Nolan on
Bradbury

William
F. Nolan; edited by S.T. Joshi

Hippocampus
Press, 2013

Nolan
on Bradbury
is a fascinating exploration into two stellar figures in speculative fiction,
their relationship over sixty years, and the intellectual cross-fertilization
that can occur when such minds meet and share.

More than a personal account and less
than an academic study (in all of the right ways), the book allows readers a kind
of continuous insight into a friendship and a working exchange. Following
introductory materials by Jason V. Brock, S. T. Joshi, and Ray Bradbury himself
(writing about Nolan), the book opens onto a series of chronologically arranged
articles and essays—including introductions and afterwords to a number of books—in
which Nolan speaks about Bradbury, beginning with their first encounters and
Nolan’s responses to them (1952) and concluding with Nolan’s “My Personal
Evaluation of Ray’s Finest Stories” (2013). Joshi comments in his introduction
that there is a certain level of necessary redundancy in the accounts, and he
is correct; key episodes in their friendship recur frequently, often using the
same sentences and vocabulary. But that is as it should be. The repetitions
remind readers that they are following a six-decade long series of conclusions
on Nolan’s part; the details of Bradbury’s career and influence may—and must—shift
as the essays progress, but at core, the essence of Bradbury remains the same.
Each repetition is placed into a different context and thereby gains depth and
resonance, linking the disparate essays into a unified whole.

The second major section, “Stories,”
presents Nolan’s fictions that he defines as either about Bradbury or
influenced by Bradbury’s style and approach. They range from serious stories,
such as “And Miles to Go Before I Sleep” and “To Serve the Ship,” to
exquisitely modulated parodies and satires, such as the perfectly titled “The
Dandelion Chronicles”—a loving tribute to Bradbury that encompasses most of his
recurring themes as well as his signature style. Each is distinctly Nolan; none could have been written without his
having first met Ray Bradbury.

“Tributes to Ray Bradbury” and “Afterword:
The Return of Ray B.” round off the volume by giving space to Nolan, Brock,
John C. Tibbetts, Joshi, and Greg Bear to speak personally and, as it were,
conclusively about Bradbury and his influence. Each offers more insight into a
complex, multi-faceted, tremendously influential genius. Each is much
appreciated.

The final part is a short but useful
bibliography of major works, collections, stories, and other writings by both
Nolan and Bradbury. It is an appropriate capstone to this involving study of
writing, writers, friends, and friendships.

Good Wednesday,

The Lockbox is happy to have a guest today. You may remember Stephanie Wytovich. I interviewed her last summer. Well, she’s back, and she’s going to talk about her forthcoming book of horror poetry, HYSTERIA.

Without further ado, here she is.

-So…talk to us about HYSTERIA. What’s it about?

The easy answer is that HYSTERIA is about madness, but to me, it’s always been about acceptance. When I sat down and decided to start writing it, I essentially decided to go a little mad myself. There was nothing easy about writing this collection: no fun nights composing next to the moon, no clever evenings spent making up metaphors and bringing characters to life.

It was hard.

And it was painful.

I read a lot of abnormal psychology, studied the diseases of the brain, and traveled across the states to visit different asylums and feel the air and the charge of what it meant to be locked up in solitary. I sat in the isolation rooms of West Virginia’s State Penitentiary, and spent the night at the Trans-Allegheny Lunatic Asylum.

And then I met her.

Hysteria.

Most of the pieces came to me late at night, crazed and racked by insomnia, and when they did, they were fluent and clear, as if I were talking to the characters one-on-one. I wrote down their voices, shaped the faces that I saw in my nightmares, and looking back, it’s no wonder I didn’t sleep. The patients that readers will meet in this collection are vicious, cruel, and more often than not, completely insane.

Although there are a few innocents.

But who out there is really walking around with a clean conscience?

-What inspired you to put the book together?

When I was an undergraduate at Seton Hill University, I had to start a blog for my Intro. To Literary Study course. I heard everyone talking about blogs and their importance, but to me, it just seemed like another chore that I had to maintain when all I wanted to do was write poetry and study art. But, I created one…quite sarcastically at that.

“Join me in the madhouse,” I said.

Blogging drove me insane, and I hated doing it. And then one day, I hated it a little less, and then even lesser than that. The crazy part about it was that I soon started doing it for fun. I played with the madhouse theme, reviewing psychological films and critiquing books under the veil of psychoanalytic criticism. I read a lot of Freud—probably too much Freud—and paid special attention to his ideas on sexuality and the uncanny.

I saw madness—erotic, uncanny madness—everywhere I went.
The thick, black sludge of the mind’s breaking point.

And when I realized that madness broods inside us all—whether we choose to accept it or not—I knew that I had to explore it, dissect it, rip it apart with a scalpel and study it.

And so I did.

-Is there anything in there that shocked even you?

The entire collection was/is quite shocking to me. Yes, I realize that probably sounds odd considering I write horror, but I don’t think I’ve ever created something so dark, so angry before. There are pieces in there that I look at and think who/what wrote that?

But that’s what I wanted.

I wanted the voice that not only sits in the shadows, but is the shadows. I wanted darkness, blackness, and madness all wrapped up in a straightjacket and ready to go.

And then I wanted to release it and watch the asylum burn.

-Do you ever see yourself writing anything but horror?

Horror is what I do—what I love to do—and I can’t imagine doing anything else, because let’s face it… horror is in everything. What’s scarier than exploring space and meeting aliens? What’s more frightening than meeting creatures that exist only in your wildest dreams? And what’s more horrifying than falling in love?

Fear is in everything.

It doesn’t matter what genre I’m writing in.

I’m going to strangle it and take it down.

-Name a book/tv show/movie you like that would surprise people.

Something that would surprise people, eh?

I’ve seen every episode of Spongebob to date.

And I was there opening day to see the movie when it came out.

That crazy, yellow sponge cracks me up.

Preorder your copy of HYSTERIA here.

Find Stephanie on the web at her blog. Follow her on Twitter @JustAfterSunset.

She’s also on Goodreads. Enter the giveaway to win a free copy of HYSTERIA!

“Also, I’ll be reading from Hysteria at Kafe Kerouac on August 2 from 7-9 p.m. alongside fellow poets John Edward Lawson and Michael A. Arnzen to kick off DogCon2. There will be comedy, madness, and amputated prose, not to mention a whiskey tasting to follow! We’d love to see you there!”

About Stephanie
Stephanie M. Wytovich is an Alum of Seton Hill University where she was a double major in English Literature and Art History. Wytovich is published in over 40 literary magazines and HYSTERIA is her first collection. She is currently attending graduate school to pursue her MFA in Writing Popular Fiction, and is working on a novel. She is the Poetry Editor for Raw Dog Screaming Press and a book reviewer for S.T. Joshi, Jason V. Brock and William F. Nolan’s Nameless Magazine. She plans to continue in academia to get her doctorate in Gothic Literature.

Check out my previous interview of Stephanie here.

Charles Beaumont (January 2, 1929 – February 21, 1967) was a prolific American author of speculative fiction, including short stories in the horror and science fiction subgenres. He is remembered as a writer of classic Twilight Zone episodes, such as “The Howling Man,” “Miniature,” and “Printer’s Devil,” but also penned the screenplays for several films, among them 7 Faces of Dr. Lao, The Intruder and The Masque of the Red Death. As best-selling novelist Dean R. Koontz has said, “[Charles Beaumont was] one of the seminal influences on writers of the fantastic and macabre.” Beaumont is also the subject of a documentary, Charles Beaumont: The Life of Twilight Zone’s Magic Man, by Jason V Brock.

Illness and death

When Beaumont was 34 and overwhelmed by numerous writing commitments, he began to suffer the effects of what has been called “a mysterious brain disease.” He began to age rapidly. His speech slowed and his ability to concentrate diminished.

“He was rarely well,” his friend and colleague William F. Nolan (who went on to co-write the science fiction novel Logan’s Run) would later recall. “He was almost always thin, and with a headache. He used Bromo-Seltzer like most people use water. He had a big Bromo bottle with him all the time.” Other symptoms were of the professional as well as physical persuasion, Nolan went on: “He could barely sell stories, much less write. He would go unshaven to meetings with producers, which would end in disaster. You’ve got to be able to think on your feet [as a script writer], which Chuck couldn’t do anymore; and so the producers would just go, ‘We’re sorry, Mr. Beaumont, but we don’t like the script.'”

Some (including friend and early agent Forrest J Ackerman) have asserted that Beaumont suffered simultaneously from Alzheimer’s and Pick’s diseases, but it has also been speculated that the condition was related to the spinal meningitis he suffered as a child. The former diagnosis was echoed by the UCLA Medical Staff, who subjected Beaumont to a battery of tests in the mid-1960s. As recalled by Nolan, the UCLA doctors sent Beaumont home with a death sentence: “There’s absolutely no treatment for this disease. It’s permanent and it’s terminal. He’ll probably live from six months to three years with it. He’ll decline and get to where he can’t stand up. He won’t feel any pain. In fact, he won’t even know this is happening.” Nolan himself sums up what happened: “Like his character ‘Walter Jameson,’ Chuck just dusted away.”

Several fellow writers, including Nolan and friend Jerry Sohl, began ghostwriting for Beaumont in his final years, so that he could meet his many writing obligations. Privately, he insisted on splitting these fees.

Charles Beaumont died in Woodland Hills, California at the age of 38. But at that time, said his son Christopher later, “he looked ninety-five and was, in fact, ninety-five by every calendar except the one on your watch.” Beaumont’s last residence was in nearby Valley Village, California. He left behind his devoted wife Helen, and two sons and two daughters. One son died in 2004 of eerily similar circumstances. The other, Christopher, is a successful writer in his own right.

Charles Beaumont is buried at San Fernando Mission Cemetery.