfather, a character
introduced in Addams Family Reunion). Pubert’s absence
in the new series (and possibly Addams Family Reunion)
was explained in an early episode when Wednesday men-
tioned that “There were three of us, but Pugsley ate the lit-
tle one.” The cast included Glenn Taranto as Gomez Ad-
dams, Ellie Harvie as Morticia, Michael Roberds as Fester,
Brody Smith as Pugsley, Nicole Fugere (the only cast mem-
ber from Addams Family Reunion to return) as Wednesday,
John DeSantis as Lurch, Betty Phillips as Grandmama and
Steven Fox as Thing.
the new sitcom’s Gomez, played by Glenn Taranto, is played
in the style of John Astin, who had played the character in
the 1960s. The only actors in this Warner Brothers produc-
tion to have played in the previous Paramount films were
Carel Struycken as Lurch and Christopher Hart as Thing.
Canceled film In 2010, it was announced that
Illumination Entertainment, in partnership with Universal
Pictures, had acquired the underlying rights to the Addams
Family drawings.[8] The film was planned to be a stop-
motion animated film based on Charles Addams’s original
drawings. Tim Burton was set to co-write and co-produce
the film, with a possibility to direct.[9] In July 2013, it was
reported that the film was cancelled.[10]

Feature films
Reboot On October 31, 2013, it was announced in
The Addams Family (1991) Main article: The Addams Variety that Metro-Goldwyn-Mayer will be reviving The
Family (film) Addams Family as an animated film with Pamela Pettler to
write the screenplay and Andrew Mittman and Kevin Mis-
In the 1990s, Orion Pictures (which by then had inherited erocchi to executive produce the film and are in final nego-
BermanBraun’s Gail Berman and Lloyd Braun
the rights to the series) developed a film version, The Ad- tiations with[11]
dams Family (released on November 22, 1991). Due to the to produce.
studio’s financial troubles at the time, Orion sold the US
rights to the film to Paramount Pictures.
Parodies

Addams Family Values (1993) Main article: Addams Two animated television spin-offs have been produced by
Family Values Hanna-Barbera Productions.

Upon the last film’s success, a sequel followed: Addams
Family Values (released on November 19, 1993, with
worldwide distribution by Paramount). Loosened content
restrictions allowed the films to use far more grotesque hu-
mor that strove to keep the original spirit of the Addams
cartoons (in fact, several gags were lifted straight from the
single-panel cartoons). The two movies used the same cast,
except for Grandmama, played by Judith Malina and Carol
Kane in the first and second films, respectively. A script for
a third film was prepared in 1994, but was abandoned after
the sudden death of actor Raúl Juliá.
Addams Family Reunion (1998) Main article: Addams
Family Reunion
• Mr. & Mrs. J. Evil Scientist, a family of fictional
characters inspired by The Addams Family appeared
on the Snagglepuss and Snooper and Blabber animated
television series beginning in 1959 and starred in their
own comic book.
• During the first season of the 1960s The Addams Fam-
ily television show, a Stone Age version of the Addams
Family called the Gruesomes moved next door to Fred
and Wilma in The Flintstones.
• Comedian Melissa Hunter wrote the Webseries Adult
Wednesday Addams, which is a comedy adaption of
the franchise.[12] Hunter was forced to remove the se-
ries due to copyright conflicts.

Another film, Addams Family Reunion, was released direct-

Video games
to-video on September 22, 1998, this time by Warner
Bros. through its video division. It has no relation to the
Paramount movies, being in fact a full-length pilot for a sec- Main article: The Addams Family (video game series)
ond live-action television version, The New Addams Family,
produced and shot in Canada. The third movie’s Gomez, Five video games released from 1989 to 1994 were based
played by Tim Curry, follows the style of Raúl Juliá, while on The Addams Family.
194 CHAPTER 5. OTHER

• Fester’s Quest (1989) was a top down adventure game The Addams Family Strikes Back The Addams Family
that featured Uncle Fester. Strikes Back by W.F. Miksch tells how Gomez plans to re-
habilitate the image of Benedict Arnold by running for the
• In 1992, two versions of The Addams Family were re- local school board. The tone and characterizations in this
leased by Ocean Software based on the 1991 movie; book resemble the TV characters much more closely than
an 8-bit version for the Nintendo Entertainment Sys- in the first novel. Cousin Itt appears as a minor character
tem, Game Boy, Sega Master System, Sega Game in this story, but as a tiny, three-legged creature rather than
Gear, ZX Spectrum and Commodore 64, as well as the hairy, derby-hatted character seen on television and in
a 16-bit version released for the Super Nintendo En- the movies. The novel was published in paperback form by
tertainment System, Amiga, Atari ST and Sega Mega Pyramid Books in 1965.
Drive/Genesis. ICOM Simulations published The Ad-
dams Family video game for the TurboGrafx-CD in
1991. The Addams Family: An Evilution Further information:
The Addams Family: An Evilution
• The games’ sequel, The Addams Family: Pugsley’s
Scavenger Hunt (1993), also by Ocean Software, was
The Addams Family: An Evilution is a book about the
based on the ABC animated series and was released
"evilution" of The Addams Family characters, with more
for NES, SNES, and Game Boy (although the latter
than 200 published and previously unpublished cartoons,
two were just 8-bit remakes of the first SNES game,
and includes text by Charles Addams and H. Kevin Mis-
swapping Pugsley and Gomez’s roles).
erocchi, Director of the Tee and Charles Addams Founda-
• Addams Family Values (1994) by Ocean was based on tion.
the movie’s sequel and returned to the style of game-
play seen in Fester’s Quest.
Advertising
• A Game Boy Color game was released in the 1990s
for promotion of The New Addams Family. The game In 1994, the actors cast as the Addamses in the first two
was simply titled The New Addams Family Series. In films (sans the recently deceased Raúl Juliá) were in several
this game, the Addams mansion had been bought by Japanese television spots for the Honda Odyssey.[14] The
a fictional company called “Funnyday” that wanted to Addamses—most prominently Gomez (for whom a voice
tear down the house and surrounding grounds to make actor was used to impersonate Juliá while footage from
room for an amusement park. Addams Family Values was seen) and Morticia—are seen
speaking Japanese.[15]
In 2007 and 2008, the Addams Family appeared as M&M’s
Pinball in an advertising campaign for M&M’s Dark Chocolate.[16]

Further information: The Addams Family (pinball)

A pinball game by Midway (under the Bally label) was re-
leased in 1992 shortly after the movie. It is the best-selling A CD compilation of the music from The Addams Family
pinball game of all time.[13]
Books
The Addams Family This first novelization of the tele-
vision series, written by Jack Sharkey, was released near
the end of the show’s second season. The book details the
family’s arrival in their new home and explains how it got
its bizarre décor. The arrival and origins of Thing are ex-
plained. Each chapter reads as a self-contained story, like
episodes of the television show. The novel concludes with
the Addams family discovering that their lives will be the
basis for a new television series. It was published in paper-
back by Pyramid Books in 1965.
Soundtrack
TV Series was released in 1981 featuring the theme song
from The Addams Family and each of the characters theme
music as well as incidental music from the TV series.
Musicals
The Addams Family (2010) Main article: The Addams
Family (musical)
In May 2007, it was announced that a musical inspired
by The Addams Family drawings by Charles Addams was
being developed for the Broadway stage. Broadway vet-
erans Marshall Brickman and Rick Elice wrote the book,
and Andrew Lippa wrote the score. Julian Crouch and
5.2. THE ADDAMS FAMILY
Phelim McDermott (Improbable theatre founders) directed [10] Debruge, Peter (July 17, 2013). “Illumination Chief Chris
and designed the production, with choreography by Sergio
Trujillo.[17] A workshop and private industry presentation
was held August 4–8, 2008. Featured in the cast were Bebe
Neuwirth as Morticia, Krysta Rodriguez as Wednesday, and
Nathan Lane as Gomez. In addition, Kevin Chamberlin
played Uncle Fester and Zachary James played Lurch.
The musical opened in previews at the Lunt-Fontanne The-
atre on Broadway on March 8, 2010, with an official open-
ing on April 8,[18] after an out-of-town tryout in Chicago
at the Ford Center for the Performing Arts from Novem-
ber 13, 2009 to January 10, 2010.[19][20] The cast in-
cludes Lane as Gomez, Neuwirth as Morticia, Terrence
Mann as Mal Beineke, Carolee Carmello as Alice Beineke,
Chamberlin as Uncle Fester, Jackie Hoffman as Grandma,
Zachary James as Lurch, Krysta Rodriguez as Wednes-
day, and Wesley Taylor as Wednesday’s love interest, Lucas
Beineke.[21]
5.2.3 Characters and portrayers
5.2.4 References
[1] Miserocchi, H. Kevin; Charles Addams (2010-03-31). The
Addams Family: An Evilution. Pomegranate Books. ISBN
978-0-7649-5388-0.
[2] Potter Kass, Christy (2010-10-13). “Westfield Native
Charles Addams Still Very Much a Part of his Home-
town; Addams Family Online Drawing Contest Ends Oc-
tober 20th”. TheAlternativePress.com. Retrieved 2010-12-
15.
[3] Jones, Chris (2009-12-10). "'The Addams Family' at Ori-
ental Theatre: In need of more 'Family' time”. Chicago Tri-
bune. Retrieved 2010-11-16.
[4] Austro-Bavarian/Yiddish: Lit. “little boy”
[5] Maslin, Janet (26 October 2006), “In Search of the Dark
Muse of a Master of the Macabre”, The New York Times:
E9, retrieved 2006-10-26
[6] Grant, Gavin J. (2000). “Ray Bradbury Interview Part 1”.
IndieBound. Retrieved 2010-12-04.
[7] MemorableTV.com. “The Addams Family Fun-House”.
MemorableTV.com. Retrieved 2010-12-04.
[8] Mike Fleming (2010-03-18). “Tim Burton’s Next 3D Ani-
mated Film? Da Da Da Da, Snap Snap: 'The Addams Fam-
ily'". Deadline. Retrieved 2010-07-10.
[9] Fleming, Mike (2010-08-19). “Tim Burton Reunites With
'Ed Wood' Scribes For 'Addams Family' And 'Big Eyes’".
Deadline. Retrieved 2010-11-16.
195
Meledandri Lines Up Originals for Universal”. Variety. Re-
trieved July 18, 2013. At the same time, Illumination has
scrapped a number of planned movie ideas. “Waldo” and a
Tim Burton-helmed, stop-motion “The Addams Family” are
dead. The company abandoned a Woody Woodpecker pic,
and couldn’t crack “Clifford the Big Red Dog.”
[11] ‘Addams Family’ Reborn As Animated Movie At MGM
(EXCLUSIVE)
[12] ‘Adult Wednesday Addams’
[13] Porges, Seth (2008-08-05). “Top 8 Most Innovative Pin-
ball Machines of All Time”. Popular Mechanics. Retrieved
2010-12-05.
[14] Pollack, Andrew (1994-10-17). “Honda Set to Play Catch-
Up in Mini-Van Market”. The New York Times. Retrieved
2010-12-04.
[15] paulafromtwoson (2007-03-25). “Japanese Car Commer-
cials”. Addamses: The Addams Family Archive. Retrieved
2010-12-04.
[16] TV Series Finale (2007-04-30). “The Addams Family: A
Spooky Yet Sweet Return”. TV Series Finale. Retrieved
2010-12-04.
[17] Jones, Kenneth (2007-05-21). “Go, Go, Go Gomez! Ad-
dams Family Musical, by Lippa, Brickman and Elice, In De-
velopment”. Playbill. Retrieved 2010-12-04.
[18] Jones, Kenneth (2009-12-29). “Zaks Is New Patriarch
of Addams Family; Previews Will Now Begin March 8”.
Playbill. Retrieved 2010-12-04.
[19] Jones, Kenneth; Gans, Andrew (2008-08-04). “Lane,
Neuwirth, Chamberlin, McCarthy and Arden Featured in
Addams Family Reading”. Playbill. Retrieved 2010-12-04.
[20] Gans, Andrew. “Addams Family Sings Together in NYC
Workshop of New Musical, With Lane and Neuwirth”, play-
bill.com, January 2009
[21] Jones, Kenneth. “Addams Family Musical to Star Lane,
Neuwirth, Carmello, Hoffman, Chamberlin and More”,
playbill.com, May 11, 2009
5.2.5 External links
• The Addams Foundation website
• The Addams Family (1937) at Don Markstein’s Toono-
pedia. Archived from the original on March 13, 2012.
• The Addams Family musical (official site)
• The Addams Family on TVLand.com.com
• The Addams Family on Tribe.net
196 CHAPTER 5. OTHER

• Interview with Lisa Loring (Wednesday) and Ken 5.3.3 Legacy

Weatherwax (Pugsley) on the podcast The Future and
You (behind the scenes on the television comedy The In 1976, Michael Mantler included a musical version of The
Addams Family) Doubtful Guest on his avant-garde album The Hapless Child
and Other Inscrutable Stories, with Robert Wyatt singing
• The Addams Family font the lead vocal.[6] In 2008, the Hoipolloi theatre company
adapted The Doubtful Guest for the stage, performing first
• The New Addams Family at TV.com
at the Watford Palace Theatre.[7] The Guardian called the
[8]
• The New Addams Family at the Internet Movie production “childlike, but not childish”.
Database

• The Addams Family Musical at the Internet Broadway 5.3.4 References

Database
[1] Gorey, Edward (1980). Amphigorey. New York: Berkley
Publishing Group. ISBN 9780399504334.

5.3 The Doubtful Guest
The Doubtful Guest is a short, illustrated book by Edward
Gorey, first published by Doubleday in 1957. It is the
third of Gorey’s books and shares with his others a sense
of the absurd, meticulous cross-hatching, and a seemingly-
Edwardian setting. The book begins with the sudden ap-
pearance of a strange creature in a turn-of-the-century
manor house. An aristocratic family struggles to coexist
with the creature, who is by turns despondent and mis-
chievous. By the final page, the guest has stayed for sev-
enteen years, and shows “no intention of going away”.
[2] The World of Edward Gorey. New York: Harry N. Abrams.
1996. pp. 22–27. ISBN 0810939886.
[3] Wilkin, Karen, ed. (2001). Ascending Peculiarity. New
York: Harcourt. p. 76. ISBN 0151005044.
[4] Gussow, Mel (17 April 2000). “Edward Gorey, Artist and
Author Who Turned the Macabre Into a Career, Dies at 75”.
The New York Times. Retrieved 27 October 2012.
[5] Wilson, Edmund (December 1959). “The Albums of Ed-
ward Gorey”. The New Yorker: 62–65.
[6] The Hapless Child and Other Inscrutable Stories at AllMusic.
Retrieved 1 June 2014.

5.3.1 Description [7] “Hoipolloi”. Retrieved 27 October 2012.

Like Gorey’s other works, The Doubtful Guest follows
the traditions of surrealism and nonsense verse. It con-
tains fourteen pages, each with an image and a rhyming
couplet.[1] Gorey began sketches and notes for The Doubt- 5.3.5 External links
ful Guest around 1955, referring to the story as “A Peculiar
Visitor”. The title eventually became “The Visit”, and fi-
nally “The Doubtful Guest”.[2] Gorey claimed the book was
intended for children, although Doubleday declined to re-
lease it as a children’s book.[3]
5.3.2 Reception
Edmund Wilson, in the 1959 New Yorker article that first
introduced Gorey to a wide readership,[4] wrote that The
Doubtful Guest was the first of Gorey’s books to give a full
picture of “the morbid Edwardian household”. Wilson de-
scribed the “black-bearded, towering” head of the family,
the Master, whose authority comes into conflict with the vis-
iting creature, “a kind of flat-headed bird, with short legs
and penguin wings”. The conflict, however, is never re-
solved: “there is no outcome to the story of the Doubtful
Guest”.[5]
[8] Gardner, Lyn (22 March 2008). “The Doubtful Guest”. The
Guardian. Retrieved 27 October 2012.
• LibraryThing
5.4 The Gashlycrumb Tinies
The Gashlycrumb Tinies: or, After the Outing is an
abecedarian book written by Edward Gorey that was first
published in 1963. Gorey tells the tale of 26 children (each
representing a letter of the alphabet) and their untimely
deaths in rhyming dactylic couplets, accompanied by the
author’s distinctive black and white illustrations. It is one of
Edward Gorey’s best-known books,[1] and is the most noto-
rious amongst his roughly half-dozen mock alphabets.[2] It
has been described as a “sarcastic rebellion against a view
of childhood that is sunny, idyllic, and instructive”.[2] The
morbid humor of the book comes in part from the mun-
dane ways in which children die, such as falling down the
5.4. THE GASHLYCRUMB TINIES 197

The Gashlycrumb Tinies (1963)

stairs or choking on a peach. Far from illustrating the dra-

matic and fantastical childhood nightmares, these scenarios
instead poke fun at the banal paranoias that come as a part
of parenting.[3]

5.4.1 References
[1] Tina Kelley (2000-04-16). “Edward Gorey, Eerie Illustrator
And Writer, 75”. New York Times. Retrieved 2013-11-05.

[2] “The Post-Modern Alphabet: Extending the Limits of

the Contemporary Alphabet Book, from Seuss to Gorey”.
Project MUSE. doi:10.1353/chq.0.0838. Retrieved 2013-
11-05.

[3] “Edward Gorey, Children’s Literature, and Non-

sense Verse”. Project MUSE. 2000-04-15.
doi:10.1353/chq.0.1442. Retrieved 2013-11-05.

5.4.2 External links

• Worldcat listing for The Gashlycrumb Tinies

• Popova, Maria. “The Gashlycrumb Tinies: A Very

Gorey Alphabet Book”. – showing all the illustrations.
Chapter 6

Text and image sources, contributors, and

licenses

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6.1. TEXT 199

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debot, Treybien, P64, Lord Opeth, Yobot, Narthring, Fortdj33, Kwanhonluen, Fireflyer87, Shire Reeve, Verdancia, Elaqueate, Cscutellaris and
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Gerard, Chaneski, MakeRocketGoNow, Discospinster, Abstrakt, Woohookitty, Eubot, Pigman, SmackBot, Grey Shadow, Kevinalewis, Sadads,
Atf487, Dmoon1, Coelacan, Aruffo, Midnightdreary, Breed Zona, Pharaoh of the Wizards, GrahamHardy, Shortride, Mercurywoodrose, An-
gelOfSadness, Randy Kryn, ClueBot, TheOldJacobite, DragonBot, Good Olfactory, Addbot, Yobot, IMC.esq, Citation bot, LivingBot, Fortdj33,
CobraBot, ZéroBot, Daonguyen95, ClueBot NG, Galilsnap, Cbbkr, Greatbiggummybear, Fylbecatulous, Tow, Sriharsh1234, Kevin12xd,
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Sjc, BenBaker, XJaM, Rmhermen, Deb, KF, Olivier, Stevertigo, Patrick, Michael Hardy, Ixfd64, Gaurav, Eric119, Ahoerstemeier, Darkwind,
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Andy, Jao, Pretzelpaws, Amanda Rose, Tom harrison, Everyking, No Guru, Gamaliel, Loui Da Boss, Chips Critic, Gracefool, Bobblewik, Ku-
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Fred Stober, Rdsmith4, Girolamo Savonarola, DragonflySixtyseven, CBDroege, Karl-Henner, Yossarian, Gscshoyru, Joyous!, Ehamberg, Wiki-
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6.1. TEXT 201

Wrp103, Ld, YUL89YYZ, Lulu of the Lotus-Eaters, Arthur Holland, Pavel Vozenilek, Paul August, ESkog, Fatal, Kaisershatner, Aecis, Lord-
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Someoneinmyheadbutit’snotme, Redvers, TheCoffee, Embryomystic, Panchurret, BerserkerBen, Dismas, Mahanga, Stephen, Lkinkade, Helen
woods, Bobrayner, BadLeprechaun, Angr, Richard Arthur Norton (1958- ), Kwip, The JPS, Firsfron, Alvis, Woohookitty, Bjones, Mindmatrix,
Skylap, LOL, A.K.A.47, TDude695, MrDarcy, Astrowob, Miss Madeline, Apokrif, Tbc2, Didymus, Cbustapeck, Shadowkhas, MatthewUND,
StuartGilbert, GalFisk, Terence, Mangojuice, Astanhope, Southwest, Scm83x, Male1979, Waldir, Crazysunshine, TheEvilBlueberryCouncil,
Gidyn, Paxsimius, Mandarax, Graham87, Deltabeignet, Ashandarei, RxS, Edison, Canderson7, Sjö, Rjwilmsi, CyberGhostface, Vary, Josiah
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sian Poet Gal, Trampikey, Iain.dalton, Donbas, Ruddygnome, Anchoress, Greatgavini, Roscelese, The Rogue Penguin, Thunder Cat, Sadads,
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Paul Slocum, Dream out loud, Pwjb, Black Butterfly, Michaelrccurtis, El yorfo, Bronzie, BNLfan53, RiordanIX, Das Baz, EdGl, RyGuy17,
Archivian, Fireswordfight, Pilotguy, Ged UK, Ohconfucius, Lambiam, Stainbank, Xdamr, Nidis, Visium, Petr Kopač, Ser Amantio di Nicolao,
Csladic, Mouse Nightshirt, AmiDaniel, Scientizzle, Josephheskett, Nejee16, NewTestLeper79, Sir Nicholas de Mimsy-Porpington, Shlomke,
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TicketMan, Corpx, Lugnuts, Zomic13, Yeanold Viskersenn, BTNH, Chrislk02, Ward3001, Prodigenous Zee, Gustavoadams, Xxmarka, Casliber,
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RobotG, David Rush, Zedowns, Luna Santin, Why My Fleece?, Bitbitz.xx, Seaphoto, Turlo Lomon, Opelio, Ozzieboy, Shirt58, Autocracy,
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JAnDbot, Jimothytrotter, DuncanHill, MER-C, Janejellyroll, Robina Fox, Power Slave, Db099221, Midnightdreary, OhanaUnited, Jmrichard-
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laditis, Conanfan1412, Connormah, Xtremeblur, Bongwarrior, VoABot II, AlphaPhoenixDown, Facer, Hiho303, Realg187, Brandt Luke Zorn,
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tchrenojz, Jonathan ass, Newsteadgirl, Rob Pommer, WatermelonPotion, Wiggstar69, Truthanado, Citymovement, LAjestar, Xtmnxzombiex,
Sacularamacal13, Planet-man828, Tvinh, Eloc Jcg, Saintmental, GreaterWikiholic, SieBot, Yorozu, Coffee, Yoda317, Tiddly Tom, Euryalus,
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37, The Thing That Should Not Be, Rjd0060, Mike Klaassen, Smadxs, Drmies, TheOldJacobite, Hafspajen, Mezigue, CounterVandalismBot,
Harland1, LizardJr8, Orthoepy, Dylan620, The 888th Avatar, Neverquick, Grandpallama, Mendizi, Jack..Merridew, Kd23ballinn, Aegiswings,
Excirial, -Midorihana-, Jusdafax, Happytony, Robbie098, Dharmabum5801, Jnate19, 988king, Gore gore gadget, Tjmage1, NuclearWarfare,
Cenarium, Terra Xin, Rvn1966, Titan50, Aaronkavo, Fresheze13, Deoli1, Philkeeling, Project FMF, Needslevel, John JD Doe, Ross CJ, Ertem-
plin, Porridgebowl, Jester5x5, Ubardak, Glacier Wolf, Tdslk, TKMcClark, DumZiBoT, Sumo.si, Boleyn, BradJ47, Jonf 98, Comandercool07,
XLinkBot, Tarheel95, Imagine Reason, Ljmd81845, Jeff12345678, Ljmd123456789, WillOakland, Avoided, Mitch Ames, Doc9871, Ccaspar,
Alexius08, Noctibus, ZooFari, Duffbeerforme, Airplaneman, Shoemaker’s Holiday, Thatguyflint, Anticipation of a New Lover’s Arrival, The,
Smarchand11, Therunningparsnip, Addbot, American Eagle, Mthwaite, Bobbyjoe123456, Matthew2414, Kukkioret, Some jerk on the Inter-
net, Jimjonjakob, Fyrael, Linen79, WilliamMThompson, Freefall osx, ProfessorAdelheid, SpellingBot, Ronhjones, Bigboytbh~enwiki, Wob b,
Shizenheimer, Damiens.rf, Alex deathstroke, Moerschinesisch, Ruingaraf, Glane23, Foxcloud, Fottry55i6, Spiffynaor, Debresser, Favonian,
Devadatta, West.andrew.g, 5 albert square, Peti610botH, Shanghaij13, Tide rolls, MZaplotnik, Lightbot, OlEnglish, Echoes134, Luckas-bot,
Yobot, Granpuff, The Grumpy Hacker, SandlaeorsZ, Leedsrhinos325, DropShadow, Deathkami, AnomieBOT, Remytraitor, Bsimmons666,
Piano non troppo, Proevaholic, Aditya, Panther991, Kingpin13, EryZ, Tymo77, Outerspaceman21, Bluerasberry, Materialscientist, Barriodude,
ArthurBot, Obersachsebot, MauritsBot, Xqbot, Jan olieslagers, Jdr360, Aquila89, Musicguyguy, TechBot, Jeffrey Mall, Millahnna, Nikofeelan,
PanacheCuPunga, Tad Lincoln, Hannah Abbott, Gludd2, Jack4937, Tyrol5, Unscented, Kithira, Millelacs, Anonymous from the 21st cen-
tury, Soragaara, Seeleschneider, Gui le Roi, 78.26, Bobicmon, Razr95, Green Cardamom, Captain-n00dle, Exxon101, FrescoBot, Feneeth of
Borg, Surv1v4l1st, Liquidluck, Hslibrarygal, Vinithehat, Jacobr1020, Skipjack820, TunaStreet, Kwiki, DivineAlpha, Zapper469, Hamburger-
Radio, Pshent, Tdf4638, DrilBot, Taeyebaar, Pinethicket, I dream of horses, Elockid, 10metreh, Calmer Waters, BRUTE, Learninghistoryman,
Île flottante, Isofox, Footwarrior, Pompous Trihedron, Jeffreyg2009, Liamguy01, Turian, AngelicaAgurbash, White Shadows, Irbisgreif, Af-
sarhuda, Chachap, Anonym Anonymous, Notherrealname, Vrenator, James0702me, Joey1978, Begoon, Bluefist, CobraBot, Antipastor, Volke
Locke, Kenny Gill, Diannaa, Vanished user aoiowaiuyr894isdik43, Suffusion of Yellow, PleaseStand, Tbhotch, Minimac, DARTH SIDIOUS
2, Zslap, Whisky drinker, Bento00, The Sims 3 is awesome, Dlambe3, MMS2013, Ripchip Bot, Deagle AP, DASHBot, Blingring, Quack-
OutLoud, EmausBot, Gfoley4, Ajraddatz, Heracles31, Haon 2.0, Hotsummer 9, GoingBatty, PoeticVerse, SofiePedersen, Minimac’s Clone,
Tommy2010, Challisrussia, Wikipelli, Fæ, Traxs7, Greatgabriel, Mushroomlover889, Bogusman123, Gumz14, Ilikeballs23, Azuris, Marlgryd,
Ὁ οἶστρος, Nick Soutter, Redbone360619, Gabithefirst, Wayne Slam, OnePt618, Porkins300, Demiurge1000, Jaytao, Augurar, L Kensing-
ton, Davidflemingdog, Davstreetinfo, Thefishman1987, Ever.anon, DavidBatesonFan, ChuispastonBot, Templets, DASHBotAV, Georgemc98,
Pancea, Ktz2014, Shined Ice, Politics2012, Lilmexican890, ClueBot NG, Clifton137, Jizzlewits, FilmFan2011, Eric81782003, TehAnony-
mous, Sking68936, AlexDeLargeisHere, Adwiii, Kasirbot, Rezabot, Gongfat, Soccernets, Cleo20, Ninja Diannaa, KH1MOVIE, ImortalSk1ll,
Jmhachey, MerlIwBot, Jorgenev, AbyssOfFate, Revolvy, Helpful Pixie Bot, Treepow, AaronzAccount, Damoisanerd, Gothicfilm, Triplelol123,
GlambertCriss, SchroCat, N0kT3RN41, BG19bot, Ajajane77, Pontuskóngur, Carwyn101, Iamgod323242, Georgina007, Greenpony02, Gen-
eraal klei, Player017, JPM513, Ollieinc, Tomertreves, Sk8erPrince, Simon is Jesus, DoctorKubla, SNAAAAKE!!, Packer1028, Zsasz198, Br'er
Rabbit, Herve Reex, Editroid, Ekips39, Paleface Jack, Vladismeer, Blurrim, Dbezan, ArchPope Sextus VI, Kwen4758, Monkbot, Zacwill,
Rfobs70, Jluscombe, KasparBot, Knife-in-the-drawer and Anonymous: 2030

• The House with a Clock in Its Walls Source: https://en.wikipedia.org/wiki/The_House_with_a_Clock_in_Its_Walls?oldid=677329721 Con-

tributors: David Gerard, Kelly Martin, Geoduck, Hibana, Johndarrington, Pegship, Closedmouth, Lochdale, Grey Shadow, Chuck cunningham,
CmdrObot, BRDave01, Sewnmouthsecret, Robina Fox, Dantès, Estmere, Rivertorch, Gurchzilla, GrahamHardy, MuzikJunky, Auntof6, Razor-
flame, Wlornten, Addbot, Queenmomcat, Lightbot, AmeliorationBot, Mann jess, Ὁ οἶστρος, NJMay, ClueBot NG, Karpenko gleb, Coolaba-
happle and Anonymous: 31

• The Invisible Man Source: https://en.wikipedia.org/wiki/The_Invisible_Man?oldid=689293203 Contributors: Vicki Rosenzweig, Mav, Zoe,
Heron, Modemac, Patrick, TakuyaMurata, Paul A, Goblin, Leanne, Jay, Zoicon5, Val42, Shizhao, Jeffq, Bearcat, Mirv, Rfc1394, Davodd,
Amcox, David Gerard, Martinwguy, Everyking, ZeroJanvier, Mboverload, ShakataGaNai, Oneiros, Kuralyov, Burschik, Oknazevad, Hum-
blefool, MakeRocketGoNow, DmitryKo, Gachet, Deadlock, CannedLizard, Rich Farmbrough, Dave souza, Antaeus Feldspar, ESkog, RJHall,
Mr. Billion, DS1953, Mwanner, Shanes, Adambro, Bobo192, 23skidoo, Anonymous Cow, Gary, Philip Cross, Bathrobe, WhidbeyIslander,
Crablogger, Tycho, Drat, CinnamonCinder, SteinbDJ, Redvers, Notcarlos, Flyingcheese, Bacteria, Simetrical, Woohookitty, PatGallacher,
Mark K. Jensen, Before My Ken, GregorB, Male1979, Mandarax, Rachel1, Tim!, Nightscream, DynSkeet, Josiah Rowe, MarnetteD, Platy-
pus222, Kevmitch, SGCommand, Tysto, LeCire~enwiki, Arcoddath, YurikBot, Koveras, Kinneyboy90, Gregalodon, Michael Slone, Hydrar-
gyrum, Gaius Cornelius, Kyorosuke, Friday, Mosquitor, Brother William, Mikeblas, RL0919, Eberts, Tony1, Zwobot, Todeswalzer, Silverhill,
Jessek, Ncsaint, Red Jay, Tiffanicita, Piecraft, Sugar Bear, Allens, Fawkes~enwiki, JDspeeder1, AndrewWTaylor, SpLoT, SmackBot, Focal-
Point, Zazaban, Ptta, Unyoyega, Jab843, Canonblack, AdamCarden, Gilliam, Ohnoitsjamie, Kevinalewis, Bluebot, Master of Puppets, Stevil84,
Miquonranger03, RayAYang, Sadads, Junius49, Shiek927, George Ho, Egsan Bacon, Sephiroth BCR, Benjamin Mako Hill, Michelleyy, Kukini,
Elvis TR, Ohconfucius, JavaKid, Ser Amantio di Nicolao, Nareek, AmeriCan, John, Catapult, Shlomke, Number36, IronGargoyle, Grand-
pafootsoldier, 2T, JimStyle61093475, Doczilla, David.alex.lamb, Quaeler, Marshall Stax, Iridescent, Torourkeus, TwistOfCain, Clarityfiend,
Enter Movie, GMcGath, Starhunterfan, Courcelles, Amniarix, Zotdragon, CRGreathouse, CmdrObot, AlbertSM, Freddie R. Aldous, Queen-
Stupid, Penbat, Preacherdoc, Cydebot, Aristophanes68, Calvacadeofcats, Zginder, Jon Stockton, JiangWei23, Lalli, Pufnstuf, AlexFoster, Zalgo,
JamesAM, Thijs!bot, Colin4C, N5iln, Dmitri Lytov, Scottandrewhutchins, AntiVandalBot, Turlo Lomon, Modernist, Darklilac, Chill doubt,
Campaigner80, Res2216firestar, Andrzejbanas, Planetary, Robina Fox, Awilley, TAnthony, PhilKnight, MegX, Penubag, Bongwarrior, VoABot
II, JNW, ***Ria777, Tajik24, Nick Cooper, Shame On You, Tommr, DerHexer, Simon Peter Hughes, Patstuart, Arjun01, Kiore, Q Original,
Arctic watcher, Nono64, J.delanoy, Trusilver, Ginsengbomb, Itachi1452, JayJasper, Wyvern642, Jask99, DorganBot, WizardDuck, TheNew-
Phobia, Saikokira, Storyliner, Malik Shabazz, Deor, ABF, Philip Trueman, Andrew the Shonen, Reodor, Vanished user ikijeirw34iuaeolaseriffic,
Skigal95, BBCOFFEECAT, TH3H4X, Ktyler5618, Psyche825, Snowbot, RaseaC, Spartacus106, Magiclite, Metalunamutant, Brianga, Ow my
brain!, WereSpielChequers, Jack Merridew, Phe-bot, Jinglebells2008, Flyer22 Reborn, Oda Mari, Hxhbot, Ophois, Goustien, PauloIapetus,
NBS, Chazbutcher, Hoplon, Atif.t2, Martarius, ClueBot, The Thing That Should Not Be, MMetro, Whatthe-−421, Unbuttered Parsnip, Mabzilla,
CounterVandalismBot, Niceguyedc, Trivialist, Enrico Dirac, Eddie’s Teddy, Ziko, Sun Creator, Masked Mutant, Maniago, Thehelpfulone, Gra-
6.1. TEXT 203

hamDo, Tom Tresser, Skunkboy74, Stickee, Ost316, WikHead, Peetred, XxGogetaSS4, Good Olfactory, Addbot, Crazysane, Soundout, Ron-
hjones, CanadianLinuxUser, Fluffernutter, Chzz, Debresser, Favonian, Proxxt, Tassedethe, Tide rolls, Mtminchi08, Austro, Krano, Gail, UPS
Truck Driver, Ben Ben, MrMontag, Yobot, TheMovieBuff, Korekta, Jim1138, Ulric1313, Materialscientist, DepthKing, Geregen2, LilHelpa,
Capricorn42, Stagesonnine, LAT666, Winterwater, FreeKnowledgeCreator, Dhtwiki, DivineAlpha, Kandeerlej, Serols, Juankv, Dac04, T Dot
SoleJah, Reconsider the static, Walkingtalkingmammal, Lotje, Warrah, Brian the Editor, Tbhotch, Alex Ji LT-21, DARTH SIDIOUS 2, Mean
as custard, Midnightman125, MickClofinZD, Schwanstabilo, DASHBot, EmausBot, Domesticenginerd, JeffreyAylesworth, Dewritech, Going-
Batty, Wikipelli, Evanh2008, John Cline, Josve05a, Anir1uph, Alpha Quadrant (alt), Uniltìranyu, Bamyers99, Ian Rastall, Rcsprinter123, Bill
william compton, Petrb, ClueBot NG, Cwmhiraeth, Gareth Griffith-Jones, BarbieTank, Gilderien, Izzykay, Reg porter, Антон патріот, Widr,
Antiqueight, Titodutta, Snug Rug, DBigXray, MakiSky, Robert the Devil, Alishahss75ali, Saharsh Anand, Loriendrew, Klilidiplomus, Nicrorus,
Mogism, Jo-Jo Eumerus, Gribnif, Louis gin, Bazinga64, Kap 7, FiredanceThroughTheNight, Sakthithehelper, Babitaarora, BuzzJr, Basontony,
Tunchi44, Lefebvrian, Jaqoc, TimoleonWash, Tawheed ahmed, Hbow06, ScrapIronIV, Rodrick rajive lal, Sterlite7, Quivico, K scheik, Tanvi
Anand, Mgonnacrazy, Mudduism, Bullets and Bracelets, 3 of Diamonds, Crossleague, 2bcd and Anonymous: 512
• The Babysitter (novel series) Source: https://en.wikipedia.org/wiki/The_Babysitter_(novel_series)?oldid=690012285 Contributors: Walter
Görlitz, Prashanthns, Wavelength, Pegship, PeterSymonds, Sadads, Twas Now, CmdrObot, Neelix, Lugnuts, TFunk, Indubitably, Lots42, Ay-
matth2, Flyer22 Reborn, Phil Bridger, Airplaneman, Jojhutton, Valkrie1496, 5 albert square, NeoBatfreak, Yobot, AnomieBOT, Josh M 03,
TayyabSaeed, Fearstreetsaga, Burmiester, ClueBot NG, Thedude346, JPV555, Kamy099, Khazar2, Shaun9876, OccultZone, Coolabahapple
and Anonymous: 29
• The Thief of Always Source: https://en.wikipedia.org/wiki/The_Thief_of_Always?oldid=680582884 Contributors: Emperor, Darkwind,
MikeCapone, Discospinster, Xezbeth, RJHall, Lectonar, Myleslong, Tabletop, Rjwilmsi, Yamamoto Ichiro, Apokryltaros, Irishguy, Seanny-
Funco, Pegship, SmackBot, Rosicrucian, Grey Shadow, HalfShadow, Kevinalewis, Tyciol, Sadads, Ohconfucius, Minaker, John, Boomshadow,
Iridescent, Bobamnertiopsis, George100, Serpent-A, Robina Fox, TAnthony, Waacstats, Sam ware, J.delanoy, GrahamHardy, Nouser-
namesleft, Technopat, Prezcole, BigMoose22, Madyokool, ClueBot, The Thing That Should Not Be, Osm agha, Excirial, Alexbot, Rayquaza-
DialgaWeird2210, Morel, Thingg, AgnosticPreachersKid, Mm40, Addbot, Puppygal, Yobot, Ptbotgourou, Intothewoods29, AnomieBOT,
Aidarhaynes5, E0steven, Fortdj33, Harmonia Amanda, Jarmitag3, Onel5969, Winner 42, Mz7, NathanielTheBold, ClueBot NG, Helpful Pixie
Bot, Breckham101, DBigXray, Typukatch, Shallowgravy, Swidler, Tobobo1, Ranze, One Of Seven Billion, Robevans123, Itsmehere 1999 and
Anonymous: 103
• The Witches (book) Source: https://en.wikipedia.org/wiki/The_Witches_(book)?oldid=687656507 Contributors: Gaurav, Tregoweth, Raj
bhaskar, Charles Matthews, Pakaran, Skybunny, Jni, Kizor, R3m0t, Timrollpickering, Mervyn, Walloon, Ludraman, David Gerard, Fastfission,
HangingCurve, MakeRocketGoNow, RevRagnarok, Discospinster, Paul August, CanisRufus, J. Passepartout, Ziggurat, Disneyfreak96, Arthena,
Avenue, ReyBrujo, Tournesol, Pcpcpc, Firsfron, Woohookitty, Before My Ken, JBellis, Miss Madeline, Mandarax, Stromcarlson, Rjwilmsi,
ZanderSchubert, Husky, David L Rattigan, Bgwhite, YurikBot, Phantomsteve, RussBot, Icarus3, Gaius Cornelius, Jenblower, Speed demon,
Nick, RFBailey, CLW, Caerwine, Pegship, CapitalLetterBeginning, Bdve, Mike Teavee, SmackBot, H2eddsf3, Chris the speller, Columba livia,
Miquonranger03, Bluquail, Colonies Chris, NYKevin, Derek R Bullamore, Ohconfucius, Siva1979, Yip1982, MagicPath111, Cbrown1023,
Zotdragon, Ale jrb, Drinibot, Runningonbrains, Cydebot, Alex1ioannou, Jienum, Borheinsieg, Christian75, Univalonso, Rsage, Counter-
revolutionary, John254, TFunk, Hmrox, RobotG, WinBot, Bakabaka, RR, Stardotboy, VoABot II, P64, Mica fr, 28421u2232nfenfcenc, Ben-
jaminjoel, Lkc159, Rettetast, LedgendGamer, Alfonschoubek, Tony360X, Thismightbezach, GrahamHardy, Sajjen, RiverStyx23, Feudonym,
Enviroboy, Wsanders, Matthew Yeager, Smsarmad, Bxn1358, Srushe, Flyer22 Reborn, Ophois, Hop Black, Goustien, Sutjo-18005, Hobar-
timus, Diego Grez-Cañete, Escape Orbit, Tripod86, DocRocktopus, Henry Merrivale, ClueBot, Jackollie, Fyyer, All Hallow’s Wraith, Sinandls,
Estevoaei, Strawberriiiiiiii, Read lola read, Tk420, EivindJ, GFHandel, December1227, SoxBot III, Cromage, Hotcrocodile, DrOxacropheles,
Rror, DjangoXOtenko, Sportyman, Little Mountain 5, Drakonik, Addbot, Non-dropframe, Wanna.see.maya.d, Heather-Grace, TutterMouse,
CanadianLinuxUser, Fluffernutter, Doniago, 5 albert square, Tide rolls, Lightbot, ‫ماني‬, Krly13, Frehley, Math Champion, Yobot, Fraggle81,
Reenem, Backslash Forwardslash, AnomieBOT, Jim1138, Materialscientist, Smellycat1233, Iann Lee, ThunderCatsFan, Yeegh, Sir Stanley,
OJSlaughter, Omnipaedista, RibotBOT, Mathonius, SD5, FrescoBot, Tekone Yoshimori, HJ Mitchell, I dream of horses, DANE YOUSSEF,
MastiBot, AnitaFritz, CobraBot, Tbhotch, Wonne, The Utahraptor, Dryranm, AleHitch, Federollo, EmausBot, Orphan Wiki, WikitanvirBot,
User192, Somebody500, Wikipelli, K6ka, Unreal7, SporkBot, Rcsprinter123, L Kensington, Mjbmr, Android the Andrew, Mjbmrbot, ClueBot
NG, Gareth Griffith-Jones, Jack Greenmaven, This lousy T-shirt, Satellizer, JasonSoleil, Rezabot, Widr, Ethan1994, Miloflame123, Writer-
chic99, MerlIwBot, Helpful Pixie Bot, Bobmobbob, DBigXray, JustPotteringAround, Glacialfox, Valeria13118, FlyRyanair, Bluesister908,
Khazar2, SNAAAAKE!!, Soni, Webclient101, Mogism, Saul Grant, Rettelo, Herve Reex, Jinjibïar, VanishedUser 2313214sad1, TonyFHQ214,
Wiki4Blog, Ginsuloft, Quentin Svenson, Carlos Rojas77, Melcous, Wikipedian 2, Paigem9097, Shaunjh and Anonymous: 355
• The Turn of the Screw Source: https://en.wikipedia.org/wiki/The_Turn_of_the_Screw?oldid=688273879 Contributors: Bryan Derksen, Deb,
SimonP, Corycian, Jahsonic, Menchi, Ihcoyc, Zannah, Charles Matthews, Ed g2s, DavidA, Chrism, LGagnon, Mandel, David Gerard, DocWat-
son42, Everyking, Dratman, Beardo, Iota, SWAdair, Edcolins, Andycjp, R. fiend, Ruzulo, DragonflySixtyseven, Necrothesp, Gachet, RJHall,
Gershwinrb, CDN99, Rje, REwhite, Kbgeek, Arthena, AndreasPraefcke, BaronLarf, Uucp, Runtime, Brookie, Angr, Woohookitty, Jason Pal-
patine, Jburnette, Laurap414, Jcomp489, Casey Abell, Canderson7, AySz88, FlaBot, DrG, The Shadow Treasurer, Laurentius, Chensiyuan,
TopAce~enwiki, Rick Norwood, Grafen, RL0919, Slicing, Crisco 1492, Alarob, Nikkimaria, Ukslim, The Yeti, PKtm, KnightRider~enwiki,
SmackBot, Arjay369, Gilliam, Ohnoitsjamie, Kevinalewis, Squiddy, Sadads, TheLeopard, J. Spencer, Toughpigs, Emurphy42, Robert Stephen
Spiegel, Can't sleep, clown will eat me, Sommers, GuillaumeTell, Gildir, CFLeon, John, DetailsDetails, Poggie11, Notmicro, Beckerb, Makyen,
Stephenbeachy, Redeagle688, Hu12, Iridescent, Ewulp, Courcelles, Winston Spencer, J Milburn, Einstein runner, Drinibot, Cydebot, Kirkesque,
Treybien, Jlpspinto, Smiteri, JamesAM, Malleus Fatuorum, Thijs!bot, Epbr123, Biruitorul, TonyTheTiger, Edwardx, JustAGal, Farrtj, Matthew
Proctor, Acampbell1953, Thelongroad1980, Nicholas0, Chubbles, U-Mos, Modernist, Klow, MER-C, East718, Doctorhawkes, Magioladitis,
Dsbuchalter, Charlyz, Froid, Nick Cooper, Bubba hotep, Antmusic, Twinofvoss, Jaboles, PhantomS, MartinBot, Jeendan, Artemis-Arethusa,
Smashman2004, Squidward247, J.delanoy, Captain Infinity, Bassthought, Jon Ascton, JayJasper, Student7, GrahamHardy, Deor, Tumblingsky,
Donimo, Bruno in Columbus, Seresin, Hburdon, MrandMrs, Redfiona99, NotHardcore, Wik4, GrantAdam, Jack1956, Wahrmund, MillyBilly,
Martarius, Keraunoscopia, Blanchardb, Grandpallama, Alexbot, Iner22, Tenar80, Bproman, BOTarate, 9Nak, Aerovistae, Zombie433, Dana
boomer, Bellwether BC, SoxBot III, DumZiBoT, XLinkBot, Placemats.galore, Yoshi thomas, BiblioteKarin, Addbot, Barsoomian, Moving-
boxes, MrOllie, Debresser, Tassedethe, MZaplotnik, Lightbot, Yobot, Victoriaearle, Supremecourt101, Hinio, AnomieBOT, Aditya, Xqbot,
204 CHAPTER 6. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Capricorn42, Doubtintom, LucienBOT, JohanNilsNagel, Þjóðólfr, I dream of horses, Killersax, Ravensburg13, Tammyflava, NickVertical, Co-
braBot, Canuckian89, RjwilmsiBot, Salvio giuliano, Cl;nintendods, Everything Else Is Taken, ZéroBot, Roy singleton, JackHeslop91, Ballen-
stedter, Tweeks10, BartlebytheScrivener, J An, ClueBot NG, Wukai, Kikichugirl, Omegahype, Kasirbot, Gangoos, TooHuger, Sangraggan-
guli, BG19bot, JonBAnderson, Dexbot, Alsamont, Quenhitran, MagicatthemovieS, Robevans123, JaconaFrere, Warrfree, LawrencePrincipe,
Danielchilton92, Jonathan Markoff, Dd7781, KasparBot and Anonymous: 224

• The Legend of Sleepy Hollow Source: https://en.wikipedia.org/wiki/The_Legend_of_Sleepy_Hollow?oldid=690315422 Contributors: Bryan

Derksen, Ap, Someone else, Frecklefoot, Paul A, SebastianHelm, Susurrus, Sethmahoney, Conti, Timc, Nricardo, Stormie, Scott Sanchez,
Wetman, Bearcat, Pigsonthewing, Chris 73, Postdlf, Binky, Walloon, David Gerard, Nunh-huh, Geeoharee, Curps, Apoivre, Eiaccb, Andy-
cjp, Gdm, Litalex, Piotrus, Rdsmith4, DragonflySixtyseven, MakeRocketGoNow, The stuart, Kate, AliveFreeHappy, Diagonalfish, Discospin-
ster, Rich Farmbrough, Stbalbach, Polynova, KrJnX, Smalljim, B Touch, Darwinek, SHC, Sam Korn, Zachlipton, Alansohn, PaulHanson,
Arthena, CyberSkull, James Russiello, SidP, RHaworth, Robert K S, SDC, Kevind81, Alloy, Cuchullain, Canderson7, CyberGhostface, Cap-
tain Disdain, Vegaswikian, Kh80, NeonMerlin, Matt Deres, Yamamoto Ichiro, RexNL, Gurch, LeCire~enwiki, NetAddict, King of Hearts,
Bgwhite, Gwernol, Cornellrockey, YurikBot, Wavelength, Wimt, Rjensen, DarkFireTaker, Apokryltaros, Mosquitopsu, THB, InvaderJim42,
Obi-WanKenobi-2005, SilentC, Nikkimaria, Closedmouth, Mike Selinker, Sean Whitton, ArielGold, Allens, SmackBot, Hydrogen Iodide, Un-
yoyega, Jab843, Janneman, HeartofaDog, Gilliam, Kevinalewis, Guess Who, Pietaster, Master of Puppets, Afasmit, Balin42632003, Sadads,
Keith Paynter, Gyrobo, Can't sleep, clown will eat me, Nixeagle, Dmoon1, Davefilms, Mr.Z-man, Phaedriel, Oanabay04, RossF18, Cbas-
tian~enwiki, KaaSerpent, Coastergeekperson04, JoshuaZ, Stoa, Mr Stephen, TastyPoutine, Ryanjunk, Hu12, Tmangray, Vlipvlop, Zotdragon,
JForget, Ali strachan, Sir Vicious, Crazy crisco, KingPenguin, Treybien, Flowerpotman, Corpx, DumbBOT, Daven200520, JodyB, Thijs!bot,
Epbr123, Pinaki ghosh, TonyTheTiger, John254, James086, JustAGal, GX999, Krevans, Dawnseeker2000, Scottandrewhutchins, AntiVan-
dalBot, RobotG, Hotwheels53, Goldenrowley, Jj137, Manushand, Modernist, Revry, Zatchmort, Res2216firestar, Milonica, Leuko, Midnight-
dreary, Kirrages, Canjth, VoABot II, Scanlan, Darkstknight1523, Twinofvoss, Monsumo, Interrobamf, MartinBot, Cputrdoc, IBHMC, J.delanoy,
Nonstop664, Justinkim, USN1977, Aqwis, NatureBoyMD, AdamBMorgan, Mdumas43073, Kslansky, Capitaldsi, Gamerxl, Straw Cat, Malik
Shabazz, Deor, 28bytes, VolkovBot, Eblem, Rafey2, LeilaniLad, Philip Trueman, Lumisscell, Zidonuke, Anonymous Dissident, Graywand,
TonyPS214, Softlavender, Vchimpanzee, KevinalewisBot, Tvinh, NHRHS2010, Yngvarr, StAnselm, Ttony21, OberRanks, Malcolmxl5, Jab-
baTheBot, Jctenor, Flyer22 Reborn, Socal gal at heart, Smilesfozwood, Cookies 408, Baseball Bugs, Macy, G.-M. Cupertino, Xaver David, Randy
Kryn, Beemer69, Brombones, Soundsmith, Jerrycrt, ClueBot, Binksternet, Mushroom angel, Snigbrook, Deanlaw, The Thing That Should Not
Be, DAW0001, Mezigue, Niceguyedc, Ktr101, Jnate19, Quakers2000, Gtstricky, Dutzi, Middleburg2, JasonAQuest, Zombie433, Johnuniq,
Raulongo, Avoided, Janicekaye, Mifter, Unotgoingtocatchme, Good Olfactory, Addbot, Some jerk on the Internet, SuperSmashBros.Brawl777,
Otisjimmy1, Atethnekos, Soundout, Peppergreen, Ronhjones, Download, LaaknorBot, Deinocheirus, AndersBot, Xerxes b, 5 albert square,
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BG19bot, Abenoit722, SesameFan1989, Rafael Kenneth, Lpomerson, Joydeep, Tangascootac, Asanns, CAWylie, Glowaurora, Pratyya Ghosh,
Mrt3366, GoShow, Awu1996, MadGuy7023, Dexbot, Mogism, Audiluver, Lugia2453, Stevenjsmithjr, Howard Alabaster, Epicgenius, Kawaii-
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• The Lottery Source: https://en.wikipedia.org/wiki/The_Lottery?oldid=688242090 Contributors: Frecklefoot, Bdesham, Lquilter, Ahoerste-

meier, DavidWBrooks, Julesd, EALacey, Tpbradbury, Pigsonthewing, Donreed, Altenmann, Desmay, Meelar, Oobopshark, Bluejay Young,
Chowbok, Gadfium, Andycjp, Slowking Man, Antandrus, Rosemaryamey, Aburstein, Neutrality, Mongrel 8, Discospinster, LindsayH, Xezbeth,
Night Gyr, Bender235, ESkog, Lankiveil, Bobo192, Reinyday, 212004, Pearle, Alansohn, Kevin M Marshall, Snowolf, Ravenhull, Wtmitchell,
Malber, Ramius, Staeiou, RainbowOfLight, Cmprince, Kusma, Ghirlandajo, Switcher, DavidK93, Vanished User 3388458, Eleusis, RHaworth,
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VarunRajendran, Geoff B, Cactus Wren, Gilliam, Kevinalewis, Psiphiorg, Chris the speller, Qwasty, Jprg1966, Mprovost, Gareth, Thief12,
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pingTurtle, Dreadstar, Lcarscad, Maximumlobster, Shlomke, Shadowcaster187, Mr. Vernon, A. Parrot, Noah Salzman, Twalls, Jwcahill,
CharlesMartel, Avant Guard, Valkian, BranStark, Bobamnertiopsis, MrBoo, Radiant chains, Tawkerbot2, Eleussis, Baronvon, Rawling, That
Asian Guy, Tim1988, Sopoforic, Cydebot, Henrymrx, Siberian Husky, Flowerpotman, Daniel J. Leivick, Chrislk02, Sageev, RickDC, Malleus
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DJRafe, Pyrospirit, Nwbeeson, Cue the Strings, Smw543, FuegoFish, Jevansen, Tim Riches, Gtg204y, Thismightbezach, Deor, VolkovBot,
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Red, Freaknasty101, Languorous Lass, Tigeron, DumZiBoT, BarretB, TN55, XLinkBot, Dthomsen8, Avoided, TFOWR, Good Olfactory,
CalumH93, Addbot, Willking1979, Jojhutton, Toadman1911, Ronhjones, Fieldday-sunday, Chzz, West.andrew.g, Jaydec, Stellarmelon, Yobot,
Tohd8BohaithuGh1, Fraggle81, Evans1982, Victoriaearle, IW.HG, Eric-Wester, AnomieBOT, Noq, Wikipromedia, Mr.Grave, IRP, Flopsy
Mopsy and Cottonmouth, Kmilz, Sjwebber, Starzgirl79, Ppelif00, Emturner01, Ahollister90, Onesius, Crimsonmargarine, Zerofenrir, Tyrol5,
VerizonGo, Ute in DC, Ansa211, Doulos Christos, Steinwurf, MeDrewNotYou, Ingh16, Chaheel Riens, FrescoBot, Hslibrarygal, Michael93555,
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6.1. TEXT 205

tor, Jeffrd10, Hummingbird347, Tbhotch, DARTH SIDIOUS 2, Kimberleybear, Steve03Mills, EmausBot, GeneralCheese, Llorando, Yearsauto,
Truechrome, Tommy2010, Wikipelli, K6ka, Daonguyen95, Jenks24, Urfaceeatscheese, Carmichael, Madun447, Zachzab2, DASHBotAV, Shat-
teredSpiral, Petrb, ClueBot NG, Gareth Griffith-Jones, Rakathor, Muon, Rezabot, Aloufin, Widr, Lyeatin, Vincelord, Jaron jennings, Helpful
Pixie Bot, SeekHim1000, Calidum, Speedjsk, BG19bot, Schencka1, Ahd1601, Starstars10, Mikeblumenfeld, MusikAnimal, Mark Arsten, Zach
Vega, Wikipedit1234, Harizotoh9, MrBill3, Glacialfox, Klilidiplomus, Rvbrown16, Ducknish, Sminthopsis84, Imfunny101, Alistracious, Sac-
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• The Monkey’s Paw Source: https://en.wikipedia.org/wiki/The_Monkey’{}s_Paw?oldid=689396036 Contributors: TwoOneTwo, Heron,

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Ncox, Misterkillboy, Everyking, Varlaam, Daibhid C, Gilgamesh~enwiki, Alvestrand, Andycjp, Noe, Ellsworth, Ganymead, Sam Hocevar,
MakeRocketGoNow, Kate, Mike Rosoft, Mr Bound, Discospinster, Rich Farmbrough, Rhobite, Antaeus Feldspar, Evice, Harry Hayfield, J-
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Czolgolz, Richard Arthur Norton (1958- ), Woohookitty, FeanorStar7, Skylap, Jump4jay, Kelisi, Starwed, SteveCrook, BD2412, Schmen-
drick, CheshireKatz, Mana Excalibur, SanGatiche, Ian Pitchford, Red Deadeye, KFP, Hibana, Mercury McKinnon, YurikBot, Peregrine Fisher,
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Georgia, EdK, AdultSwim, Elb2000, Bolt Vanderhuge, The Giant Puffin, Joseph Solis in Australia, AGK, Tawkerbot2, MightyWarrior, Wile
e2005, JForget, CharlusIngus, FunPika, Woudloper, Banedon, KnightLago, Justdig, Outriggr (2006-2009), Neelix, Bobnorwal, Archer 90,
Cydebot, Thunderclaw, Reywas92, Llort, Legis, Kozuch, Dragonflare82, Casliber, Thijs!bot, ChKa, Epbr123, Paragon12321, TonyTheTiger,
Kablammo, Guynamedpaul, John254, James086, Escarbot, EmRunTonRespNin, AntiVandalBot, 17Drew, Jj137, Spysknee, Modernist, Jim-
Dunning, Oddity-, RedCoat10, Falconleaf, Chrisjj3, Golgofrinchian, Res2216firestar, DavidCh0, Barek, Xnemesis, Midnightdreary, Gravinos,
Karlhahn, Kolindigo, VoABot II, AuburnPilot, JNW, Brandt Luke Zorn, Tedickey, Roches, Lonewolf BC, Animum, Twinofvoss, Loonymonkey,
Matman from Lublin, DerHexer, Stupefaction, Valerius Tygart, Trouble Tim, MartinBot, Poeloq, Rripley, Jonnyboy10, HarZim, J.delanoy, Grim
Revenant, Uncle Dick, Rufous-crowned Sparrow, IdLoveOne, Markbruder, Hillock65, Creepzerg3, Estgrey, Juliancolton, Cometstyles, Tygrrr,
DorganBot, Treisijs, Mike V, Perfect in everyway05, Sssoul, Ductshui, Useight, CardinalDan, DARPAchief, Timbabwe, Pazsit Ulla, VolkovBot,
CWii, IlBuono, Avatar of Nothing, Jeff G., Indubitably, Katydidit, Dougie monty, Philip Trueman, TXiKiBoT, Criticta, Anonymous Dissident,
Jasonwhite41, MattW0810, Ningamonkey, STetra, Clarince63, Corvus cornix, Martin451, Cremepuff222, Maxim, Kevin Bryant, Nedrutland,
JohnGiannetti, Mouse is back, BigDunc, Milkbreath, Darthkillyou, Seresin, Thanatos666, Monty845, Chibibibi, Sue Rangell, NHRHS2010,
EmxBot, Sudhir h, SieBot, Aylad, Keilana, Happysailor, Toddst1, Flyer22 Reborn, Oda Mari, Oxymoron83, Antonio Lopez, Lightmouse, Sign-
here, Werldwayd, Asatrufollower, Dcattell, Chri$topher, Adam Cuerden, Georgette2, Velvetron, Explicit, Mr. Granger, ClueBot, Tucker001,
The Thing That Should Not Be, Exkimo64, Rstevensonatwiki, Farmerman, Cygnis insignis, ElRedondo, Mastny, Piledhigheranddeeper, Carl
savich, Excirial, Stephneal2007, Resoru, Eeekster, Quakers2000, Marc-Olivier Pagé, Plasynins, Bluejay52, Marcos101101, Sbfw, Ember of
Light, Morel, Redthoreau, Doprendek, Thehelpfulone, Thingg, Minatonkka, Aitias, RegaL the Proofreader, Blueberry jew, SomeoneGreat,
OSFTactical, Lou James, Zombie433, Ndoop, Apparition11, Heyoi8, Runefrost, Ginbot86, XLinkBot, Capriaf, Ilikepie2221, Skarebo, Myst-
Bot, Good Olfactory, Addbot, ConCompS, Some jerk on the Internet, Fyrael, Lithoderm, Atethnekos, Nestorius, Laurinavicius, LaaknorBot,
Glane23, Chzz, Favonian, Geometer2, Jasper Deng, Tide rolls, PS11, AlexJFox, Gail, Ansurdu, Legobot, Julia W, II MusLiM HyBRiD II,
Washburnmav, Pinballkid, KamikazeBot, Brittswhack, Greg Holden 08, Ryan1q, AnomieBOT, IRP, Pyrrhus16, Kingpin13, Aleph147, Bob
6.1. TEXT 207

Burkhardt, Tweinandy11, Bigmac298, Xqbot, Spluku, Capricorn42, Editormason, Reconsideration, Eagleeyez83, Julle, Ruy Pugliesi, Grou-
choBot, Ute in DC, Simpsonmaniac~enwiki, Philip72, 78.26, Ncd27, E0steven, Rupert105, Lutrablue, Erik9, FrescoBot, Poesghost1019, Re-
cognizance, D'ohBot, Tomcat7, FergusRossFerrier, Anoopdip, Jschnur, RedBot, MastiBot, Adamlaskey, Haikuwiki, Dude1818, Jauhienij, David
Schwein, Fama Clamosa, Lotje, Vrenator, ‫אוון‬, Jetflagon, Reach Out to the Truth, Jfmantis, Mean as custard, Dub93, DASHBot, EmausBot, Or-
phan Wiki, WikitanvirBot, Gfoley4, Camisaur, Wikiencyclopedist, Lithistman, Denhetreil, DontBreakStuff, ZéroBot, PBS-AWB, Securawiki,
Balieboo2, Smccoy38, Donner60, Inka 888, Rusted AutoParts, Kenndyjames, DASHBotAV, Rajabpur, Helpsome, ClueBot NG, Jack Green-
maven, Maire MacDonagh, This lousy T-shirt, Gilderien, Zeldafan3242, Kenoiyan, Ncapriola, Oddbodz, Frebbie97, NNeilAlieNN, Xeriksenx,
The Word Love, The Last Angry Man, George Ponderevo, ElphiBot, MusikAnimal, Mark Arsten, Assassin21, Min.neel, ThatOneGuyThere,
RyanWBlakey, Vanobamo, Dabearsrok, Mediran, Khazar2, Dexbot, Cld1522, Jordinw10, Randani, Coolbeans443, Theoldenglishprof, Epic-
genius, Mymotherrrrr, Mattw14166, Melonkelon, Ketxus, Will Dauss, Mark nutt, MagicatthemovieS, KILLERJIGSAW101, Myfri9694, Wiki
editor123456789000, Ephemeratta, Learnerktm, Jlotstra, Applebuckets, Crystallizedcarbon, Snabbkaffe, GavanMcCoy, Oleaster, Assome99,
Acup mup rup, Jasminesmith 9, Kayleighhjoness, KasparBot, Userfstftw, MahneLV, Deeznutz125, Shestheman1 and Anonymous: 802

• The Tell-Tale Heart Source: https://en.wikipedia.org/wiki/The_Tell-Tale_Heart?oldid=690190342 Contributors: Ortolan88, Modemac, Freck-

lefoot, Sigg3.net, Eric119, Emperor, Sethmahoney, Lee M, Charles Matthews, Timwi, Zoicon5, Timc, Itai, Wetman, Jeffq, David Gerard,
Gtrmp, Varlaam, Jason Quinn, George Kaplan, SarekOfVulcan, ConradPino, Oneiros, Sam Hocevar, Trevor MacInnis, The stuart, Discospin-
ster, *drew, Vanished user kjij32ro9j4tkse, Mr. Strong Bad, RoyBoy, Bobo192, NetBot, Hargrimm, Pearle, Aitch Eye, Alansohn, Jaw959,
Dhartung, Sciurinæ, Tabletop, Mandarax, Graham87, Cuchullain, Mendaliv, Missmarple, DynSkeet, Kazrak, DoubleBlue, Nihiltres, RexNL,
Revolving Bugbear, RasputinAXP, Mallocks, Mikinator, King of Hearts, Chobot, DVdm, VolatileChemical, The Rambling Man, YurikBot,
Kinneyboy90, Pip2andahalf, TheDoober, Lordakkarin07, RadioFan2 (usurped), Thane, Ugur Basak, NawlinWiki, CJMylentz, FF2010, Tc-
setattr, Tiria, Garion96, Sugar Bear, Rob215, SmackBot, Zazaban, Wdr1, Delldot, Aksi great, Gilliam, Kevinalewis, Jprg1966, Kungming2,
M Johnson, Scwlong, George Ho, Can't sleep, clown will eat me, Snowmanradio, Rrburke, Dyamantese, Alanlastufka, Downwards, Das Baz,
Egg-Emperor, Jrobknicks123, Coasttocoast, John, Shlomke, Accurizer, Minna Sora no Shita, Veoviscool12, Mr. Vernon, InedibleHulk, Eeble-
fish, Thatcher, Hu12, White Ash, Cat’s Tuxedo, Cheesy Yeast, Tawkerbot2, Endaso, Stanlekub, CmdrObot, Rambam rashi, Bernie Wadelheim,
Skrapion, Null Nihils, Mike65535, Henrymrx, Lugnuts, Porsche997SBS, Clovis Sangrail, PamD, JamesAM, Thijs!bot, Epbr123, 13362463,
TonyTheTiger, Serpent-A, Filmarizona, Rougeblossom, ErikaG, Big Bird, Mentifisto, AntiVandalBot, RobotG, Tjmayerinsf, Scepia, Legit-
imus, Oddity-, Vendettax, Vanished user qijr23rijcksca345ijrenfwqn33, Res2216firestar, Fetchcomms, Midnightdreary, Acroterion, Geniac,
VoABot II, Animum, Twinofvoss, MetsBot, Altopelirrojo, 28421u2232nfenfcenc, DerHexer, Simon Peter Hughes, Troiano, Valerius Tygart,
ChaoticHeavens, DancingPenguin, Rapigan, Odin of Trondheim, AlexiusHoratius, Allhailtoyin, Blackfinale, J.delanoy, ChrisfromHouston, Gin-
sengbomb, Colinfearn, Katharineamy, Aznpride2pac, NewEnglandYankee, Estgrey, Dpm12, Ukt-zero, Wheatboy, Pdcook, GrahamHardy,
Spellcast, Wikieditor06, Coulditbe, Deor, ABF, Vrac, Philip Trueman, DrSlony, Gandhi462, Jasonwhite41, Clevelander96, Fatkids, Natg 19,
Wikiisawesome, Persiana, Elasisulla, Meters, Enviroboy, Cnilep, The Devil’s Advocate, Ceranthor, Der kenner, Chuck Sirloin, SieBot, Mur-
sal26, BotMultichill, Cmillinsf, Tiptoety, Faradayplank, Kosack, Skeletonshow, Patrolmanno9, PerryTachett, Pinkadelica, IGlowInTheDark,
Randy Kryn, Soporaeternus, ClueBot, The Thing That Should Not Be, CounterVandalismBot, Niceguyedc, P. S. Burton, Carl savich, Homoni-
hilis, Jusdafax, Sonicdrewdriver, Dj madpuddingcat, Midnightdrearythesecond, Thetelltaleheartoperative, Leroyinc, Thingg, Hottchick69, Ver-
sus22, PCHS-NJROTC, Amichaelnoll, Steve on LI, XLinkBot, Wolfer68, Nmalinoski, Mortdefides, HMFS, Mifter, Tc03wiki, HexaChord,
Thebestofall007, Tustin2121, Addbot, Suddenly There Is a Valley, Montgomery '39, Soundout, DaughterofSun, Laurinavicius, LaaknorBot,
Papyrus688, Glass Sword, Wandering Traveler, Tide rolls, Dmitry Rozhkov, Contributor777, Luckas-bot, Yobot, Markthomas45, Disillusioned-
BitterAndKnackered, Eric-Wester, AnomieBOT, Piano non troppo, Materialscientist, LiteraryMaven, ArthurBot, Smgold92, Xqbot, Sionus,
Capricorn42, 4twenty42o, Infolover94, Abce2, Piquant00, Ulvaar, Shadowjams, A.amitkumar, Bert the stud, Cekli829, Wikationer, Fres-
coBot, Lordalpha1, Hslibrarygal, Allusionofamind, 4n0n4m0u5, Weetoddid, JIK1975, Biker Biker, Sandor Clegane, Melvinoo, Jujutacular,
Deadliestrazor123, Clarkcj12, Mswertfager, Suffusion of Yellow, Tbhotch, Daddybuddy3, Reach Out to the Truth, Ravenmewtwo, DARTH
SIDIOUS 2, Yogurtspecial, SensibleOxymoron, Baddog19, Slon02, DASHBot, EmausBot, DardanH, John of Reading, WikitanvirBot, Bad-
brad123abc, Gfoley4, RA0808, Ryanvoyles1, Winner 42, Wikipelli, NathanielTheBold, ItsHighVoltage, Wayne Slam, Donner60, Sailsbystars,
TYelliot, SvanaShakespeare, Mlbandit, ClueBot NG, ForgottenHistory, Joefromrandb, Rezabot, KevinLuna, Widr, Helpful Pixie Bot, TCN7JM,
Flyfornicate, MusikAnimal, Mark Arsten, Curlyw42, Snow Blizzard, DoucheroosterMcdickdonkey, Sozertsatel, Music4ibc, Pratyya Ghosh,
Dexbot, Weezzle, Mogism, Sdatcc10102, Anushka511, Matthaven wiki, Poopbrain2300, Heun44, Krueg, SchizophrenicDingo, Aaron duncan-
son, Walnutcreek25, Tentinator, Apoxomite, Sdmad, Iknoweverything247, Fitzjohn96, Mungefuddler123, Fearless5forever6, Physicsmathftw,
Sanguinepenguine, TheSawTooth, Hpocks, Lavapoole, Cyrej, Hallward’s Ghost, TotallyNotScrewingUpWiki and Anonymous: 626

• The Yellow Wallpaper Source: https://en.wikipedia.org/wiki/The_Yellow_Wallpaper?oldid=690525741 Contributors: Ubiquity, Paul Barlow,

Lquilter, Sannse, Branddobbe, Mazin07, David Gerard, Kaldari, ReiniUrban, Kuralyov, Jareha, MakeRocketGoNow, Discospinster, RJHall,
Iamunknown, Ziggurat, Tobiasaf, Grovel, Alansohn, SlimVirgin, Gipperfish, RainbowOfLight, Guthrie, Kouban, Mandarax, Cuchullain, Anar-
chivist, Rjwilmsi, Georgelazenby, Gurch, Holmwood, Bgwhite, Jimp, Kafziel, Yllosubmarine, Cryptic, Mipadi, RazorICE, Equilibrial, CKarn-
stein, Pb30, DVD R W, Luk, SmackBot, Prodego, Yamaguchi , Hmains, NickGarvey, Roscelese, Sadads, Itainohime, DLand, MHall,
Шизомби, Wikipedical, Rabidwolfe, Ishuta, Notmicro, Gobonobo, IronGargoyle, Jimmy Pitt, Norm mit, Phoenixrod, Az1568, Geeman, Tes-
tUser001, CmdrObot, Drinibot, Cydebot, Caviaryteadrinker, JayW, Awakeandalive1, Epbr123, RobDe68, Mr pand, Noclevername, AntiVan-
dalBot, WinBot, Majorly, Res2216firestar, Midnightdreary, RainbowCrane, TAnthony, MegX, Couchpotato99, Asat, UnusedAccount, Froid,
DerHexer, VioletRose4, R'n'B, J.delanoy, Uncle Dick, Rufous-crowned Sparrow, AdamBMorgan, Sd31415, Chubsta, Inter16, GrahamHardy,
Christopher Mann McKay, Al421297, Bovineboy2008, Fences and windows, Philip Trueman, Thmazing, Seraphim, LeaveSleaves, Cpward2,
Gobnyc, Politty2, BigDunc, Rindim75, Nick Levinson, Kastrel, TJRC, Whiteghost.ink, MattB21, Meman1234567890, Thirdeyeopen33,
Fan2012, Gingerwiki, Assmonkey122we, Nimbusania, WickerGuy, Henry Merrivale, ClueBot, The Thing That Should Not Be, Blanchardb,
Somno, Ktr101, Excirial, Jusdafax, Victorianist, DumZiBoT, XLinkBot, Good Olfactory, Addbot, Woodturner007, Tdh5609, Queenmomcat,
Soundout, RieslingEdits, Fluffernutter, Download, RawrXD, Lightbot, OlEnglish, Yobot, Theornamentalist, AnomieBOT, DemocraticLuntz,
GeauxBayouBengals, Meganoleary, Materialscientist, Sisky57, Sionus, Bapo777, Twilighttremolo, Noelcaprice, Backpackadam, Lemonade-
maker, FrescoBot, Hslibrarygal, Artdress, Girlwithgreeneyes, Serious About Comedy, SpaceFlight89, CobraBot, LrdDimwit, Merlinsorca,
Weedwhacker128, AndrewvdBK, Lucobrat, Jfmantis, Mondotta, Whitespirit26, Ripchip Bot, Jmcaa, Jonathanwsutton, John of Reading, Abun-
cha nada, Tswl, Wikipelli, BurtAlert, KyleECronin, K kisses, Sonicyouth86, ClueBot NG, Gareth Griffith-Jones, Reting1111, Dru of Id, Widr,
DBigXray, BG19bot, Klm2135, Chess, MusikAnimal, Whatkatydid, Davidcain1, Fylbecatulous, NJIT humsh, Birchsand, Fiercejoyful, MyTup-
208 CHAPTER 6. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

pence, Christianacarriero, Mercedes.trejo09, Bexy1992, Rabeenak, Callmejcole, Bananabelles, B Hastings, Paul2520, Divine618, Empresschild,
Runn4ever, Wsmes, Monkbot, JackKoszela, Noswall59, CSPAD, 00090R, PureHero, Cassandra196, Zeazonal, Alexwest321 and Anonymous:
328
• Bram Stoker Source: https://en.wikipedia.org/wiki/Bram_Stoker?oldid=689243261 Contributors: Magnus Manske, Kpjas, WojPob, Jzcool,
Eclecticology, William Avery, Zoe, Frecklefoot, Dreamword, Jahsonic, Liftarn, Kalki, Paul A, Gaz~enwiki, Ihcoyc, Ams80, Александър,
Andres, Gh, Tpbradbury, Topbanana, Jasonnolan, Cncs wikipedia, Dimadick, Twice25, Bearcat, Gentgeen, Peak, Puckly, LGagnon, Jon-
del, Mervyn, Hadal, JackofOz, Profoss, Walloon, Cecropia, Seabhcan, Everyking, Joconnor, Iota, Tagishsimon, Fergananim, Andycjp, An-
tandrus, Eroica, OwenBlacker, DragonflySixtyseven, Kuralyov, Mschlindwein, Machenphile, Jlang, Kaustuv, RevRagnarok, Article6, DavidL
(usurped), D6, CALR, Discospinster, Guanabot, User2004, MeltBanana, Notinasnaid, Rjo, Stbalbach, Bender235, ESkog, Sc147, Spyroninja,
Evice, Nabla, El C, Feitclub, Smalljim, Filiocht, Librarygurl, Twobells, Haham hanuka, IonNerd, OGoncho, Jumbuck, Grutness, Alansohn,
Sirvulcan, Philip Cross, Derumi, Szumyk, Wtmitchell, Velella, SteinbDJ, Notjim, RyanGerbil10, Brookie, Richard Arthur Norton (1958- ),
Woohookitty, Rocastelo, WóCoill, MONGO, VelmaDacron, Palica, Mandarax, Graham87, BD2412, Sjakkalle, Nightscream, Lockley, Lesbian-
Latke, Copperdrake, Vegaswikian, MarnetteD, Lotu, FlaBot, Adventuresofthestarkiller, Cheimilane, Windharp, Kernitou, Fourdee, TnS, DVdm,
YurikBot, Dburkhead, RussBot, Hede2000, GusF, NawlinWiki, Wiki alf, Calsicol, Grafen, Rcirani, Irishguy, Jpbowen, Matticus78, PhilipO,
Tony1, Ospalh, Vlad, Bota47, CKarnstein, J S Ayer, Museo8bits, Lochdale, Red Jay, Whobot, Anclation~enwiki, Masterofthesky, Katieh5584,
GrinBot~enwiki, DVD R W, Veinor, SmackBot, Sticky Parkin, Furry, Delldot, Eskimbot, Telescope, CrypticBacon, Gilliam, Ohnoitsjamie,
Clampton, Bluebot, Gold heart, Arielbackenroth, Bjmullan, Snori, SchfiftyThree, Alden Bates, Can't sleep, clown will eat me, MyNameIsVlad,
Tartan, Liontooth, Iqariar, Alton.arts, MartinRobinson, Alanlastufka, Decltype, Monzadave, Dreadstar, Mark in wiki, DMacks, Risssa, Ceoil,
Ohconfucius, Will Beback, SashatoBot, Ser Amantio di Nicolao, BrownHairedGirl, HDarke, AmiDaniel, Mathiasrex, MilborneOne, JoshuaZ,
IronGargoyle, The Man in Question, SQGibbon, Dl2000, KJS77, Mosa123ic, Woodstockrocker, Shoeofdeath, Dragix, Boreas74, Tony Fox,
LadyofShalott, Wikidude1, IronJohnSr, Tawkerbot2, CmdrObot, Van helsing, Charvex, Mc4932, Delian93, Jimknut, Cuzzer1202, Net hippy,
Cydebot, Pais, Creami, H-stt, Studerby, Tkynerd, DumbBOT, Garik, Jon C., Epbr123, Colin4C, TonyTheTiger, Bobblehead, Java13690, Darev,
AntiVandalBot, RobotG, WinBot, Seaphoto, Emeraldcityserendipity, Esp rus, Kbthompson, Jj137, Modernist, Trezjr, Alucardthe69th, Qwerty
Binary, Colin MacLaurin, Dsp13, MB1972, Sigurd Dragon Slayer, Wildhartlivie, PCiaran, Magioladitis, Extopia, Bongwarrior, Count de Ville,
Fabrictramp, Ali'i, Thehalfone, Kjmoran, Esanchez7587, Purslane, Mmustafa~enwiki, Agricolae, Kostisl, Bloodybug, J.delanoy, Fred.e, Mau-
rice Carbonaro, Karanacs, TomCat4680, Skinny McGee, Kevinfabiano, Flatterworld, Doomsday28, Zahir13, KylieTastic, Juliancolton, Entropy,
S2333, Scewing, Deor, VolkovBot, One Night In Hackney, ABF, Jeff G., Bovineboy2008, Fonzatron2000, Philip Trueman, TXiKiBoT, Oshwah,
Zidonuke, Tumblingsky, A4bot, Gerry Lawless OS, Anna Lincoln, Connees, Eidetic Man, Domer48, Evilsbane9, Katimawan2005, M0RD00R,
Eubulides, Brandonwetzel, Meters, Falcon8765, Truthanado, IrishGothicJournal, NHRHS2010, EmxBot, Hughey, Cosprings, SieBot, Dusti,
Charles Sudbury, SE7, Flyer22 Reborn, SeoR, Oxymoron83, Jack1956, Happyduck211, Leocomix, GaryColemanFan, Hobartimus, Abra-
ham, B.S., Nancy, Catherinepope, Kumioko (renamed), Svick, AlanUS, Torchwoodwho, Janggeom, StaticGull, Capitalismojo, Linda, LaVey
Charkus Veros BeruDeJusu, Richard David Ramsey, Faithlessthewonderboy, Atif.t2, Martarius, ClueBot, Snigbrook, The Thing That Should
Not Be, All Hallow’s Wraith, Muddyb, RashersTierney, Unbuttered Parsnip, Gaia Octavia Agrippa, Drmies, Orthoepy, P. S. Burton, Neverquick,
Pmcalduff, Nashlee2005, Les woodland, Jeanenawhitney, Eeekster, Wordwright, NuclearWarfare, Light show, SoxBot III, BarretB, Wednes-
day Next, XLinkBot, Beantwo, Hotcrocodile, Rankiri, BodhisattvaBot, Gerhardvalentin, Nepenthes, December12AC, Aboctok, CanadianLin-
uxUser, Fluffernutter, Cst17, RTG, Aclews56, Kellygirlaj, Favonian, SamatBot, Tassedethe, Lightbot, NeoBatfreak, Stratford490, Ryanhecht,
Contributor777, LuK3, MissAlyx, Frieza and Vegeta Forever, Legobot, Luckas-bot, Yobot, Hohenloh, THEN WHO WAS PHONE?, Amaz-
incredible, AnomieBOT, Olympics2008, Rjanag, Jim1138, EJMoody, Ulric1313, Materialscientist, Doomshifter, Citation bot, Christopher
Pritchard, Tomflaherty, Ched, Heslopian, Pigeoninlet, Vmhtheoriginal, Ruy Pugliesi, GrouchoBot, Amaury, Green Cardamom, Edgars2007,
FrescoBot, Surv1v4l1st, Shknbns, 1henry4, Jay Fitzgerald, 27 Juni, HJ Mitchell, BenzolBot, DivineAlpha, Yourfriend1, Pinethicket, I dream of
horses, Kops2222, LittleWink, 10metreh, A8UDI, Moonraker, The Hyphen, Hoo man, Jschnur, KeanuSmith82, Ifritnile, Jauhienij, Tammyflava,
ItsZippy, Vrenator, Tbhotch, Stroppolo, Kevdogg20, DARTH SIDIOUS 2, MickClofinZD, Hajatvrc, BCtl, Kalkin57, The Stick Man, Perspecu-
lum, Letterwing, Steve03Mills, EmausBot, Energy Dome, John of Reading, Medina duarte, Qdiderot, GoingBatty, God’s Sun Sunday Whitsun,
RenamedUser01302013, LandofYouth, DotKuro, K6ka, John of Lancaster, Apocryfal, ZéroBot, Daonguyen95, Lord Blueshirt, Fæ, Dolovis,
Suslindisambiguator, Unreal7, Wayne Slam, Ivor Stoughton, Τασουλα, Peter Karlsen, 19thPharaoh, Sven Manguard, ClueBot NG, NapoleonX,
Lhb1239, MelbourneStar, Raghith, Lord orlok, Vacation9, Frietjes, ScottSteiner, Widr, Mohd. Toukir Hamid, SnakeRambo, Wendy Stacey, Jor-
genev, Oddbodz, Helpful Pixie Bot, Szente, Lowercase sigmabot, BG19bot, Slippingspy, Kai Ojima, Albanian04, MusikAnimal, Metricopolus,
Geraldo Perez, Nakul Dhoot, Fullpaddy, Martha6981, Glacialfox, BattyBot, Khazar2, Professorunrat, Ducknish, JYBot, JamesBCrazy, Lag-
gan Boy, SantoshBot, Reverend Mick man34, Windows.dll, Periglio, Lugia2453, Aestuansintrinsecus, Dubtopia, Randomer119, Kyleisboss124,
Oude38Hond, Kawaii-Soft, I am One of Many, Julian Felsenburgh, Dalec323, JacobiJonesJr, Zenibus, Ginsuloft, Kbabej, Anarcham, Azer-
topius, Furlonr3, 7Sidz, Eubante, Rob Hume, Jim Carter, Dah0tguy, Ahsims1, Michel Schellekens, Dublin60, TRPOD The Red Penes of Dread,
Bobbybobbob11101, KWWight, Supdiop, KasparBot, AusLondonder, Nbs22, Trish2003 and Anonymous: 616
• Alvin Schwartz (children’s author) Source: https://en.wikipedia.org/wiki/Alvin_Schwartz_(children’{}s_author)?oldid=687848396 Contribu-
tors: SimonP, Tregoweth, Grendelkhan, Topbanana, Bearcat, Rich Farmbrough, Paul August, Brian0918, Fourthords, ChrisPikula, Woohookitty,
Natcase, Amorrow, Rjwilmsi, Boccobrock, Matt Deres, Eubot, Kinneyboy90, JLaTondre, SmackBot, Cgros841, Speight, CrypticBacon, Hmains,
Bluebot, GoodDay, Krich, NIRVANA2764, MrDolomite, Courcelles, FairuseBot, Zeph1, Epbr123, Auror, Wildthing61476, Golgofrinchian,
Postcard Cathy, Waacstats, Wax Tablet, GroovySandwich, Hbent, Noahcs, Cireshoe, Qxz, Deepsnowi80, BOTijo, Deepak229, Mygerardro-
mance, ImageRemovalBot, ClueBot, The Thing That Should Not Be, Niceguyedc, Bcarmer, CharlieDelta, Esasus, Fraggle81, Alexacaca, Mate-
rialscientist, Omnipaedista, Fortdj33, Scaryspoofy1, Trappist the monk, MaxEspinho, RjwilmsiBot, Art of crime, Idxcue, Griot-de, VIAFbot,
UY Scuti, KasparBot, LZ2193 and Anonymous: 50
• Clive Barker Source: https://en.wikipedia.org/wiki/Clive_Barker?oldid=689288333 Contributors: Bryan Derksen, Koyaanis Qatsi, William Av-
ery, Ixfd64, Ihcoyc, Emperor, Sethmahoney, Prawn, Dfeuer, Andrewman327, SatyrTN, Maximus Rex, K1Bond007, Topbanana, Outerlimits,
Dimadick, Bearcat, Hadal, UtherSRG, MikeCapone, Rick Block, Niteowlneils, San de Berg, Maroux, Guanaco, AlistairMcMillan, Utcursch,
Andycjp, Litalex, Quadell, Kusunose, Huntington, Klemen Kocjancic, CyclopsScott, D6, Larrybob, Guanabot, Forbsey, Dlloyd, Bender235,
CamLewis, Kbh3rd, El C, Irate~enwiki, Willerror, Jumbuck, Gargaj, Diego Moya, Trench, Dachannien, Lektu, El stiko, Robert Mercer,
Salty~enwiki, InShaneee, Hu, DreamGuy, Benson85, Nicknack009, Drbreznjev, New Age Retro Hippie, Danner578, Dennis Bratland, Hijiri88,
Richard Arthur Norton (1958- ), Bjones, Dariob, Myleslong, Daniel Lawrence, Sparkit, BD2412, Scaz, BennyH, Rjwilmsi, Mayumashu, Koavf,
6.1. TEXT 209

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• Edward Gorey Source: https://en.wikipedia.org/wiki/Edward_Gorey?oldid=667000011 Contributors: Mav, Manning Bartlett, William Avery,
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6.1. TEXT 213

• John Bellairs Source: https://en.wikipedia.org/wiki/John_Bellairs?oldid=687809263 Contributors: General Wesc, Andre Engels, Shsilver,
Unukorno, Randolph carter, Eric119, Smith03, UtherSRG, Supergee, Wmahan, ChicXulub, Quadell, D6, Jim Henry, MysteryDog, Solitude,
Rich Farmbrough, Ahkond, Visviva, Alex Jaspersen, Agriculture, BD2412, Rjwilmsi, Klassykittychick, Valermos, RussBot, Andersonblog,
Chuckcunningham, JLaTondre, SmackBot, Mwazzap, Reedy, BPK2, Sloman, Sadads, KC., Ser Amantio di Nicolao, Kevmin, Jon186, Osklil,
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gleb, VIAFbot, Lhulscher, KasparBot and Anonymous: 55

• Gahan Wilson Source: https://en.wikipedia.org/wiki/Gahan_Wilson?oldid=686774218 Contributors: Deb, SimonP, Cwitty, Stephen pomes, In-
frogmation, Zanimum, Big iron, Lee M, Jmabel, Dina, Alan Liefting, Supergee, MacGyverMagic, DragonflySixtyseven, Jfpierce, D6, Murtasa,
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ric1313, Off2riorob, Cresix, Chaheel Riens, MervynP1972, Full-date unlinking bot, Trappist the monk, Tbennert, Readerreviews, BattyBot,
VIAFbot, Cpt Kid, KasparBot and Anonymous: 30

• Kurt Vonnegut Source: https://en.wikipedia.org/wiki/Kurt_Vonnegut?oldid=690180346 Contributors: Dreamyshade, Derek Ross, Eloquence,

Bryan Derksen, The Anome, Manning Bartlett, Sjc, Danny, Vaganyik, Deb, Ortolan88, SimonP, N8chz, Zache, Steverapaport, Edward, In-
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Ferkelparade, Peruvianllama, No Guru, Anville, Supergee, Gro-Tsen, Indygwyn, NeoJustin, Alison, Gamaliel, Broux, Malyctenar, Robert
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6.1. TEXT 215

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6.2 Images
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tors:
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• File:Addams_Family.jpg Source: https://upload.wikimedia.org/wikipedia/en/5/5f/Addams_Family.jpg License: Fair use Contributors:
Charles Addams
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Public domain Contributors: http://www.philsp.com/mags/amazing_stories.html Original artist: Ziff-Davis Publishing / James B. Settles
• File:Ambox_important.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public domain
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• File:Ambox_wikify.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/Ambox_wikify.svg License: Public domain Contrib-
utors: Own work Original artist: penubag
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• File:Benjamin_Britten,_London_Records_1968_publicity_photo_for_Wikipedia.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/3/30/Benjamin_Britten%2C_London_Records_1968_publicity_photo_for_Wikipedia.jpg License: Public domain Contributors:
eBay listing of publicity photograph from London Records, which marketed records to the United States. Original artist: According to in-
formation on the photograph, it was originally taken by photographer Hans Wild for High Fidelity magazine (published in the United States).
• File:Book_collection.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3f/Book_collection.jpg License: CC BY-SA 3.0 Con-
tributors: ? Original artist: ?
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cense: CC0 Contributors: https://openclipart.org/detail/105859/booksajsvg-aj-ashton-01 Original artist: AJ on openclipart.org
6.2. IMAGES 219

• File:Bram_Stoker’{}s_Home.jpg Source: https://upload.wikimedia.org/wikipedia/en/e/e7/Bram_Stoker%27s_Home.jpg License: PD Con-

tributors:
Own work
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Domer48 (talk) (Uploads)
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c._1900.jpg License: Public domain Contributors: This image is available from the United States Library of Congress's Prints and Photographs
division under the digital ID cph.3c06490.
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• Restoration by Adam Cuerden
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domain Contributors: Printed in Edgar Allan Poe’s Tales of Mystery and Imagination, 1919. Original artist: Harry Clarke
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jpg License: CC-BY-3.0 Contributors:
I took this photo in June 2012.
Previously published: On a John Bellairs facebook fan page
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Dantès
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• File:Die_Maerchenfrau.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/36/Die_Maerchenfrau.jpg License: Public domain
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Captured from photo
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main Contributors: I (AndrewHorne (talk)) created this work entirely by myself.
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ogg License: CC BY-SA 3.0 Contributors: Own work Original artist: FergusRossFerrier
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• Edgar_Allan_Poe_2.jpg Original artist: Edgar_Allan_Poe_2.jpg: Edwin H. Manchester
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Birthplace_Boston.jpg License: CC BY-SA 3.0 Contributors: Transferred from en.wikipedia Original artist: Swampyank at en.wikipedia
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Poe_by_Samuel_S_Osgood%2C_1845.png License: Public domain Contributors: National Portrait Gallery, Washington <a href='//commons.
wikimedia.org/wiki/Institution:National_Portrait_Gallery,_Washington' title='Link back to Institution infobox template'><img alt='Link back
to Institution infobox template' src='https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png'
width='15' height='15' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/23px-Blue_pencil.svg.png 1.5x,
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height='600' /></a> <a href='//www.wikidata.org/wiki/Q1967614' title='wikidata:Q1967614'><img alt='wikidata:Q1967614' src='https://
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inal artist: Samuel Stillman Osgood (1808-1885)
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cense: CC-BY-SA-3.0 Contributors: FlyingToaster made this recording based on Wikipedia. Original artist: Original uploader was FlyingToaster
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Desktop Project. Original artist:
The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although
minimally).”
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License: Public domain Contributors: http://www.philsp.com/mags/fantastic_adventures.html Original artist: Ziff-Davis Publishing / Robert
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Contributors: Own work Original artist: Midnightdreary
• File:Galaxy_195405.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/59/Galaxy_195405.jpg License: Public domain Contrib-
utors: http://www.philsp.com/mags/galaxy.html Original artist: Galaxy Publishing/Ed Emshwiller
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lic domain Contributors: Science Wonder Stories, June 1929 Original artist: William Edward Blythe / Stellar Publishing
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cense: Public domain Contributors: Heinrich Hoffmann: Der Struwwelpeter; Frankfurt am Main : Literarische Anstalt Rütten & Loening,
1917 (400. Auflage); Exemplar der Universitätsbibliotek Braunschweig Signatur: 2007-0968 Original artist: Heinrich Hoffmann
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cense: Public domain Contributors: Heinrich Hoffmann: Der Struwwelpeter; Frankfurt am Main : Literarische Anstalt Rütten & Loening,
1917 (400. Auflage); Exemplar der Universitätsbibliotek Braunschweig Signatur: 2007-0968 Original artist: Heinrich Hoffmann
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domain Contributors: ? Original artist: ?
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