I love the movie. Spoiler warning: I can’t talk about why I think this movie is worthwhile without giving away a key part of the ending, so if you don’t want to be spoiled, go stream the movie now!
In case you aren’t familiar: the movie begins on October 31, 1693 in Salem, Massachusetts, where the notorious (and elderly) Sanderson sisters, widely believed to be witches, have lured a young girl into their cottage. They brew a magic potion which they force the child to drink, and proceed to leech her life away, making themselves young again.
The girl’s older brother, Thackery Binx, tries to interrupt the ritual and save his sister, but he fails. He is transformed into a black cat by the sisters and cursed to live forever with his guilt.
The townspeople of Salem storm the cottage and find the dead body of the girl. The witches refuse to say what has happened to her brother. The witch sisters are sentenced to be hanged, but before they are executed, the eldest with, Winifred, casts a spell which she claims will allow them to rise from the grave again—one an All Hallow’s Eve with a full moon, if a virgin lights the Black Flame Candle.
Jump forward 300 years, and Max (who will be our protagonist) is a teen-ager unhappy that his parents have moved the family to Salem. Max has an encounter with a pair of local bullies, which doesn’t make him like the new home any better. He is also not fond of the town’s local folklore about the Sanderson sisters and witches in general. He is really unhappy when his parents saddle him with the job of taking his younger sister, Dani, trick-or-treating. But early in the evening they meet a classmate Max has a crush on, Allison.
Because Allison thinks that Max’s skepticism is a bit too cynical, and because Max is anxious to impress Allison, they wind up in the old Sanderson Cottage (which has been preserved as a museum). When Max announces he is going to light the so-called Black Flame Candle and prove that witches are myths, a black cat attempts to stop him. Max manages to light the candle, anyway and the witches rise from the dead.
What follows is horror-comedy romp with some elements of musical theatre thrown in. The black cat is the cursed Thackery (who answers to Binx for the rest of the movie), who has lurked around the cottage for 300 years trying to prevent anyone lighting that candle. He can speak to the three kids, though know one else apparently can understand him. The kids flee, unsuccessfully try to warn the adults that the witches are back. The witches, meanwhile, have perform their life-stealing ritual on some children before sunrise or they go back to being dead, so there is a bit of a race.
At several points the witches capture one or more of the kids. At at least two points the kids appear to defeat the witches. Along the one a long dead lover of two of the sisters is raised as a kind of zombie/revenant who assists the witches in chasing the kids.
Eventually there is a dramatic stand-off in a cemetery, and with a bit of cleverness, bravery, and self-sacrifice, evil is thwarted.
The three witches are played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker. It wouldn’t be fair to say that Midler steals the show, because all of the show’s comedy and menace are built around her character. The director, Kenny Ortega, said in later interviews that he told the three of them to play it as over the top and campy as if they were drag queens, and it certainly worked.
I’ve seen reviews that Max doesn’t really have a character arc, and I don’t understand how people can be that blind. In the early part of the film, the bullies are absolutely correct that Max looks down his nose at what he sees as the provinciality of the Salem natives. And when Allison scoffs at his scoffing, it’s clear that she sees his skepticism as performative. He doesn’t believe because it isn’t cool to be credulous. Just as he pretends not to care about his younger sister because, again, it would be uncool to feel warmth or affection for his kid sister. By the end of the film, that pretense is gone, and he doesn’t just take a risk to save his little sister, but he gulps down the potion and forces the witches to kill him in her stead.
It’s not bravado or a clever trick. He doesn’t reveal afterward that he only pretended to swallow it. He swallows it, the witches perform the next part of the ritual. We see his life force literally being taken from him.
Once the witches are defeated, we also get a nice pair of parallel scenes, one in which Max and Dani share a moment, and then because Binx fulfilled his mission, we see a similar scene between his ghost and the spirt of his little sister, who has been waiting for him to join her in the afterlife for 300 years.
Unlike the last campy & spooky two movies I’ve written about, this one came out after I was well and truly out of the closet. So I felt freer to revel in the camp vibe and all it implied. A few times when I’ve found myself in conversation with other queer fans of the show discussing it, I’ve found out that a lot of them like to ask the question: so which Sanderson sister are you? For the record, Ray was definitely and enthusiastically a Sarah. I had to admit that I want to be Winifred, but I’m really a Mary.
The film is funny. It has many nice spooky moments. If you haven’t seen it, give it a try. Maybe it will cast a spell on you, too.
When the original Fright Night came out in August of 1985, I was in my mid-twenties and preparing to move to Seattle to finish my college degree. It was a time when I had virtually no disposable income, so I very seldom saw movies in the theatre. Combine that with the fact that horror movies often give me nightmares (and I’m a sleepwalker, so I would get up in a panic during the dream and find whoever I can in the house, shake them awake and frantically try to convince them there is a killer in the house), I did not see Fright Night that summer. One of my friends did go see it, and his description just convinced me even more that I shouldn’t see it.
Over a year later, I and some friends in Seattle were going to have a movie night. Which at that time involved us pooling some money to go to a video store and rent a both a video player and one or more movies, which we would take back (usually to Club Chaos, which was an apartment share by two of those friends that had an enormous living room) and watch while eating a bunch of junk food. It was often the case that only a subset of the gang would go get the movie, so you were never quite certain what we might be watching.
One of those nights Fright Night was in the mix. At least one of my friends who had seen it before assured me that it was more of a comedy like Ghostbusters than a scary slasher film like Nightmare on Elm Street, so I figured it would be fun.
In the opening minutes, it does indeed seem to be more of a cheesy romp than a serious horror picture… but that’s because the movie begins with a movie within the movie. A cheesy vampire film which are main character is watching on television. The protagonist of the film is Charley Brewster, a teen-ager who loves horror movies, and faithfully watching a weekly show hosted by an actor named Peter Vincent who used to star in a series of vampire hunter movies himself.
Charley lives with his mom in what seems to be a typical 80s movie suburb. And someone has recently moved into the empty house next door. Charley hears strange noises and even a scream coming from the old house, and becomes convinced that the new neighbor, Jerry Dandridge, is a vampire who is luring women to his home before feasting on their blood.
Charley’s best friend is “Evil Ed” who loves those horror movies even more than Charley does. But he doesn’t believe the neighbor is a vampire. Charley’s girlfriend, Amy, breaks up with him because of his obsession with the neighbor. And, of course, Charley’s mom and the police also all fail to believe him.
So Charley tracks down the actor, Peter Vincent (who hosts the aforementioned weekly horror show at one of the local stations, so lives in the same city), and tries to get him to help prove that the neighbor is a vampire. The actor doesn’t believe him either, and points out that he’s just an actor—the vampire hunter he played was fictitious.
Amy, meanwhile, has become concerned about Charley’s mental health, and she hires Vincent to pretend to test the neighbor and then prove to Charley that the neighbor isn’t a vampire. And so the actor (who thinks this is some easy money) puts on his costume and grabs his character’s equipment bag and visits the neighbor. In the course of the discussion, just as he’s leaving, Vincent pulls out his pocket mirror while getting something else out of the pocket, and realizes that Dandridge, standing behind him, has no reflection.While there had been a lot of humor in the movie at this point, and not much in the way of gore, the tone was paranoid rather than a laughfest. And that tension ramps up from this point, as the vampire starts stalking Charley, Charley’s mom, and Amy threatening to do terrible things if Charley keeps telling people about him.
This is also where we start getting more of the transformations and start seeing more of the death scenes explicitly.
Dandridge kills and turns Evil Ed and sends Ed to kill Peter Vincent and then Charley. The scene where Dandridge stalks and corners Evil Ed in what has to be the most labyrinthine alleys to ever appear in a movie, is remarkably chilling, even though we never see a hint of blood.
Ed doesn’t succeed in killing Vincent, who burns him with a cross and forces him to flee by leaping out of the apartment’s window. Ed beats Vincent to Charley’s house (Vincent is on his way to warn Charley), and they have a fight during which Evil Ed transforms into a wolf, but he still winds up impaled through the chest with a broken table leg.
Dandridge has, meanwhile, lured Amy to his house and has started the process of turning her into a vampire, trapping Charley in a room with her slumbering body so that she can feed on Charley when she rises. Vincent manages to help Charley escape, and then the two of them have a protracted fight with Dandridge, before eventually killing him and, since Dandridge died before Amy ever drank the blood of another, she reverts to human and all is well (or as well as it can be, given that a number of people have died on screen by this point).
The special effects are all practical effects, this is before the era of CGI, and some of them haven’t aged quite as well as others. Some of the creature effects looked cheesy even in 1986. I don’t think the effects are the reason this movie never gave me serious nightmares.
No, I think that’s because I spent a lot of the movie trying to decide if all the gay subtext was going to come out in the open. And also not feeling free to comment on any of said subtext because, while it is true that two of the people in that friend group were part of a very tiny number of friends who I had come out to only a few months before (though come out is a strong word, since it began with, “I think I’m gay” and quickly morphed into, “Or I’m bi—yeah, that’s it. Not completely gay after all!” which was so not true).
It was clear to me that Charley wasn’t into Amy or even the idea of making out with her as Amy was interested in him. There’s even a moment before Amy breaks up with him where she is angrily trying to get him to stop looking through the binoculars at the neighbor and come have sex with her, for goodness sake.
It was also clear that Evil Ed had the hots for Charley. I’m sorry, totally straight teen-age boys don’t joke about giving their male best friend hickeys and so forth as often as Evil Ed did.
The scene where Dandridge corners Ed in the alley and talks him into giving in without a fight is very much written and acted as a seduction. They never make it completely clear what the difference is, but just being killed by a vampire isn’t enough to make the corpse rise later as undead. The vampire has to choose to do it, and given how he talks Ed into surrendering, it seemed to imply that the other person’s consent was part of the situation. Though the later seduction of Amy seems to involve some sort of vampiric mesmerism, so maybe consent isn’t exactly the right word.
The movie ended with Charley and Amy back together, in Charley’s bedroom, where he looks out the window at the once again deserted house next door. He turns to Amy just as we see a pair of glowing red eyes appear in one of the windows of the house. And as the movie fades to black, the last line of dialogue is spoken in Evil Ed’s voice: “You’re so cool, Brewster!”
Vampires often are metaphors for sex, so it isn’t surprising that scenes where a male vampire is stalking a male victim will be homoerotic. But some of the earlier stuff between Evil Ed and Charley are a bit different.
Most of Fright Night isn’t played for laughs. My friend’s assurance that it wouldn’t be nightmare inducing wasn’t completely wrong… though I personally think that on a scale of Ghostbusters to Nightmare on Elm Street that Fright Night lands smack dab in the middle. It is one of the spooky movies that fairly regularly figures in my Halloween movie marathons, and I have to admit in no small part because I keep thinking how much better things would have gone if Ed had simply declared his love for Charley early on.
Just as I’m sure that the sequel wouldn’t have been the awful mess it was if Evil Ed had been the villain, as been planned. Alas, Stephen Geoffreys, who played Evil Ed, turned down the chance to be in the second movie in order to play the lead in another horror movie that flopped even worse than Fright Night part 2 did. Geoffreys appeared in a couple more movies that didn’t do well, then he spent the next dozen years or so appearing in gay porn films under a couple stage names. Since 2007 he’s been getting work in various horror and action films.
Anyway, with its 80s hair styles, sometimes cheesy effects, and the unresolved gay sub-text, Fright Night makes for a good popcorn movie, and not just at Halloween.
A few years later, one of the few disputes that I had with (at the time my soon-to-be-ex-wife) Julie while we were splitting assets was who would get to keep the VHS of Elvira: Mistress of the Dark. Of all the things to argue over it was one of the dumbest, I admit… I’m just happy that we got through all that and now, 29 years later, we’re good friends and can laugh together about such things.
As it happened, my first husband, Ray, loved the movie, and we owned it on VHS and upgraded to DVD before he died. And my husband Michael thinks the movie is funny and is more than willing to watch it with me about every other Halloween, so, yay!
But, let’s get to the actual movie. Outside of the movie, Elvira is a horror host (played by Peterson) who had a syndicated sci fi/fantasy/horror movie show on various cables for years. The movie proceeds on the conceit that Elvira is a real person, not just a character which Peterson plays, and when the local California station she appears on gets a new owner who sexually harasses her, she gets fired. But she isn’t upset because she’s about to open a show in Las Vegas… except her agent informs her that the show in Vegas will only go forward if she can put up $50,000 of the production cost.
Right after she says she doesn’t have that kind of money, a studio intern knocks on her dressing room door to tell her she has a telegram. According to the telegram, her Great-Aunt Morgana Talbot, has died and that Elvira is a named as a beneficiary in the will (“I didn’t know I had a good aunt, let alone a great one.”). So Elvira drives across country to the quaint town of Falwell, Massachusetts for the reading of the will.What follows is a parody of several old horror movies (and a few Lovecraft stories), but even more a parody of all those movies about small minded small town people being against outsiders, et cetera. While there is one scene that is a direct take-off on Flashdance, the majority of the movie is a retelling of Footloose with Elvira in the Kevin Bacon role.
And the movie is funny. I mean, Edie McClurg should have gotten an award for her hilarious turn as Chastity Pariah, hypocritical council member.
Elvira’s great-aunt doesn’t leave her any money, just her house, her book of “recipes”, and her pet poodle named Algonquin.
The kicker is that Morgana was a powerful witch, the book is actually a very old and potent grimoire, and the poodle is actually a familiar. Elvira spends much of the rest of the movie figuring this out, and slowly learning the Morgana’s brother, Vincent, is the evil warlock who killed Elvira’s mother, Divana, and that possession of the book is going to decide the balance of supernatural powers for the next century.
In between, Elvira tries to iniiate a romance with the very hunky but virginal owner of the local movie theatre, becomes a hero for the town’s teen-agers who wish the town was less backwards, and has various misadventures trying to use the mystical book. I know the movie is set in Massachusetts, but some of the more jokes in the sequence where she mistakes a potion to conjure a demon for a casserole recipe resonated extremely deeply with my southern Missouri/Oklahoma soul, okay?
Part of the meta of the movie is that Elvira, despite being played by a cisgendered woman, is essentially a drag queen. And while what little other queer subtext is very, very sub, that 80s drag queen/queer camp vibe is extremely strong in the movie. All of the villains are either defenders of the old Traditional Family Values notions or the even more ancient Toxic Masculinity tropes, while Elvira and her supporters are champions of Everyone Is Valid, and Being True To Your Self is More Important Than Pleasing Societal Expectations.
Which is very queer. So even though the vast majority of the sex and innuendo in the film is quite hetero, there is simultaneously an extremely strong non-hetero message being promulgated throughout.
At the time when the movie came out, I was still trying to pretend I was bisexual, which I very dysfunctionally saw as being half-heterosexual. I was trying to walk an extremely difficult tightrope. And this movie seemed to walk a similar tightrope… but when I re-watched it, I began seeing that the tightrope was as false as Chastity Pariah’s moral superiority.
Eventually, the camp sensibilities and the sex-positive subtext of this movie was one of the many examples that helped convince me to stop trying to compromise my true self.
And years later, it’s just an extremely funny movie to watch during Halloween season. And what more could you ask for?
I’ve mentioned before that because of my father’s work in the petroleum industry my childhood included 10 elementary schools across four states. Toward the end of my elementary school years, my dad got promoted to what was essentially a regional manager type position, and we were able to move back to the tiny town where I was born (And at the time where my paternal grandparents and maternal great-grandparents lived).
In the first week of seventh grade I tried to explore the school library, and found that it was open during limited hours (the librarian worked at the elementary school and the high school as well as the middle school, so was in on only certain days). I also found out that the school library only let you check out one book at a time unless a teacher signed a request that you needed additional books for a class project. The first time I was able to go in and check out a book, I did what I always did when finding a new library: I went looking for my favorite authors. I found an anthology of Ray Bradbury stories.
Which I read all the way through before the next day, but I think I had to wait two days to check it back in and get another. It was while I was checking it in that the librarian asked me how I liked the stories in the book. And then she asked about some other authors I liked, and during the course of the conversation asked if I had ever read anything by Fritz Leiber. I said I thought I had read some of his stories, but wasn’t sure. She led me to a shelf and pulled out a collection of stories about Fafhrd and the Gray Mouser. I think it was the volume Swords Against Death, but I’m not certain.
When I brought back the Fafhrd and Gray Mouser book, she recommended the anthology, Warlocks and Warriors edited by L. Sprague de Camp, which contained one of the Fafhrd and Gray Mouser stories I’d already read, but also contained “The Black God’s Kiss” by C.L. Moore, which introduced me to another great sword & sorcery protagnist, Jirel of Joiry.
Over the course of the next few months, with that librarian’s help, I read every single science fiction and fantasy book in the school library. Which would have left me sad, except that the town had a much more well-stocked public library.
The first visit to that library had been with my mother and younger sister, and Mom had commented on how much bigger and modern looking it was than the same town’s library had been when I was a baby. The library that Mom had checked out all of those Heinlein, Bradbury, Norton, and Christie (mom was a mystery fan as well as a sci fi fan) that she read to me as an infant.
Anyway, the public library had a much larger collection and they acquired books much more often than the school library had. And they allowed you to check out more than one book at a time and were open a lot more hours (having multiple full-time librarians, unlike the school district). That library had a lot to do with the fact that I read at least one book every day throughout seventh and eighth grade.
It was from that library that I read a rather large number of books by Madeleine L’Engle. I’d been a L’Engle fan since I had gotten a copy of A Wrinkle in Time from the Scholastic Book Club in about third grade. But hadn’t found many other books by her until that public library.
One day I came into the library to drop off books I had read intending to browse for new ones, but the librarian at the desk said (with a twinkle in her eye), “You should go check out the new acquisitions display.” They periodically put up the dust covers of recently acquired books along with some extra information about the author or if it was part of a series typed up on an index card. There would also frequently be bright pink cards next to the index card saying, “Currently checked out — ask to be put on the reserve list!”
Anyway, I got to the display and started scanning the books when Madeleine L’Engle’s name jumped out at me. And the title was one I didn’t recognize, A Wind in the Door. The little index card said something like, “The long awaited sequel to -A Wrinkle in Time-!” Joy started to bubble up in me… and then I saw that dreaded pink card.
“Someone’s checked it out already?” I don’t think I actually wailed, but you know, I was only 12 or 13 (I don’t know which month of 1973 the book came out, and now if you didn’t know how much of an old man I am, now you do) and a book I didn’t even know I’d been waiting for had just come out but I couldn’t read it yet!
The librarian didn’t scold me for being too loud. Instead she said, “Oh, yes! One of our best customers has already checked it out!” She made a dramatic show of looking through some papers… and then she read out my name.
The Head Librarian had already checked it out in my name, and she and the other librarians had cooked up the idea of sending me to the display and so forth. I found out later there had been a bet as to which one of them would get to spring that act on me.
So there it was, behind the counter, and I got to be the first one to read it.
Many other librarians helped me discover fabulous science fiction and fantasy works, not just the ones mentioned above. And I owe all of them a ton of gratitude.
About two years later—after I had transferred to university in Seattle—I was involved in a conversation with a couple of different friends who were enthusing about a book and its sequel that they both quite enjoyed. One of them had a copy of the second books with him, and suggested I give it a try. “You don’t need to have read the first book to get this one,” he assured me. The cover looked suspiciously familiar, but I didn’t quite put two-and-two together.
Until later that week when I was trying to read it, and realized that the author of the book was the same as the other book from two years ago, and the protagonist that I had despised before was the main character of this book, too. So I gave it back, thanking my friend from loaning it, but admitting that I hadn’t liked it.
About three years later, on our regular gaming night, a group of friends which included the two guys who had tried to get me into the series before were going on and on and on about this latest book in the series. One of them, however said, “Oh, wait, you already tried these books before, didn’t you?” But one of the other guys chimed in to say that the first three books in the series had not been anywhere near as good as the latest, and the next thing I knew I was borrowing someone’s copy of the eighth book in the series.
Admittedly, the main character of book eight was a completely different character who wasn’t quite as irritating as the other guy had been, but I still found myself getting bogged down and rolling my eyes a lot at things in the book until finally I once again gave up.
A few times over the eight years, some subset of friends or acquaintances in various fannish or gaming situations would talk about the series, including explaining which were their favorites and which they could take or leave. And at least one more time during this interval I picked up another book in the series, but it just didn’t grab me.
I found myself after that in a conversation with another friend about the series. She was a little bit surprised that I didn’t like it, as she thought a lot of the themes the author explored were things I enjoyed. We ended up having a very long conversation about books other people had recommended that we didn’t like, and why we thought that was in various cases. This last conversation happened around the same time that my first husband, Ray, was undergoing chemotherapy. Or maybe it was during one of his surgeries? What I know is that the conversation happened in a waiting room at a medical facility where she was hanging out with me specifically to give me emotion support and distract me a bit.
A few months later, Ray died —just two weeks before Thanksgiving. Just before Christmas, she dropped by one day to drop off a Christmas present, but more importantly, to loan me a few books. Most of the books in the pile I recognized as series that I had been interested in trying one day. And then one of the books was in the series that people had been trying to get me to try for a long time.
She pulled it out of the pile and said, “I’ve been thinking a lot about that conversation we had about why you didn’t like other books in this series. The more I think about it, I think if any of the books will appeal to you, it’s this one. Give it a try. I won’t be offended if you don’t like it.”
It was one of the books I stuck in my suitcase when I went to spent about a week at Mom’s for the holiday. Mom tended to go to bed a lot earlier than I did, at least on the nights that weren’t filled with holiday things with the family. So the first night after Christmas, I was laying in her guest room, trying to occupy myself quietly until I was ready to sleep. And I opened up the loaned copy of Terry Pratchett’s Wyrd Sisters. I had intended to just force myself to read it for an hour or so until I go sleepy. Because I was not at all confident that I’d like it any more than any of the other Discworld books I had tried before.
The next thing I knew, I was on the last page of the book. The sun had risen outside. I had stayed up all night, eagerly turning pages to find out what happened next!
I re-read the book from beginning to end two more times before that vacation was over. Shortly after getting home, I was telling my friend how much I loved it and that I knew I needed to get my own copy. A couple days later she dropped by and loaned me the next book from the series with the same character, Witches Abroad. And while at the end of Wyrd Sisters I was a big fan of Granny Weatherwax, Nanny Ogg, Magrat, and Greebo the world’s scruffiest cat, by the end of Wyrd Sisters, I was ready to say that Granny Weatherwax was the greatest fictional character ever created.
It was at this point that the friend advised me that there was an earlier book starring Granny Weatherwax, but it was “written while Pratchett was still figuring out the world, so it’s almost like she’s only a similar character who happens to have the same name.”
Over the course of the next few months I read all of the witches books in the Discworld series which existed at that time (Wyrd Sisters, Witches Abroad, Lords and Ladies, and Maskerade). By this time I was dating Michael, and he was as surprised as many other friends had been that it had taken me so long to start reading these books. It was his copy of the first Granny Weatherwax book, Equal Rites, that I finally read. And I could see that my other friend had been correct, if I’d read it before I had come to love the more fully realized Granny, I would definitely not have liked it.
Having reached the end of the witch books available at the time, I was eyeing some of the other books in the series, when the friend who had picked Wyrd Sisters for me said, “Skip the earlier guard books. Start with Feet of Clay, then if you like the characters try circling back to the beginning.”
And that’s how I eventually wound up reading (and buying my own copies of) almost the entire Discworld series mostly out of order. Because the earlier ones did make more sense once I had gotten into the mindset of the series overall.
The earliest books in the series feel like broad parodies of epic fantasy novels. They have their funny moments, but when the jokes clunk, they remind me (at least) of the non-parody fantasy books that I love and make me wish I was reading one of those.
Wyrd Sisters, in my humble opinion, was the first time that one of the discworld books became full-on satire. Parodies always contain satirical elements, but a full literary satire doesn’t lampoon or ridicule an individual person or work—it uses the elements of irony and humor to lampoon society as a whole.
Several of the books immediately following Wyrd Sisters strayed a bit back into more broad parody elements, but by Reaper Man and Witches Abroad, Pratchett had finally found the groove of holding up a mirror to the reader and the world we live in rather than poking fun at individual works.
This post was originally supposed to be about Witches Abroad, why I love it, and how it changed the way I looked at the world, so maybe I should get to those specifics.
The premise: the tiny mountain kingdom of Lancre is served by three witches: Granny Weatherwax, Nanny Ogg, and Magrat Garlik. There are many other witches who live in neighboring and not quite so neighboring communities, but these three form the core of most of the witches books. Nanny Ogg is the ultimate grandmother—she has outlived a rather large number of husbands, has sons working in various jobs in her hometown and the neighboring communities, a large number of daughters-in-law who fear her, and innumerable grandchildren. She loves to drink and is famous for singing a particularly naught song. Magrat is the youngest of the coven, and is prone to trying new and modern things like crystals and meditation. Granny is older, has never married, and would never, ever be described as nice. But she is also the undisputed leader of their coven, and the one that everyone turns to when the situation gets dire.
This particular book is kicked off when a witch who lives in a neighboring county dies, and leaves a powerful magic wand (and the fairy godmothering duties that go with it) to Magrat. And she writes her will in a way that she knows will provoke Granny and Nanny to insist on going with Magrat to help the girl she is now the godmother to.
The middle of the book involves adventures the three witches have traveling through unfamiliar lands (with a lot of funny events along the way). But there is also a growing sense of trouble, as it becomes clear that the goddaughter in the far-off land is under the influence of someone who is quite dangerous, indeed.
When they find the girl (living in a sort of parody of New Orleans), they quickly discover that the other godmother is someone known to Granny and Nanny: Lily Weatherwax, Granny’s older sister.
The image I included above is a bit of dialog from Witches Abroad.
“You’d have done the same,” said Lily.
“No,”“ said Granny. “I’d have thought the same, but I wouldn’t have done it.”
“What difference does that make, deep down?”
“You mean you don’t know?” said Nanny Ogg.
—from Witches Abroad by Terry Pratchett
Lily does not fit the mold of villain when we first meet her. She is nice and charming. She claims her only goal is to ensure everyone is happy and get what they want. It becomes clear fairly quickly that what Lily really wants is for everyone to act happy and cheerful and more than content with whatever their lot in life is.
I mentioned above that Granny isn’t nice. She is sharp-tongued and blunt. She is ruthless when going up against someone who is causing harm to others. But she isn’t one of those characters who is rough and mean on the outside and turns out to have a soft squishy golden heart. Granny is granite all the way through, but it is a granite of morality.
In the above quote, Lily just given her explanation for why she uses her magic to force people into the roles she deems them suited for. She has explained how people make foolish mistakes, live inefficient lives, and waste a lot of time and effort of frivolities, often causing themselves misery and trouble along the way. Isn’t it better, she argues, for someone like her who can see how they could be happier, to make sure that they are?
When Granny objects, that’s what causes Lily to say, “You’d have done the same.”
It is this exchange that shows the core of Granny’s hard, granite soul. She knows that she is capable of doing immoral things. She has had those unkind, cruel, manipulative thoughts. And she refuses to give in to them. She can be harsh-spoken, but she is always harsher to herself, and she knows that kindness isn’t about how we talk to people, but what we actually do for them.
In more than one of the books, Granny defines evil not as maliciousness nor cruelty nor depravity. No. Evil, she tells us, begins when you start thinking and treating people like things.
The book hits on many other ideas along the way, but I think the heart of it was the revelation that how you treat and care for each other is what matters. And there isn’t a grey area between treating everyone as a person entitled to dignity and consideration, and treating them as expendable.
So, the story concerns Luther Heggs (played by Don Knotts), a middle-aged man who has always dreamed of being a Famous Journalist or other sort of hero, but has never been able to rise above his job as a typesetter working in the basement of the Courier-Express, the weekly newspaper of the town of Rachel, Kansas. The opening scenes of the movie establish Luther at the butt of just about everyone’s joke in the town, and given his tendency to jump to conclusions and become almost hysterical over the slightest odd occurence, the audience is not supposed to be surprised.
Then comes news that the Old Simmons Mansion, the site of a notorious murder-suicide decades ago which has been a decaying housed rumored to be haunted all of those years, is going to be bulldozed down soon, as the only heir to the Simmons’ is coming back to town around the time of the anniversary of the murder-suicide. Luther is dared/assigned to spend a night in the house on the anniversary of the horrid events and write an exclusive, the first time he has been offered a by-line at the paper in his whole life.
Luther also has had a lifelong crush on Alma Parker (played by Joan Staley), who is also being wooed by Luther’s most frequent bully, the only official reporter for the local newspaper. Being teased as a coward by said bully in front of Alma, Luther declares he will undertake the assignment.
Luther lives in a boarding house whose other tenants are all played by a gaggle of famous character actors of the period. And who amp up the fear by telling Luther the versions of the murder-suicide that each of them has heard.
Luther goes to the house, has a few very comedic misadventures that show how over-excited and fearful he is… and then the real spookiness happens. The painting of the last Mrs Simmons transforms during a flash of lightning from a regular painting to one with a pair of garden shears sticking out of it, with blood dripping down the canvas. The organ in the tower starts playing, but no one is at the keys. A bookcase swings open to reveal a secret stair way to the staircase. Other spookiness happens until Luther finally faints in terror.
The next day, Luther tries to tell his story to the editor and the only other reporter, and they translate his tale into a compelling story that runs on the front page of the next edition of the Courier-Express. This leads to a number of unexpected actions. Many people in the community think of Luther as a hero. The wife of the manager of the local bank happens to be the head of the local seance society and since she essentially owns the bank, suddenly the Simmons heir is prevented from getting his clear title to the house.
I should pause at this point and confess that despite being listed as an uproarious comedy, this movie did give me nightmares as a kid. However, the nightmares were because of the scene where Luther is forced to give a speech at the local community Fourth of July Celebration. It’s a scene that is extremely painful for anyone who suffers from excess empathy and can’t watch embarrassing scenes.
Anyway, the heir to the Simmons mansion sues Luther for libel, and uses the trial to trot out all of the most embarrassing stories of Luther trying to impress his classmates and neighbors throughout his life. Finally, the judge approves a jury request to go spend the night in the haunted house to see once and for all whether what Luther recounted in his story really happened.
Of course, under the observation of the jurors, judge, and neighbors, nothing untoward happens. The cringe ramps up as Luther tries to make things happen as they did on the night. It becomes clear that her lawsuit if going to go against Luther, and everyone who has supported him up to this point rejects him.
…except for Alma.
As the rest of the community leaves, with Luther standing in front of the house pleading for someone to believe him, she goes back inside, and finds the lever that opens the secret bookcase. Soon, the spooky organ is playing itself, and Luther goes back inside, finds himself confronting a fiend threatening Alma’s life. Eventually, Luther is vindicated before the whole community, and the truth about that murder-suicide decades ago is revealed.
Many years ago I mentioned that this movie was one of my favorite fantasy/horror films, and a friend got really upset at me for that claim. The ghost within the story is explained away in the final act, the person pointed out. Also, the entire movie is framed as a comedy about how easily Knotts’ character is sent into flights of fancy. “It’s a comedy with a fake ghost, not a fantasy or horror story,” my friend insisted.
I have a number of quibbles with that. First, there are a lot of very spooky moments in the middle of the film that definitely qualify as horror. Second, if you can’t accept tales about people investigating claims of the paranormal as part of the genre of sf/f then I don’t want to know you. And third, in the final scene of the movie, after Luther and Alma exchange their wedding vows, we see the chapel’s Wurlizter organ playing itself! So, sorry, just because most of the happenings (but certainly not all—in most cuts of the movie the bleeding portrait is never explained!) have a mundane explanation, that doesn’t mean that one of the murdered people didn’t hang around as a ghost.
I know what I loved about the film is that Luther—the guy no one in town takes seriously and who is bullied for not being sufficiently manly—is the hero who gets the happy ending. And I like to think that he had a long career afterward solving haunted house mysteries with the help of Alma and their ghostly sidekick.
Part of the reason I decided it was time to write about this movie was this story (which was included in last week’s Friday Five): Joan Staley, Actress in ‘The Ghost and Mr. Chicken,’ Dies at 79 – She also slapped Elvis Presley in ‘Roustabout,’ sang to Audie Murphy in ‘Gunpoint’ and played Shame sidekick Okie Annie on ‘Batman’.
I don’t know exactly how old I was the first time I watched The Brain That Wouldn’t Die, but since I’m pretty sure that it was on the Saturday afternoon Science Fiction Theatre on Channel 2 out of Denver (long the home of “Blinky the Clown”). Which means that I couldn’t have been more the 10 years old. I know the second time I saw it was a late Friday night Nightmare Theatre offering during a time I was allowed to stay up after midnight on Fridays, so that means I was between 12 and 14 years old. The third time was many, many years later as an Mystery Science Theatre 3000 episode… and it was one of the times I really wanted a means to mute the commenters. Because as campy and awful as The Brain That Wouldn’t Die is, I’m actually very fond of it.
And it really is a poorly made film on so many levels. It was released with the title The Brain That Wouldn’t Die, but yet when you get to the end of the film the credits appear under a title card reading The Head That Wouldn’t Die. The direction is clunky. A lot of the dialog is more than just clunky, it’s actually a wonder some of the actors could get the lines out! The car accident scene is so badly edited, it makes Plan 9 from Outer Space seem like a masterpiece.
And then there is the plot: Dr. Bill Cortner is a brilliant surgeon who has some unorthodox ideas—so unorthodox that his father (a more famous surgeon) urges him to take up a new profession. Dr. Cortner is taking his new fiancée, Jan Compton, to the family’s country home (I think to meet his mother), when they have a car accident. Cortner gets out with barely a scratch, but Jan is neatly decapitated. Somehow Cortner has the presence of mind to carry her head to his locked lab in the basement of the family country house, where Cortner’s creepy lab assistant, Kurt, helps him set Jan’s head into a pan of blood and attach various life sustaining equipment to the head.
There’s a monstrous Thing in the Closet of the lab that occasionally growls incoherently and bangs on the heavily locked door. We are told the Thing is the result of a previous failed experiment, but given no other details. Jan can mysteriously talk despite not having lungs nor any sort of breathing apparatus. And Kurt the assistant has a serious deformity on one arm.
Jan pleads with them to let her die, but Dr. Cortner has plan! He will find a body to transplant Jan’s head onto and they will be able to live happily ever after. He then drives into the city to search strip clubs, night clubs, and even a beauty contest to find a suitable body.
While Cotrner’s off doing that Jan and Kurt the Assistant have existential debates about the meaning of life and horror. It is also during the middle that we learn of Kurt’s sadistic streak, as he takes delight in teasing the Thing in the closet. Jan, meanwhile, realizes that somehow she had developed psychic powers, and she starts communicating with the Thing in the closet.
Eventually, Dr. Cortner settles on a suitably sexy body to steal of Jan: a model whose body is perfect, but she has a scar on her face which she is ashamed of. Lying that he can remove the scar, Cortner lures the model up to the family’s home where his lab is. Once there, he drugs her, and begins to prepare for the surgery.
Jan begs him not to do it, but Cortner is determined.
Jan eggs the Thing in the closet on, and in an extremely bloody finale it escapes and kills both Kurt and Corter. It’s egregiously gorey, and I remain a bit surprised that this movie was shown during the afternoon on a local TV station.
The Thing in the Closet, by the way, is played by Eddie Carmel, also known as “The Jewish Giant.” Eddie suffered from a form of gigantism and acromegaly because of an incurable tumor on his pituitary gland.
The fight has also started a fire, so the lab is burning down. Jan instructs the Thing from the closet to carry the unconscious woman to safety, but to leave Jan there to burn with the rest of the house.
Depending on which edit you see, the movie’s sleaze in the middle outweighs the extreme gore of the ending. The scenes of Cortner looking for a body include a lot of footage of the strippers stripping, at least one instance of models wrestling, and the women opening talking about how no one is interested in them other than for their bodies. Apparently full frontally nude scenes were filmed and intended for the international release of the film.
Despite everything wrong with it, the film still works. And mostly because of Virginia Leith’s performance as Jan. I mean, the film begins with a chillingly delivered line (over a totally black screen), “Please let me die.” The opening of the film is essentially a flashback from the moment that Jan realizes how her fiancé has revived her. Despite spending most the film sitting under the table with her head sticking out the pan, Leith makes you believe. Even the overwrought philosophizing during the debate with Kurt is loaded with pathos. She also gets some commentary in there about Cortner’s obsession with finding the perfect
sex doll body for her, completely disregarding her wishes and opinions.
I don’t remember ever having nightmares because of this film. I’m not sure why that is. I certainly didn’t pick up on the gay subtext a lot of people seem to see in the film. The Thing in the Closet seems to be the component that everyone who claims there is gay subtext focuses on—but Cortner is so obviously the sort of narcissistic heterosexual man who only values women for the sex he can get from them, that I just don’t see it.
I do know that when I first saw the film I identified very strongly with both Jan and the Thing in the Closet. Jan refers to herself as the ultimate horror, but I think it would be more apt to describe her as the ultimate Person Without Agency. Which is why I really empathized with her. As a queer kid (technically closeted the first time I saw it, but I didn’t actually know yet that I was gay, so closeted isn’t quite accurate) with an abusive parent, I had almost as little control over my life as Jan. And of course, the way that Kurt bullied the Thing was also very familiar to me.
The ending of the story isn’t exactly a surprise: the mad scientist destroyed by his own creation is a very popular trope, after all. Though the level of gore in the ending was hardly normal when the movie was made. But again, Jan’s final comments, like the chilling opening line and her description of why death would be a kinder fate than what Cortner planned for her, elevates the film above the schlock.
And, honestly, schlock often makes for a great popcorn movie.
I linked to Virginia Leith’s obituary a couple of weeks ago, and it kicked off a trip down memory lane. One of the things I turned up was this fascinating story about the young man who played the monster in the closet: Eddie Carmel, The Jewish Giant.
So, in 1971 Forbidden Planet was shown on U.S. network television for the first time. I’ve mentioned many times before that my mom was a sci fi fan from way back. My dad was more of a spy and western fan, but he also liked some science fiction, so he didn’t object when Mom wanted to watch this show. The broadcast was a few months before my 11th birthday. The whole family watched the show together, though I think than my sister, who was 6 years old at the time, fell asleep before it was over.
I really liked the show while we were watching it.
But several hours later, I was standing in the hallway, very confused, because my mom had thrown a glass of water in my face because I had gone to sleep, and then got out of bed and found my parents and started jabbering about the monster that was trying to kill us. This was, as far as my family and I know, the first time I sleepwalked.
So, let’s get back to the movie…
The movie starts on the bridge of a spaceship where Commander John J. Adams is in charge. The movie is careful never to mention any nationality for the military organization in which the crew serves, though at a later point in the film they send a report back to Earth and await further instructions. They’ve been sent to a planet called Altair IV where a scientific expedition was sent many years before, but lost contact.
As Adam’s ship approached the planet, the make radio contact with one of the scientists from the expedition, Dr. Morbius. Morbius warns them not to land, saying he is the only survivor, that the planet is very dangerous, and he can’t guarantee their safety. Adams has his orders, and lands anyway.
They learn that there are two humans on the planet: Morbius and his daughter (named Altaira) who was born after the original expedition landed. Morbius explains that after the discovered the remains of an advanced civilization of aliens called the Krell, members of the original expedition had been killed off mysteriously by some planetary force, until the a small group tried to flee the planet to return to Earth, but the ship was vaporized. Morbius and his daughter have been living alone with their very helpful robot, Robbie, peacefully ever since.
As far as I have been able to tell, Robbie was the first robot in any film to be portrayed with an actual personality, rather than being a walking tin can that mindlessly followed his instructions. One of my favorite scenes with Robbie is when, later, Altaira wants Robbie to make her a dress covered with star sapphires, and Robbie explains that all of those sapphires will take many weeks to synthesize, whereas he could make her a dress covered with diamonds in a few hours.
Back to the main plot: Dr. Morbius is very evasive with the Commander and his crew. He does show them some of the remains of the Krell civilization, including thousands of underground nuclear reactors that are still generating unimaginable amounts of energy for no known purpose, an education machine, and other devices that Morbius still doesn’t understand. But because Morbius’s translation of the Krell records reveal that every last member of the race was destroyed by a mysterious force they couldn’t understand, and Morbius’s shipmates were destroyed by a similarly mysterious force, he keeps urging the commander and his crew to leave. And the first night the ship is on the planet, and invisible monster sneaks into the ship, kills a crewman, and disables the hyperspace communicator, making it impossible for the next several days for the ship to contact Earth.
And let me tell you, the way the showed impact of the invisible monster, who was so heavy his feet bent the metal of the stairway into the ship, was very, very creepy!
The plot continues, with one crewman flirting with (and clearly hoping to take advantage of) the very naive Altaira. The commander intervenes and sends the crewman back to the ship, but he also scolds Altaira for wearing revealing clothing around men. Which confuses her.
When Morbius is no help with explaining the monster, the commander orders his crew to take additional precautions. Each night the ship remains on the planet, the invisible monster attacks again, and each day the ship erects more elaborate defenses, including building a huge blaster. When the monster is trying to get through the force fields and being fired on my many weapons, we get a sort of aura-like outline of the creature, the only time it isn’t invisible. But all of the tech of the starship is unable to defeat the creature.
Eventually, the commander and his closest friend on the crew (who everyone calls “Doc” though it is never clear whether he is the medical officer or if the nickname is because of some other scientific expertise) have become convinced that the monster isn’t some ineffable planetary force. They decide that one of them needs to use the alien “education machine” which Morbius has warned them away from. Morbius has explained that several members of the original expedition has tried to use the machine, and all who had tried died, except Morbius. The commander winds up distracting Morbius while Doc get to the machine.
The machine does kill Doc, but as he is dying, he is able to tell the commander enough to solve the mystery.
There is a dramatic final confrontation, in which it appears that the mysterious force no longer thinks of Altaira, Robbie, or Morbius as beings to protect rather than destroy. And again, the way supposedly impenetrable Krell metal walls were being battered in by the monster was intensely scary! Commander Adams forces Morbius to face the truth. Which results in Morbius’ death. The ship is able to leave the planet, carrying Altaira and Robbie back to Earth, and the entire planet self-destructs after they leave.
Most modern analyses of the movie, if they acknowledge any problematic content at all will note the one and only woman in the cast is less than a full-fledged adult and the only agency she is granted in the plot is whether to remain loyal to her father or switch allegiance to her new romantic interest, Commander Adams. And this is problematic enough. However… all of the men in the story view Altaira as little more than an object that one of them will possess. It is precisely because Morbius perceives that he is “losing” his daughter to the commander that sets the final battle in motion. All of the other characters in the story are vying for the attention of the one and only woman.
I should say, all of the other characters except Robbie the Robot.
I’ve never seen any critic acknowledge that, in some ways, Robbie the Robot is Altaira’s Sassy Gay Friend. He’s clever, he is devoted to Altaira but not interested in her in a romantic way. He cleans the house, prepares meals, and takes care of all the domestic tasks in the Morbius household that would traditionally be fulfilled by a woman in a non-science fiction film of the era, right? One of the roles of the asexual or effeminate man who was the witty friend of the heroine in movies of the 40s and 50s was to have insight into the motives and character of other people that the protagonists did not. So it should be no surprise that in the climactic battle, Cammander Adams uses Robbie’ perceptions of the situation to convince Altaira and Morbius of the true nature of the invisible monster.
It was many, many years later before this queer geeky nerdy child realized that at least part of the reason my favorite character out of this classic sci-fi movie was Robbie the Robot was precisely because he was the only character who wasn’t vying for the attention of a woman. And while many other aspects of the story resonated with me, none of the other characters rose to the level of identification as the robot. So this queer child, who had nightmares because of the main plot, still found models for my possible futures among the supporting cast of this movie.
If you search the web for the history and definition of cyberpunk, most places will tell you it is a dystopian sub-genre of science fiction which came into being in 1983 when Bruce Bethke published a short story by the name. Most definitions of the subgenre focus on a society controlled by computers and cybernetic technology. But I think a better definition is stories in which the main characters are marginalized and/or alienated, living on the edge of a generally dystopic society, where daily life has been transformed in invasive and sometimes grotesque ways by rapid technological change—a world where everyone’s access to information is controlled (usually by moneyed interests who in turn don’t realize the information and technology are controlling them) and information about individuals is used against them. These are the themes common across works that most people agree are cyberpunk.
Because cyberpunk was identified as a sub-genre in the 1980s, computers and their possible misuse figured prominently in early works. As computers became more ubiquitous in the real world, later works have tended to focus on the products of all the information technology. The hallmark of cyberpunk is stories which show that despite technological advances, the quality of life has degraded precipitously. Cyberpunk protagonists face off against the dehumanizing forces of technology, trying to reassert the worth of human imagination and connections.
Neuromancer by William Gibson (published in 1984) is said to be the first cyberpunk novel. Although other people have argued that Philip K. Dick’s 1968 novel, Do Androids Dream of Electric Sheep? is a contender for the first cyberpunk novel, even though it was written years before the term cyberpunk was coined. And clearly since one of the themes of that book is that we must understand how technology encroaches on life in order to understand what technology is, and that is a very cyberpunk notion. There is certainly no doubt that the movie based on Dick’s novel, Blade Runner is cyberpunk, which could be another argument in its favor.
I am quite happy to include Do Androids Dream of Electric Sheep? within the sub-genre of cyberpunk, but I don’t believe it was the first cyberpunk novel. The first cyberpunk novel was written 114 years earlier than Dick’s novel, and 130 years before Gibson’s. The first cyberpunk novel was published in 1854, written by none other than Charles Dickens. It was a novel called Hard Times — For Our Times. I recognize that this seems an extraordinary claim, but bear with me.
Hard Times is not one of Dickens’ most famous works. It is one of the shortest novels he wrote. And unlike many of his more well-known novels, not a single sub-plot has any humor in it. Some characters get happier endings that others, but no one gets a classic happy ending.
The book is set in the fictitious industrial town of Coketown. The story opens with one of the villains of the piece, Mr. Gradgrind, a school board superintendent, quizzing a young woman (Cecilia Jupe) at the school about the definition of a horse. When Ceclilia describes it as a magnificent creature, he berates her for not knowing the zoological definition. Gradgrind is convinced that all education should be facts, only facts. Gradgrind lays out his belief that all of life can be understood if you simply know the facts and averages, and that things such as art, music, or imagination are wastes of time. Later in the book we will learn that Gradgrind has named one of us one children after Rev. Thomas Malthus (famous for writing about overpopulation problems and tangling his mathematics with his moral philosophy), which I think is telling.
Another important player in the book is Mr. Bounderby, a wealthy mill owner who is the employer of many of the other characters in the novel. Bounderby and Gradgrind are friends and business associates. Bounderby wants to marry Gradgrind’s daughter, Louisa, even though she is more than 30 younger than he. Bounderby is also big on numbers and calculations—he makes all his decisions—both business and person—based on cold facts and numbers. We also learn that Bounderby is the sole shareholder of the only bank in Coketown. As the plot of the novel develops, it turns out the Bounderby has financial ties to just about everyone in the city.
Much of the plot concerns itself with the toll that factory work takes on workers and their families, which we mostly see through the eyes of Stephen Blackpool, one of the workers. Dickens portrays the dehumanizing effects of industrialization, particularly when the same people who own the means of production also control both the flow of capital and information. He also has a subplot about an attempt by the mill workers to unionize. Unfortunately this is the weakest subplot of the novel, because Dickens didn’t seem to understand how unions work.
A driving force of many of the subplots is Bounderby’s network of spies. He uses his financial power over people to force them to spy on their neighbors, families, and co-workers, and report to Bounderby so that, for instance, he can prevent the workers unionizing.
So, how does this map to my definition of cyberpunk?
All the sympathetic characters (Louisa, Cecilia, Stephen) are marginalized in various ways, either because of the economic status or because their lives are under the control of others because of their gender of familial dependent status. Coketown is definitely a dystopia, and many aspects of the various social and economic forces he describes are worse than actually existed at the time of writing, so it can be argued it is a near-future dystopia, at that. Many of the difficulties and challenges the sympathetic characters face are because of the invasive way the industrial revolutions has disrupted social norms. The quality of life has degraded significantly, and many characters remember relatively recent times when things were better. Between them, Bounderby and Gradgrind control what information most of the inhabitants of the town have access to. Bounderby actively uses information he gathers through is spies to blackmail or otherwise harm characters who don’t do as he wishes.
In short, the protagonists face off against the dehumanizing forces of technology, and at the end, only those who have been able to reconnect with human connections, emotions, and imagination get a sort-of happy ending.
Dickens doesn’t explicitly say that the tale is set in the near future, even though I argue that was his intent. He’s clearly trying to show where the utilitarian philosophy that was becoming prevalent among the movers and shakers of his time will lead. But if that isn’t enough to make you think of this as, at least, proto-science fiction, there is also Bounderby’s obsession with numbers and calculations. What Bounderby is talking about when he says he makes life decisions based on numbers and calculations sounds an awful lot like an algorithm. And what are computer programs but algorithms? The way he explains his philosophy to Gradgrind at one point would not sound out of place coming from a character in one of Isaac Asimov’s stories involving psychohistory (Foundation, Foundation and Empire, Second Foundation, et cetera).
The dehumanizing aspects of technological advance is a theme that shows up in later works by Dickens. His last completed novel, Our Mutual Friend similarly warned against the loss of humanity to the cold demands of industrialization.
The way we think of genre now wasn’t how writers, readers, or publishers thought of stories in Dickens’ time. Dickens didn’t think of his Christmas ghost stories, for instance, as being a different kind of writing than his less fantastical ones. I know I’m making a stretch, here, but I think it is useful to try to look at stories—new ones we love today, and those that came before—from new angles. Cyberpunk’s core is the negative impacts of technology on individuals and society—cyberpunk is always about a dystopia. Whereas steampunk, despite having a similar name, at its core is optimistic.
Given that contrast, this particular novel, and several others Dickens wrote after, falls more clearly on the ancestral tree of works such as Neuromancer and Blade Runner than Boneshaker or Morlock Night. Maybe what Dickens wrote wasn’t cyberpunk, but I feel quite safe calling him one of the grandparents of cyberpunk.
The premise of the book is a weird hybrid of sci fi and fantasy—both portal fantasy and epic fantasy by the time the book is through. Our protagonist, Jim Eckart, holds a PhD in Medieval History and is hoping to become a full-time instructor at the university. His fiancé, Angie, is working on her own doctorate degree in English literature5, and is also working as an assistant to a professor who, in Jim’s opinion, is always tricking Angie into working more than she ought to. One day, when she isn’t ready to be picked up by Jim, he rushes to the professor’s lab, arriving just in time to see Angie in a contraption that looks as if it is from a bad sci fi movie—and then she vanishes before Jim can say a word.
The professor’s machine is supposed to boost latent psychic abilities, and he was trying to get Angie to astral project into another dimension. He never expected her to physically teleport there. The professor has to explain that he can’t simply pull Angie back—it is her own psychic talent that did the trick, after all. But he is certain that if she could be hypnotized in the other realm to return home, she would pull it off. So he convinces Jim to get into the machine, and at a lower power setting, has high hopes6 that Jim will project into the body of a native of this other dimension near Angie and be able to convince her to return herself home.
That’s the set up.
Jim agrees, and he wakes up not inside the body of any person close to Angie. Instead, he wakes up inside the body of a dragon named Gorbash, and trouble ensues from there.
The body Jim is in isn’t anywhere close to Angie’s location. He spends a few chapters trying to sort out the world he is in, which seems to be very similar to 14th Century England… except that are multiple species of dragons, and there are wizards, and some wolfs can talk. Also, humans in this world are all called Georges (at least by dragons and the talking wolves) because of the legend of St. George and the Dragon. Hence the title.
Jim eventually figures out that Angie has been captured by two dragons. He meets with them, and attempts to hypnotize Angie so that she will return to earth, but she refused to leave without Jim. While they are trying to think of an alternative way for both to get back, one of the dragons whisks Angie away, and she is imprisoned by an evil knight and the dragon who was in an alliance with the forces of Darkness.
Jim meets a wizard named Carolinus who sets him the task to collect a series of companions (which includes a knight, a woman archer of extraordinary talent, a talking wolf who was a friend of the dragon Jim’s consciousness is trapped in, a very elderly and no longer robust dragon who is a relative of the body Jim is trapped in, and a small dragon from a subspecies that is ridiculed by normal dragons) before he can make an assault7 on the keep where Angie is being held prisoner.
The whole point of this book was to invert the idea of who we should be rooting for when knights battle dragons, so it should be no surprise that the part I found most interesting was the complex society of dragons that was partially explored in this book. Two of my three favorite characters in the book are dragons (the elderly dragon and the smaller one). I read this book about a year before my social group discovered original Dungeons & Dragons8, which was only shortly before the first printing the Advanced D&D’s Player’s Handbook, which we all bought, and tried to produce better adventures with as slowly, every so slowly, the Monster Manual and other books needed to make AD&D a real game were published.
And mention all of that because when I was designing campaigns, I tried to play the dragons more like the characters in this book. Which was easier to do before the official Monster Manual came out and was filled with, frankly, a poorly-designed set of monsters.
But to get back to The Dragon and the George, eventually the evil knight and dragon and their many monster companions are defeated, though at great cost, and Angie is rescued. Angie and Jim decide that they don’t want to go back to earth for various reasons, and Carolinus separates Jim for Gorbash, giving him a human body identical to his one from earth. Which set things up for the characters to return for a sequel, that that wouldn’t be published for 14 years. Dickson eventually completed a total of 9 books in the series before his death in 2001.
I only read three of the sequels. I didn’t find them as compelling as the original. Sometime in the mid-nineties, after being disappointed in one of said sequels, I decided to re-read the first book, and was quite happy to find it still enjoyable. Do I wish the damsel in distress had been a more fleshed out and active character in the story? Yes. But the story held up a lot better than some of my other old favorites from my teen years and before.
And besides, the dragons, at least, got to be something more than cliches.
1. As I recall the offer that I found inside a copy of Galaxy Science Fiction magazine, which was itself the result of one of my grandmothers buying me a subscription for my birthday and renewing it each year after2, had said that you would receive 6 books for just one nickel3!
2. The other grandmother, by the way, upon hearing me explain to a friend that I’d actually wanted a subscription to the Magazine of Fantasy & Science Fiction purchased me a couple years of subscription to that ‘zine, as well my next birthday.
3. The order card had a place for you to tape a nickel to the card before placing it in an envelope. I complete missed the small print about the shipping.
4. I did not intentionally manipulate anyone’s sense of guilt. The month that all we found out about my dad having had a long-running affair with another woman and having fathered two children with her and so on and so forth was, well, it was hectic. And I didn’t mail the card in on time that month, and the book showed up a few weeks later, and things just happened5.
4. Not that I didn’t recognize it was a gift horse into whose mouth I was not looking, but…
5. I can’t decide whether I should be irritated at the cliché of the woman who is the romantic interest of the male protagonist being into English Literature. On the other hand, I suppose that we ought to be grateful that Jim isn’t a science major, right?
6. I distinctly remember being a bit put out at this point the first time I read it, because it seemed to me that the professor had no evidence to back up any of this theories.
7. I said it would move into Epic Fantasy territory!
8. The precursor the Advanced Dungeons & Dragons9 published first in 1974 and came as a set of small books and very cheaply-made dice in a white box.
9. Which began being published as hardbound rulebooks in 1977.