Category Archives: Jason V. Brock

Interview: Jason V Brock on The Twilight Zone and The Group

George Clayton Johnson and Charles Beaumont, circa 1960. Illustration by Henry Chamberlain

George Clayton Johnson and Charles Beaumont, circa 1960. Illustration by Henry Chamberlain

Editor’s Note: If you are heading out to Comic-Con, and you wish to learn more about what we covered in this interview, go to a special panel, “Star Trek 50th Anniversary and George Clayton Johnson Tribute,” on Thursday, July 21st, 9:00 – 10:30 PM. Room: 9 upstairs inside San Diego Convention Center. Having written the first aired Star Trek episode, “The Man Trap,” George has secured his place within Star Trek as much as Twilight Zone.

Jason V Brock is a filmmaker, writer, editor, and artist. For this interview, I draw from Jason’s extensive knowledge of golden age television and pop culture. Among his work in film, he is known for his documentary on the writer Charles Beaumont (1929-1967), which is a rich source for our talk. At the same time, Brock’s academic work is just as compelling. I consider Jason a friend in the entertainment industry: we both share a certain sensibility. I hope you enjoy this concise version our geeking out on George Clayton Johnson and related things. We were both en route to a special tribute for screenwriter George Clayton Johnson that took place this February. So, it all makes sense.

In this interview, we’re chatting about that golden time in television that was “The Twilight Zone.” This is digging deeper into the background of the show and its key talent. For this talk, we’re focusing on George Clayton Johnson along with other members of what became known as “The Group,” which met from the early 1950s to the mid-1960s. Within that gathering of writers, the leader was Charles Beaumont. Some writers from The Group went on to write for The Twilight Zone.

HENRY CHAMBERLAIN: Jason, talk about Charles Beaumont, who remains something of a mystery: a great writer on the rise, dead at age 38. And then let’s shift to George, who also remains a mystery.

JASON V BROCK: There’s an interview with Charles Beaumont that was conducted by George Clayton Johnson. It was for a show called, “The Author and the Story.” And Beaumont recites from “My Fair Lady.” We include some of that in the documentary. If you can find that interview, it is well worth seeking out. Beaumont’s illness is a mystery. It does seem to come down to two possibilities: Alzheimer’s disease or Pick’s disease. I tend to think it was Pick’s disease as it fits in with what we know about Beaumont’s activity as he declined: slow and halting speech; a greater amount of impulsivity. What Beaumont’s friends believed was the main cause of Beaumont’s premature death was his routine use of Bromo-Seltzer, which had aluminum, a cause of dementia.

During this time that Beaumont was declining in health, he and George had a falling out. George was trying to figure out a new project. And they had a sort of disagreement. But, after a while, they mended fences. It was during that time that George discovered what was happening to Beaumont. Keep in mind that these were still young guys. The dementia started for Beaumont at around age 33.

Now, George will always remain a mystery. He was an enigmatic individual to be sure. A lot of people don’t know this but he was an underwear model for a time. He did whatever to make ends meet. He was, as he liked to say, “a dog without a collar.” He wanted to do things his way and succeed on his own terms. He was punk rock before that became a thing, and I admire that about him. He was a very intelligent person. He only had an eighth grade education. He was born in a barn in Cheyenne, Wyoming. He went through many phases. He was a beatnik and then became enthralled with hippiedom, and that aspect never left. He was a vegetarian. And he was involved with supporting the legalization of marijuana. Politically, he had more of a Libertarian ideal. He was also mercurial, open to new ideas, never crystallized in his mindset.

Ray Bradbury asked, “Who can explain the mystery of personality?” And I think George fits that perfectly. You could ask him one thing and he would answer back with the most unexpected things.

There was that aspect of overcoming the odds for George and his feeling a need to prove himself.

I look at The Group and think of it as the atom with Charles Beaumont as the nucleus. They’re all in different shells around Beaumont. The atom blew apart once the nucleus was gone. Everyone went in different directions. In the hierarchy, Beaumont was at the top. But, beyond that, in relation to success, was Richard Matheson in a role as mentor. Then there was Ackerman and Bradbury who were relatively older. What’s interesting is that Nolan and Johnson told me that they felt they were lowest on the totem pole in relation to the group. However, Nolan and Tomerlin were, in fact, closest to Beaumont. And then George was next to them.

George was more responsible. The three others did as they pleased. They would go to Monaco and crash a dinner for Princess Grace. They loved Grand Prix racing. They would run off and do all these things at the drop of a hat. Go hang out with Ian Fleming. George stayed home with his family. Richard Matheson stayed home with his family. George was one of the few who bought his house. He bought it early on and lived the rest of his life there. He hungered for that stability and security.

Considering those four core members, tell us more about John Tomerlin.

What’s interesting about him is that he was a catalyst for a number of things. He started in radio and that was his big love. He wasn’t really interested in television or film. The rest of the group dragged him into that. He was interested in competing and conquering. He was feisty. He became a bridge champion, and pilot. He was mostly in love with the Norman Corwin school of writing for radio. That’s like saying today that you’d like to write like the original Twilight Zone when we’re in the midst of Kardashian cult TV. It ain’t gonna happen!

Share with us more about other members of The Group. They seem to fade into the background and yet they’re all interesting in their own ways. There’s Chad Oliver, for instance, he seems pretty obscure but I come to find that he had his cult following.

Well, Chad Oliver really did enjoy science fiction. I don’t think that was where Beaumont’s heart was. It’s weird that Johnson and Nolan would think they were lowest on the totem pole since that was not true. After you move past the core, there are the top ten. Altogether, you could say there were thirty writers associated with The Group. If you’re thinking conceptually, outside of Bradbury, Beaumont was most influential closely followed by Richard Matheson. And then, after that, Nolan.

After that, it depends, as you give merit on a story by story basis. Stylistically, Beaumont was at the top. Followed by Nolan, and then Johnson. I would place Matheson at the bottom, as a stylist. His writing was very direct; he was not an atmospheric writer. His ideas and his characterizations are his strengths, and his novel way of looking at the universe. While Beaumont’s writing was more rich, a lot more substance to his delivery. Bill Nolan was a lot like that too, especially early in his career. Later in his career, his writing is more like Dashiell Hammett or Raymond Chandler or Hemingway. He started in the style of Bradbury, as did Beaumont. George also emulated Bradbury. And then they moved on. Bill did a lot of television with Dan Curtis. Mathewson wrote a tremendous amount for television and film, beginning with Roger Corman. His writing lent himself to screenplays. He wrote about a hundred short stories and then switched to novels.

Talk more about the dynamics of what was going on behind the scenes of The Twilight Zone: Rod Serling and Ray Bradbury.

The Group would not have happened if not for Rod Serling. It was Serling who was the big shot in television. Ray Bradbury wanted to do that too. Serling came from the East Coast and steeped in great television, like Paddy Chayefsky. Bradbury has his side of the story of what caused the great rift between them–and we cover that in our documentary. I can see that it was jealously at play: Bradbury wanted what Serling had. But, The Twilight Zone, in fact, was always on precarious ground. Then there’s Night Gallery which left Serling without creative control which he regretted very much. Writers from The Twilight Zone went on to write for Star Trek and for Night Gallery. Nolan and Johnson both wrote a number of scripts for consideration on Star Trek. And, it was Johnson who wrote the first Star Trek episode aired, “The Man Trap.”

I can understand how Ray Bradbury would have felt that he could have done a better job than Rod Serling, even if that was not the case.

Bradbury would have directly said that. Serling got to the point too describing Bradbury’s style as best for the page and not the screen. Bradbury is more in line with Edgar Alan Poe. And that is more of an internal mode of writing. It is very difficult to transfer that onto a script. On the other hand, you can say Serling’s writing can be very talky. The modern equivalent to Serling would be Aaron Sorkin. Your mind is just snapping and crackling to that kind of writing. Serling was very much like that on his work for Playhouse 90.

Clusters of writers do crop up. You think of The Lost Generation Expats in Paris, The Lovecraft Circle, The Beats, The Group. It’s very hard, if not impossible, to form this bond online. You need that human connection.

Rod Serling is quite fascinating. And he did know what he was doing even if he had not been known for science fiction and fantasy prior to The Twilight Zone.

Yes, he had always been reading in the field. He had always been interested in science fiction and fantasy, reading it since he was a boy. He just didn’t have an outlet for it yet. He wasn’t a prose writer, that wasn’t his form of writing. He started in radio, just like John Tomerlin. Serling started writing from his direct experience in the war. He was in the Pacific during World War II. I recommend a memoir by Anne Serling, “As I Knew Him,” about her father. It is very well written. She describes how her dad wrote initially in a diary form to help him overcome PTSD. This would lead him to radio and, with his clipped style of talking, he was a natural for it. Later, he wins a writing contest for television. The writer who came in second was Earl Hamner Jr., who would go on to write a number of Twilight Zone episodes.

Indulge me and go even further into the background of the writing for The Twilight Zone. For one thing, everyone involved was hip to Weird Fiction.

If you break it down, story by story, what these writers were most interested in was Magical Realism. They didn’t really call it that back then in the United States. Bradbury had that aspect. Serling definitely had it. When you start looking at other writers from The Group, John Tomerlin and Jerry Sohl were much more interested in serious and realistic stories. So, it comes down to Nolan, Matheson, Beaumont, and Johnson.

They all loved F. Scott Fitzgerald. They all loved Hemingway. They could not help but admire Hemingway as he was the big force in writing at the time. Hemingway had that succinct style that fit right in with their interest in noir. They tapped into the Magical Realism in Faulkner. They all loved Poe. And they all loved Bradbury and wanted to follow in his footsteps and write for the pulps. Beaumont loved Lovecraft. He loved Dalton Trumbo’s “Johnny Got His Gun.” Had Beaumont lived, he would have pursued more work with social commentary similar to Rod Serling. It’s very interesting as to how it all came together as it did. It is something I’d like to write about in the future.

Thank you, Jason. As always, a pleasure. I look forward to our next conversation.

Same here, Henry.

Keep up with Jason V Brock by visiting his website for his work and that of his wife, Sunni K Brock, right here.

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Filed under Charles Beaumont, Comic-Con, George Clayton Johnson, Hollywood, Interviews, Jason V. Brock, movies, Ray Bradbury, Richard Matheson, Rod Serling, Star Trek, The Twilight Zone, William F. Nolan, writers, writing

Interview: William F. Nolan and the True Meaning of Fiction

William F. Nolan and Ray Bradbury

William F. Nolan and Ray Bradbury

Great fiction comes from all over: horror, dark fantasy, mystery, and so on. William F. Nolan writes in various genres. You may know him from his work with Dan Curtis, such as the classic horror film, “Burnt Offerings.” Or perhaps you know him from co-writing, with George Clayton Johnson, the classic dystopian novel, “Logan’s Run.” Mr. Nolan has gained great recognition and won numerous awards and honors. Just last year he was named the Grand Master at the World Horror Convention in Atlanta. In this interview, we spend a good time chatting about horror as well as fiction in general. And we definitely visit the subject of the Southern California Sorcerers, otherwise known simply as The Group.

"Burnt Offerings" from 1976

“Burnt Offerings” from 1976

During our conversation, Bill shared a very special moment regarding his friend and fellow writer, George Clayton Johnson, who passed away this last Christmas. He offers up for us a picture of a fresh-faced, and beaming, young George bursting upon the scene, circa 1957. He has shown up at a meeting of The Group and asks if he may join in with the illustrious and ambitious writers. Someone asks George what he has to show for himself. And, George, just having received his box of author copies, proudly shows the men what he’s been up to. “Hey guys,” George says, “I co-wrote this really cool thing called, ‘Ocean’s Eleven!'” And the rest is history!

This interview was conducted Monday, February 22nd. William F. Nolan is going strong, just shy of his 88th birthday on March 6th. If you love a good story, or if you are an aspiring writer yourself, or if you’d like to know something about the Sixties zeitgeist, then this interview is for you. In the span of about twenty minutes we cover a lifetime of observations and insight.

Henry Chamberlain: Thank you for getting together with me, Bill. I wanted to cover the writer’s life with you in this interview. First off, a good horror story has been compared to placing a frog in gradually boiling water. What can you tell us about the boiled frog method of storytelling?

William F. Nolan: Allow me to veer off a bit from the boiled frog to tell you how I approach telling a story. Really, how I tell a story is like the other night when I was in bed, half asleep and half awake, a state where I get all of my ideas. I was thinking of these deadly flowers. They had the power to stop the human heart. They were alive and, if you didn’t treat them right, they could turn against and stop your heart. There’s this couple who decide to rent this place on the beach. It looks like a great place. The owner lets them know that they have to take care of these special flowers but the couple ignore him, they don’t do it. And they end up being killed by the flowers. Their dead bodies are found on the beach. That’s how I form an idea for a story. I get an opening in my head for the concept and then I get the ending. Finally, I fill in the middle. That’s how I write a horror story, or any other kind of story.

Discoveries Best of Horror and Dark Fantasy edited by James R. Beach and Jason V Brock

Discoveries Best of Horror and Dark Fantasy edited by James R. Beach and Jason V Brock

HC: There’s a story of yours, “Stabbed by Rob,” in the recently published collection of dark fantasy from Dark Discoveries, edited by James R Beach and Jason V Brock. That story is a perfect example of that boiled frog method. There are a number of touches of humor, including your mentioning a glow-in-the-dark statue of Jesus. And the story keeps turning up the heat to the very last sentence.

WFN: Well, I believe you really can’t get away without some humor in a horror story. Horror is too stark, raw, and unflinching. You need to be able to live in it. You’ve got to lighten it with some humor. All my horror stories have elements of humor. You need to let the reader breathe. You can’t go from the first page to the last and do straight horror. That’s the problem with H. P. Lovecraft for me. Lovecraft has no sense of humor. He was a brilliant writer. He was a brilliant innovator. But no sense of humor. By the time you finish “The Shadow over Innsmouth,” you’re exhausted. I want my readers to relax a little, to breathe, and have a good chuckle while they’re being frightened. That’s my method of writing horror.

HC: I’m glad that you mention Lovecraft because I’ve had difficulty with him too. Your adaptation with Dan Curtis of Robert Marasco’s 1973 novel, “Burnt Offerings,” has just the right touches of humor at the start, and they give way to a more sinister mood. There’s a balance.

WFN: Yes, that was adapted from the Marasco novel which had no humor whatsoever. I told Dan Curtis, who directed, and produced the film with me, that we were going to need to lighten up the material because it was too stark. I’m glad that you appreciate the humorous elements in the film. As I say, I just don’t think you can do horror without lightening it up a little bit.

HC: Then there’s Ray Russell’s work. Perhaps more of a touch of elegance than humor. I love the way Ray Russell masterfully brings up a lot of pretty grim stuff in his work. He knows what to leave in and what to mostly imply. I’m thinking of “Sardonicus,” “Sagittarius,” and “Sanguinarius.”

WFN: Ray Russell was one of my closest friends for years. We would talk about how to write in terms of horror. And we both agreed on the same thing that you’ve got to put some humor into it in order to lighten the whole thing. I love Ray’s work. He passed on some years back. He would be happy to hear that you enjoy his work.

Just Part of The Group: Charles Fritch, Chad Oliver, Charles Beaumont, Richard Matheson, and William F. Nolan, circa 1954.

Just Part of The Group: Charles Fritch, Chad Oliver, Charles Beaumont, Richard Matheson, and William F. Nolan, circa 1954.

HC: There were all of these amazing writers that you got to be close with in social settings and in work sessions. All of you together were the Southern California Writer’s Group.

WFN: There were eleven of us. We didn’t think of ourselves as anything special. We were all trying to make a living, pay the rent, pay the mortgage, stay afloat. We wrote science fiction and fantasy in a modern vein. We took it away from the Lovecraftian type of fiction and wrote a modern type. It was sort of pioneered by Richard Matheson and Ray Bradbury who were part of our group. We all worked from the same principle: you can do modern horror but it has got to be something that people can believe in. It has to be realistic. It should happen today, in somebody’s kitchen. It could happen in a kitchen. You don’t have to go to a haunted castle, back in Transylvania, to have horror. Horror can happen on your doorstep. Horror can be a terrorist with a submachine gun that sprays lead over you while you’re eating in a restaurant. That’s horror. Horror takes many forms. We all tried to work within that scope.

Yeah, eleven of us. Matheson, Bradbury, myself…Charles Beaumont was sort of the hub of the thing. We had Jerry Sohl. We had Robert Bloch, known for “Psycho.” We’d all gather together at each other’s houses, at all-night coffeeshops and talk shop, editors, and markets. We were quite a group. All these years later, people look back on us as pioneers in the field. And that’s nice but, at the time, we were just trying to make a buck, just trying to make a living.

HC: Well, sure, you guys were so close to it all. You would need to stand back to see it clearly. What you guys did was take gothic literature and give it a modern cool. That’s essentially it.

I AM LEGEND by Richard Matheson

I AM LEGEND by Richard Matheson

WFN: Yeah. I still think that you can credit Richard Matheson for a lot of that. Stephen King said that he was influenced more by Richard Matheson, than any other author, because he took horror out of the castle and brought it into the kitchen. And I agree with him. We all tried to do that. We all felt that was the way to go. We weren’t interested in something ancient. We wanted something real, something of today.

HC: You list eleven members of The Group. Was there any time that all eleven of you met under one roof?

WFN: Three or four of us were into auto racing. Richard Matheson, Jerry Sohl, and Robert Bloch didn’t care at all about that. But Charles Beaumont, John Tomerlin, and myself were heavily into Grand Prix sports car racing both here and in Europe. We actually flew to Monte Carlo one year for the Grand Prix. And we went to Sebring Raceway in Florida for the races there. The Beaumont kitchen in North Hollywood, his upstairs kitchen, is where most of us would meet. George Clayton Johnson was part of that group too. We would meet there. But there was never a meeting of all eleven of us at one time. It was three or four of us at at time at different places. We’d go to movies together. We’d meet in coffeeshops.

Musso and Frank Grill

Musso and Frank Grill

HC: I imagine that you guys enjoyed Musso and Frank Grill.

WFN: We loved Musso and Frank Grill. It has all that history: Hemingway, Fitzgerald, and William Faulkner. The murals never changed. The seats are the same. When you’re sitting there, it’s like you’ve gone back in a time machine. We loved it. I still love it. I love to go whenever I’m in L.A.

HC: You touched upon George. I have to say that I can imagine that he loved the fact that he got to pass away on Christmas Day. Such a magical thing. Such an act of will.

WFN: That was no accident. He was ill. He was in hospice care for about a week before that happened.

HC: Oh, yeah.

WFN: The doctors were saying that he could go at any minute but George, subconsciously, since he couldn’t verbalize it at that stage, was saying that the doctors couldn’t tell him when he was going to die. He was always an independent guy. He was saying: “I want to die on Christmas Day since that was the birthday of Rod Serling, who made me famous for my writing for The Twilight Zone.” He was able to die three days past when he was expected to die. He was able to fool all the doctors. That was no accident.

George Clayton Johnson and William F. Nolan, circa 1957

George Clayton Johnson and William F. Nolan, circa 1957, illustration by Henry Chamberlain

HC: Yes, that’s what I meant. I was honored to interview George a number of times and got to meet him in person. Would you share with us a little more of the flavor of the era and a picture of George at one of these bull sessions at The Group that may come to mind?

WFN: Four or five of us were sitting in the living room of the upstairs apartment of Charles Beaumont one night. There was a knock at the door. This is around 1957. The Group was around from the ’50s to ’60s. So, there’s a knock at the door. We open the door and there’s George Clayton Johnson with a package under his arm. He said, “I’m George Clayton Johnson. I want to join you guys. I want to be with you. I’ve heard about you and I want to join you.” Someone asked, “Are you a writer?” He said, “Yes, I am,” and he held up the package, “It’s called, ‘Ocean’s Eleven’ and I just sold it to Frank Sinatra!” That’s what got him started with The Group.

HC: That’s beautiful. I wanted to ask you about the literary tradition that The Group worked from. I’m sure that Nathaniel Hawthorne, Mary Shelly, all the gothic writers, were subjects of conversations for all of you.

WFN: You can’t write out of a vacuum. We’re all influenced by other people. Ray Bradbury was influenced by Herman Melville, William Shakespeare, and George Bernard Shaw. We were influenced more by such horror writers as Arthur Machen and Algernon Blackwood. I started out reading H.G. Wells’s “The Time Machine” and “War of the Worlds” when I was a boy growing up in Kansas City, Missouri. And then I discovered Bradbury and Weird Tales. Ray Bradbury and I became close friends and that lasted 50 years. We’re all standing on the shoulders of other people. We all read Hawthorne and Robert Louis Stevenson. We were influenced by them but we wanted to take our fiction into a modern setting and move it forward and I believe we succeeded.

Photo by Ralph Morris, Hollywood Blvd. 1960

Photo by Ralph Morris, Hollywood Blvd. 1960

HC: I wanted to close out by asking if you could give us a little more of a flavor of Los Angeles in the ’50s and ’60s. I can just imagine: you had the ghost of Raymond Chandler; old Hollywood giving way to new Hollywood; Forey Ackerman and the rise of geek culture. L.A. in the Sixties, it doesn’t get much better than that.

WFN: I read Raymond Chandler, Dashiell Hammett, the hard-boiled school, James M. Cain. I’ve read books on Chandler and Hammett. I’m a big hard-boiled fan. Los Angeles was a hard-boiled city in those days. Dashiell Hammett glorified San Francisco. But Los Angeles was also part of that era where corruption ruled in high places. It was a violent and colorful era captured beautifully by Raymond Chandler. If you read the work of Raymond Chandler, you’re learning a lot about Los Angeles as he experienced it.

I can tell you that there was a lot of smog. I used to live in Burbank, right against the mountains. The smog was terrible. I did move around different parts of Los Angeles. It changed quite a lot during the many years I was there. It’s not the same city that it used to be.

HC: I love Los Angeles and love looking for signs of yesteryear. They’re around if you know where to look for them.

WFN: If you go to Pasadena, there’s the old bridge that Raymond Chandler wrote about in one of his novels. The bridge that Philip Marlowe drove over at night. It’s still standing there. I wrote a piece entitled, “Marlowe in Los Angeles.” I toured all the places he used to go to, including Musso and Frank Grill. Chandler was an insatiable researcher, always moving around, and usually within the greater Los Angeles area. He grew to know it beautifully. Hammett made San Francisco famous with “The Maltese Falcon.” Chandler did the same for Los Angeles with “The Big Sleep.”

HC: I wish you a great year ahead, Bill. Any projects we can look forward to soon?

WFN: I had a collection of my poetry come out last year. This year we’ll have a new collection of my essays. I’m working on a new collection of short stories. I just wrote three new stories this month. So, even though I’ll be turning 88, I feel like I’m still 28.

HC: I can feel the energy. Thanks again, Bill.

WFN: I really enjoyed this. Thank you.

You can listen to the podcast interview by just clicking the link below:

Keep up with William F. Nolan at his website right here.

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Filed under Charles Beaumont, George Clayton Johnson, Interviews, Jason V. Brock, Richard Matheson, Rod Serling, Sci-Fi, science fiction, The Twilight Zone, William F. Nolan, writers, writing

Review: ‘Simulacrum and Other Possible Realities’ by Jason V Brock

"Schrödinger's Cat" illustration by Henry Chamberlain

“Schrödinger’s Cat” illustration by Henry Chamberlain

Schrödinger’s Cat makes some notable appearances in Jason V Brock‘s collection of short stories and poems entitled, “Simulacrum and Other Possible Realities,” published by Hippocampus Press. Whether dead or alive, or somewhere in between (a zombie cat?) the famous cat from the 1935 thought experiment has its place among a number of thought-provoking items to be found here. Now, the idea behind Schrödinger’s Cat is that a reality is not pinned down until the very act of it being observed. So, before it is observed, the famous cat in the box could be existing in more than one reality. It is the Observer Effect, once the box is opened, that locks in a reality. Or so it would seem.

Jason V Brock is a lover and writer of strange tales that incorporate Gothic lit, sci-fi, and horror. There are a number of very useful labels, including weird fiction and dark fantasy. Or as a dear mutual friend, writer George Clayton Johnson, simply called it, this is work with “a touch of strange.” What you will find in this collection is an ambitious vision that harks back to any number of writers: Charles Beaumont, Richard Matheson, Rod Serling, Ray Bradbury, George Clayton Johnson, William F. Nolan, and John Collier, to name a few.

Consider the title story, “Simulacrum.” What I find appealing about this story is how well it fits in with work from the writers I’ve just mentioned and carries its own distinctive voice. Brock has a sensual vibe to his style that makes his characters all the more palpable. He takes the time to linger on key details to create a credible interior life. For a story so invested in matters of identity and questions on reality, Brock lays the essential groundwork to make us believe in our main character, Misty. We have gotten inside her head during an opening scene and we discover that we have only begun to delve into layers of mental terrain both real and imagined. Expect a visit by Schrödinger’s Cat. It is quite a story. In fact, I would not be surprised to see Brock develop it into a full length novel at some point.

"Simulacrum and Other Possible Realities" by Jason V Brock

“Simulacrum and Other Possible Realities” by Jason V Brock

Another story that greatly appeals to me is “Where Everything That Is Lost Goes.” Here too, Schrödinger’s Cat has a role to play. Again, we are confronted with matters of who we are and what our true purpose is. This story I could see remaining a short work in the spirit of the classic short stories by John Collier. If you’re not familiar with Collier, he is one of the masters of the fanciful story with a perfect twist at the end. What happens in Brock’s tale is a matter of a man confronting his past, present, and future, as embodied in a chance meeting with a friend he had lost touch with some forty years ago. The meeting takes place in an old restaurant. The main character looks across the room and sees his old friend, except his old friend has not aged a day since they last met, forty years ago. If that sounds like a story out of The Twilight Zone, rest assured that is not lost on Brock. The main character, after all, is named Rod, no doubt a nod to The Twilight Zone’s creator, Rod Serling. Yes, indeed, if there should be another revival of the classic television show, this story would fit right in.

“Simulacrum and Other Possible Realities” is a 248-page trade paperback published by Hippocampus Press. For more information, and to purchase, visit our friends at Hippocampus Press right here.

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Filed under Book Reviews, Books, Charles Beaumont, George Clayton Johnson, Hippocampus Press, Jason V. Brock, Reviews, Richard Matheson, Rod Serling, The Twilight Zone

Review: A DARKE PHANTASTIQUE, edited by Jason V Brock

Cover Art by Samuel Araya

Cover Art by Samuel Araya

Jason V Brock provides a most invigorating and informative introduction to the anthology he has edited, “A Darke Phantastique.” Essentially, his aim is a return to basics, like Poe’s “unity of effect,” as well as achieve a finer focus on dark fantasy, horror, and magic realism. In his view, and he would certainly not be alone in this, the best horror includes, amid everyday reality, “a touch of the strange,” that dark matter which sets the wheels in motion.

Brock aspires to a more palpable dark fantasy, a fresh new look at the fantastic. Brock provides a chilling and inventive example with his own contribution, “A Darke Phantastique.” It sets the tone for the wide variety of content you’ll find here. Brock gives us a devilishly dark creation myth. We have an initial fear of the unknown that develops into something more. And, in the process, we find ourselves on a most unusual path from dark to light.

Illustration by Jason V Brock

Illustration by Jason V Brock

Leafing through, one story jumped right out at me, with its bravado mix of humor and horror, and I’m calling it this book’s mascot. That’s Ray Garton’s “Lizzard Man Dispatches.” It has a really nice slow boil. The characters are so banal and relatable that you’re quickly lulled into their world of blogging and pet reptiles. A little further in, and we can induldge in all manner of conspiracy theory. Where this leads us is a gradual acceptance of something supernatural and far beyond our control.

The book is broken down into five sections which helps give you more of sense of the book’s vision. There is “Magical Realities,” “Lost Innocence,” “Forbidden Knowledge,” “Hidden Truths,” and “Uncanny Encounters.”

William F. Nolan’s “The Last Witch” is another fine tale in the first section. It fits in quite well with the theme of magical realities as you come to find that even a witch is more than she may seem. With a touch of humor, Nolan lures us into the horror that will follow.

Don Webb’s “Lovecraft’s Pillow” is such a bittersweet ode to lost innocence. It is also a hilarious send-up to the whole horror book industry. A jaded best-selling horror author considers himself no better than a fraud. But he may find what he’s looking for when he acquires the death bed pillow of none other than H.P. Lovecraft.

Lois H. Gresh’s “Old Enough to Drink” is quite the creepy cautionary tale to forbidden knowledge. Told with such a gusto, this story blends fairy tales with vivid nightmares.

S. T. Joshi’s “You’ll Reach There in Time” confronts hidden truths in a fun story. A fractured narrative structure gradually reveals how a criminal gets what he deserves.

Tom Conoboy’s “Phoenix on the Orange River” gives us his answer to a series of uncanny encounters. It’s a kaleidoscopic journey and a protracted dance with Death. It’s the last of nearly 50 contributions in this 728-page book complete with story notes from each contributor. Conoboy’s tale is a fitting end to this remarkable collection.

Among other treats you’ll find here is “Genius,” a screenplay by Greg Bear. It’s the only screenplay in this anthology and it is quite a delight to read. Bear has made his mark in pop culture in many ways beginning as one of the five co-founders of the San Diego Comic-Con. In “Genius,” he gives us an intriguing look at characters caught up in something far bigger than themselves. And that’s the problem, this challenge is so big that it threatens to destroy them and all of humanity. This is a moving story of human connection amid very dark matter. It’s a very good example on what price is paid for genius.

And just one more, the first contribution, Paul Kane’s “Michael the Monster,” which is a glorious opener. This is an unabashed celebration of monsters. It is Halloween, and Michael, an actual boy monster, revels in the one night that he can be himself in plain sight. A time for monsters! This is a perfect way to start a book where monsters are so welcome.

And so there’s a taste of “A Darke Phantastique: Encounters with the Uncanny and Other Magical Things.” The book itself is a joy to hold and behold. Great care has been given to making this a pleasurable reading experience. Everything from choice of font to layout to use of illustrations guides the eye. The hardcover is a well-crafted treat. Given the book’s generous page count, it is an ideal size to leisurely pass the time with. This is a beautiful book full of deliciously scary and compelling work. I’m so glad that Jason V Brock put so much care into this collection of some of the best contemporary dark fantasy, horror, and magic realism.

The following lists the contents to the book with a link to or related to each contributor. I think the links are essential as they give you an opportunity to pause and appreciate this book some more:

Continue reading

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Filed under Anthologies, Bram Stoker Awards, Comics, Darke Phantastique, Edgar Allan Poe, Horror, Jason V. Brock, Weird Fiction, World Horror Con

Review: DISORDERS OF MAGNITUDE by Jason V Brock

Frankenstein reads. Art by Henry Chamberlain

Frankenstein reads. Art by Henry Chamberlain

First, you need to know how cool this book is. Imagine your favorite late night college radio show. And the deejay is Jason V Brock, the author of this book, “Disorders of Magnitude.” You rely upon Jason to provide insights and intriguing facts as he connects the dots. Good, so far? Well, it gets even better. We’re talking about a multitude of connections, some from on high and some from on low. It’s not easy to categorize it all but Brock manages to collect a lot of essential wisdom and in a very accessible presentation. The college radio analogy is fitting since “Disorders of Magnitude” falls under an academic book category. It is right at home as part of a college course. But it is also the perfect companion for anyone interested in a deeper understanding of where we are today in terms of the entertainment we consume, particularly dark fantasy.

Divided into six parts, with a wide scope of offerings within, the intent is to give order to what might seem at first, like an ooey gooey disorder. How do you reconcile great literature alongside B-movies? In fact, there’s a certain frenetic energy running throughout as Brock maintains a sense of urgency to his prose. And, of course, the numerous chapters here invite picking subjects at random to dive into, with each concise chapter running a few pages. One excellent point of entry is Chapter 14 in Part Three which discusses the formation and evolution of The Group, the science fiction writers in Los Angeles during the ’50s and ’60s that would go on to create work in novels, film, and television, including the iconic and culturally significant, “The Twilight Zone,” television series. This one article alone proves to be an exemplary example of the book as a whole as it navigates through various eras and aspects of culture and entertainment.

“In the beginning is the dream,” states Brock in reference to The Group. They begin, like any band of pioneers, with “the crazy notion that they are somehow different–that they can leave a permanent mark on society, make a difference in the world.” It is this bravado and deep yearning that sustains men like Charles Beaumont, Richard Matheson, William F. Nolan, George Clayton Johnson, and many others. They look up to two men who lead the way: Ray Bradbury, who is already established; and the firebrand Charles Beaumont destined upon his own unique path. And we keep coming back to The Group as Brock revels in chronicling their lives and provides here many interviews with the key figures on the scene.

Heading back from whence we came, Brock sets the stage with the opening article. “Frankenstein” was published anonymously in 1818 and, with that, the monster of horror and science fiction was unequivocally unleashed. Brock is great with setting up a mood to a time and place. He describes in detail the utterly strange weather conditions that, in no small way, gave rise to “Frankenstein” and other melancholic and moody art and writing. This all came about from a volcano in Indonesia. Its eruption in 1815, the largest ever witnessed in recorded human history, sent plumes of volcanic ash into the skies above around the globe for over a year forever altering life, and artistic sensibility, down below.

We steadily move to another chapter and other great writers in the gothic tradition: Poe, Stevenson, Stoker. Then we jump to another chapter and the next wave exemplified by H.P. Lovecraft and his evocation of the “fear of the unknown.” And after that, we take a significant turn with a chapter devoted to Forrest J Ackerman (1916-2008). Like the activities of The Group, Ackerman figures heavily in Brock’s studies of pop culture. And it only stands to reason given Ackerman’s pivotal role in the scheme of things that, you must keep in mind, touches upon virtually every aspect of pop culture as we know it today: movies, games, television, comics, music, novels, the internet, and our own precious sensibilities.

Ackerman is, indeed, another circle of influence too large to hold in just one chapter and he, like other persons and movements, overlaps into other chapters. Ackerman did quite a lot in his day, including work as a literary agent to some of the greatest writers in science fiction. Taking it all into a whole, you can say that his main achievement was to assign value to, archive, and make accessible the very things so many held dear: the horror movies of childhood; the dazzling science fiction of yesteryear; the growing world of fandom as we’ve come to know it today. It was Ackerman’s comprehensive and energetic role in legitimizing a myriad of elements that contributed to a more egalitarian view on culture in general.

In a very real sense, Brock has taken on the mantle of Forry Ackerman. It is that heartfelt dedication to the things he loves that you will find in this collection of his writings.

“Disorders of Magnitude” is a 336-page hardcover, priced at $80.00, and published by Rowman & Littlefield. You find it here, here, and here. Visit Jason V Brock here.

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Filed under Comics, Dark Fantasy, fantasy, Forrest J Ackerman, Gothic, Horror, Jason V. Brock, pop culture, science fiction, Supernatural

DVD Review: THE ACKERMONSTER CHRONICLES!

The-Ackermonster-Chronicles-Jason-V-Brock

There’s an early moment in Jason V Brock’s documentary about Forrest J Ackerman (1916-2008) that sums it up well for science fiction’s journey to legitimacy. Dan O’Bannon, the writer/director for “Alien” and “Return of the Living Dead,” recounts an episode in his childhood. He is running off to school when his mother admonishes him to be sure he’s not carrying any science fiction with him! Oh boy, what a memory. It goes to show how people looked upon science fiction as something subversive. And they’re right. There is that quality and, of course, that’s something to embrace and celebrate. Back in the early days, as science fiction was coming into its own in pulp fiction and beyond, there came along an individual who would prove to be a perfect spokesperson for the genre, Forrest J Ackerman. “The Ackermonster Chronicles!” faithfully presents to you a vivid picture of a world, a people, an art form, and a person who led the way.

Nothing gets lost in shuffle here. One seemingly disjointed thing connects with another. The elegant and the unsavory lay down together. Science fiction had, some say still has, a bad rap for having too close an association with pop culture and hanging out with other genres like, God forbid, horror. But we’ve come such a long way. In fact, today, we really have a much better perspective. We, at least the more enlightened amongst us, can see so-called literary fiction as a genre, like any other, and not something so up on high. Yes, we value excellence. The problem used to be that any other genre was spat upon and kicked to the curb by the elite literary chieftains. Not so much today as we find countless combinations and recombinations among all genres. And, anyway, great work will ultimately transcend any label you attach to it. The thing is, you need to be open to anything and the work of people like Forrest J Ackerman have helped make that possible.

So, who was Forrest J Ackerman and what did he accomplish? Ackerman provided a way for the general public, especially a younger generation, to tap into a vital art form that had been getting short shrift elsewhere. We’re talking about a huge world, a whole universe, of creativity. Ackerman did the heavy lifting to create a more level playing field. He collected, he documented, he distributed, he promoted, he displayed, he shared. As the founder of the magazine, “Famous Monsters of Filmland,” he opened the flood gates to all manner of fandom and scholarship devoted to a huge facet of culture. This involved monsters, aliens from space, bloody horror, and science fiction. It was a determinedly do-it-yourself gung-ho approach as well as a tempered and highly sophisticated endeavor. He was the literary agent for numerous big name talents including Ray Bradbury, A. E. van Vogt, and Charles Beaumont. The Ackerman archives compromise 200 complete collections of magazines, 50,000 books, and countless one-of-a-kind items. For over 30 years, his home served as a museum open to the public for free. He coined the term, “sci-fi.” He co-created, with Trina Robbins, the legendary character, Vampirella. To sum it up, he was a one-man gateway.

Forrest-J-Ackerman-1916-2008

What Jason V Brock does with this documentary is let all the significant players on the scene simply talk and let you in. This is essential viewing for students of pop culture, science fiction, and art-making in general. This film will prove most useful to any aspiring writer, especially those down a primrose path to a university Creative Writing program. Wipe away any elitist inclinations you may have. Things are not as they might seem. Those things that go bump in the night may prove to save your life.

You can get your copy of “The Ackermonster Chronicles” by visiting our friends at JaSunni Productions right here. And, as of this writing, I have more to share with you about the multi-talented Jason V Brock. We’ll get to that in the weeks ahead. For now, if you happen to be in the Los Angeles area this particular weekend (Sunday, March 22), then go check out the Los Angeles Vintage Paperback Show. You’ll find Jason V Brock there along with a number of other highly talented individuals. Visit the show’s website right here.

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Filed under Documentaries, Famous Monsters, Forrest J Ackerman, Horror, Jason V. Brock, JaSunni Productions, Sci-Fi, science fiction

Interview: Jason V Brock and the World of Fantasy and Science Fiction

Jason V. Brock

Jason V Brock

Jason V Brock is an author, artist, and filmmaker who finds himself in a very interesting place in pop culture. For starters, he has created two well-regarded documentaries that focus on two very different men, both great contributors to science fiction, horror, movies, television, and the arts in general. One is Charles Beaumont. The other is Forrest J Ackerman. We chat about them and the creative process. How do you create art? One rule of thumb: Do it yourself! We begin with a look back at Brock’s childhood and how he, a child of the ’80s, grew up with the DIY ethos. In Charlotte, North Carolina. That’s where Brock cut his teeth on comics, retro cinema, vintage LPs, pulp fiction, and Playboy. Brock began working at his local comic book shop at the age of 13. His dad was a writer and graphic designer. It sounds like an idyllic way to grow up, right out of a Ray Bradbury story.

Charles Beaumont and Robin Hughes on the set of “The Howling Man”

Charles Beaumont and Robin Hughes on the set of “The Howling Man”

Speaking of stories,there are so many stories to cover just in Brock’s documentary on Beaumont. Take the case of the short story, “The Crooked Man,” by Charles Beaumont. It is a classic today that was highly controversial for the time, circa 1955. It imagined a society where homosexuality was predominant while hetrosexuality was outlawed. The story was bought by Esquire but subsequently was not published. It turned out to also be too hot for the pages of The Magazine of Fantasy & Science Fiction. But when Playboy published it in 1955, then that same story became okay, more than okay. Charles Beaumont sold his first science fiction story, “The Devil You Say,” to Amazing Stories in 1950. By 1954, he had written the first work of fiction, the landmark work, “Dark Country,” to appear in Playboy in 1954. This kicked off over a decade of Beaumont stories in Playboy. Writing for movies and televison soon followed including some of the best episodes of “The Twilight Zone.” All this, and so much more, before his life was cut short at 38 by a mysterious illness.

And, that gives you some sense of what to expect in Brock’s “Charles Beaumont: Short Life of Twilight Zone’s Magic Man.” You can find that documentary as well as Brock’s documentary on Famous Monsters of Filmland’s former editor, Forrest J Ackerman (Uncle Forry), “The AckerMonster Chronicles!” right here.

We also chat about Brock’s work in editing and writing his own stories. This led us to discussing a unique pairing of talents. In the course of working on the Beaumont documentary, Brock got to know one of the members of the Southern California Writer’s Group, William F. Nolan. They struck up a solid friendship. When Nolan was at a turning point on where he wanted to live next, it was a reasonable choice for him to move a bit further north from Bend, Oregon to Brock’s neighborhood in Vancouver, Washington. It turned out to be a natural fit and Brock and his wife, Sunni, could not be happier to share meals but not only that. Bill Nolan became family and you look out for family.

A-Darke-Phantastique

Among Brock’s impressive editorial work, there’s the recent anthology, from 2014, “A Darke Phantastique.” This is a 730-page lushly illustrated collection of some of the best dark horror fiction around with more than fifty stories, poems, and one teleplay. This includes Joe R. Lansdale’s “The Case of the Four-Acre Haunt”; Paul Kane’s “Michael the Monster”; William F. Nolan’s “The Last Witch”; Nathaniel Lee’s “The Wisest Stone and the Zoo”; Derek Künsken’s “The Buddha Circus”; E.E. King’s “Three Fables”; Jason Maurer’s “In Your Dark: Differing Strategies in Subhuman Integration Through Monster Academies” and S.T. Joshi’s “You’ll Reach There in Time.” “A Darke Phantastique” is published by Cicatrix Press and you can find it here.

Disorders-of-Magnitude-Jason-V-Brock

And another recent anthology, out this year, is “Disorders of Magnitude.” This is a 336-page overview of the genres of horror, science fiction, and the supernatural. It will prove useful to anyone who wants a better understanding of the roots of one of today’s dominant forms of entertainment and art. Included in this collection are essays, reviews, and interviews. Brock studies such dynamic figures as H. P. Lovecraft, Forrest J Ackerman, Harlan Ellison, Ray Bradbury, Charles Beaumont, Richard Matheson, Rod Serling, and William F. Nolan. This collection also includes filmmakers Roger Corman, George Romero, and Dan O’Bannon, and such fantasy artists as H. R. Giger. “Disorders of Magnitude” is published by Rowman & Littlefield Publishers. You can find it as Amazon right here.

You can listen to our conversation by clicking the link below. For anyone interested in writing, filmmaking, and creativity in general, there’s something here for you. Enjoy.

And be sure to visit Jason and Sunni Brock at JaSunni Productions to find out more about their products and services right here.

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Filed under Charles Beaumont, Documentaries, Forrest J Ackerman, George Clayton Johnson, Interviews, Jason V. Brock, Rod Serling, Sci-Fi, science fiction, The Twilight Zone, William F. Nolan