Tag Archives: Harlan Ellison

I come here not to bury the mass market paperback, but to praise it

This is sad news. Not nearly as sad or despairing as much of what we see in the news in recent years, but sad nonetheless.

The mass market paperback is dead.

This might not surprise some of you who react, “Yeah, I know, I haven’t seen one in a bookstore in a while,” or “What is a mass market paperback?” For those young enough that they don”t remember the mass market paperback, I’m fearful you’re reading this past your bedtime.

Publishers Weekly likely broke the news to most of us who remember mass market paperbacks – I’m going to refer to them as just paperbacks pretty soon now, for expediency’s sake – in a December article that noted that the ReaderLink company said it would no longer distribute mass market paperbacks. The format’s share of the market had dropped dramatically over the past couple of decades as larger-format paperbacks, sometimes referred to as trade paperbacks, and ebooks had usurped the market that had been dominated for many decades by mass market paperbacks.

Paperbacks had been the format of choice for much of the 20th century. They were less expensive than hardbacks but more cheaply made and thus less durable. But they had an ease of use, a convenience and an aura that were hugely appealing to most of us who were buying books in the last few decades of the past century. In 1966, the Beatles released a single, “Paperback Writer,” that ironically but lovingly paid tribute to the format. You didn’t hear the Beatles singing about their desire to be a hardcover writer, did you? No you did not.

As many know, paperbacks – measuring about 4 inches by 7 inches, just the size to fit in a pocket so you could always have a book at hand – were introduced before mid-century but might have become the hottest book trend ever in the 1940s and 1950s, continuing that hot streak into the 1960s and 1970s.

Paperbacks went to our workplaces, where they were handy to read on our lunch hour. They went on our commutes, where they occupied many a train and bus rider. They went to school and war in backpacks and pockets. They went everywhere, in part because of their convenient size and in part because they were so incredibly inexpensive to buy. I just looked at one of my oldest and most rare paperbacks this morning, a copy of Harlan Elliison’s “Rockabilly” from 1961. The cover price was 35 cents.

The vast majority of paperbacks I bought in the late 1960s and 1970s were priced at 65 cents, 75 cents, 95 cents. Paperbacks I bought into the 1990s were still only a few dollars, inexpensive compared to hardcovers and large-format trade paperbacks that, in my buying experience, were confined to scholarly or pop-culture works about movies, TV shows and comic books. At least that’s what still fills my bookshelves. I recently noted my copy of “The Marx Brothers at the Movies,” a 1975 Berkley trade paperback of a 1968 hardcover original, cost me just $3.95.

I have hundreds of books. Some are of recent vintage but the majority date from the 1960s to the 1990s. Among people my age, that’s probably not uncommon. Paperbacks entertained and informed us. Some of my favorites are early Stephen King novels and short story collections, the work of Robert A Heinlein and Ray Bradbury and Dean Koontz.

And I wasn’t alone. Publishers Weekly says 387 million mass market paperbacks were sold in 1979, compared to 82 million hardcovers and 59 million trade paperbacks. The 1975 movie tie-in of Peter Benchley’s “Jaws” sold 11 million copies in its first six months

Publishers Weekly notes that the paperback began losing its share of the market with the growing popularity of trade paperbacks and ebooks, the latter of which boomed in the early 2000s. And of course the shrinking number of bookstores – a trend which has, happily, reversed course – further eroded paperback sales.

Folks who’ve read this site before know I’m a fan of bookstores, especially used bookstores, and they’ll forever be a place to find books in all formats, including the once-beloved paperback, also known as the mass market paperback.

That’s where you’ll find me, looking to recapture a little of a past that’s quickly disappearing.

Harlan Ellison and ‘The Glass Teat’

harlan ellison

Who is Harlan Ellison?

It’s a question that, after a quick search, I discover I’ve never answered on this blog before. And I feel kind of bad about that.

Ellison, now 81 years old, is one of the most influential writers in science fiction. That’s something that would piss Ellison off to hear, because he’s always fought against being limited, against being pigeonholed, in what was once a “ghetto” of science fiction.

Before I get to one of my favorite examples of Ellison’s other writing, let me give you his science fiction credentials:

Ellison is the author of more than 1,700 stories, books, screenplays, comic books and the like. He’s won every award of any importance in the world of speculative fiction.

Although he maintained his work was butchered, Ellison is in some circles best known for “City on the Edge of Forever,” the “Star Trek” episode in which Kirk and Spock go back in time to find McCoy, who has – in a drug-induced haze – gone back in time and changed history.

Ellison wrote great television including episodes of the “Outer Limits” anthology TV series – “Demon with a Glass Hand” and “Soldier” – that were such an influence on James Cameron’s “Terminator” that, post-theatrical release, an acknowledgement of Ellison’s work was added to the credits of Cameron’s movie.

TheGlassTeat

Ellison wrote some great fiction but I wanted to note one of a few volumes of non-fiction that he wrote, “The Glass Teat.”

Re-reading “The Glass Teat” now is a time machine not unlike those that Ellison wrote about for “Outer Limits.” How much of a place and time is “The Glass Teat,” a collection of columns Ellison wrote for the The Los Angeles Free Press in the late 1960s and 1970?

Well, suffice it to say that the collection ends with a showdown between Ellison and Ohio school administrators while the spirt of Spiro Agnew hangs overhead like a buzzard.

If you also ask, “Who is Spiro Agnew?” then I’m not sure why you’ve read this far.

And yes, Ellison’s three-part column (four really) about the stir caused when Ellison spoke to Ohio (he’s from Ohio, despite decades in California) high school students and not only spoke his mind but uttered a few colorful words and phrases didn’t have a lot to do with TV. I’ll get to that in a minute.

This was late 1969, after all, and the country was a different place: Vietnam was raging, our leaders were either Nixon and Agnew or they had been assassinated, and a young generation was trying to break away from their parents’ world. Before your time? Check out any recent “Mad Men” episode for frame of reference.

Although Ellison wrote what was more than marginally a TV column, he really wrote about whatever intrigued or infuriated him that week. Sometimes that was TV, which was a very different medium back then, and how it squandered its potential. Sometimes it was current events or politics.

Ellison wrote enough columns to fill this book and a sequel, “The Other Glass Teat,” and I highly recommend both of them.

The players might seem of another time – they are – and Ellison’s trademark acerbic wit/outrage might seem foreign to readers who are today accustomed to writers who not only don’t wear their hearts on their sleeves but cover up their hearts for mass consumption.

But Ellison doesn’t care. He has always done his thing and “The Glass Teat” documents just that.

Classic SF on TV: ‘Outer Limits: Soldier’

outer limits soldier

When “The Outer Limits,” an ABC TV anthology series, began airing, Rod Serling’s “The Twilight Zone” had been on the air for four years and was making its mark with literate science fiction and fantasy stories by great writers like Richard Matheson.

“The Outer Limits,” which has always had less recognition than “The Twilight Zone,” nevertheless presented smart and ahead-of-their-time SF and fantasy tales, including the first episode of the second season, “Soldier.”

Written by established author Harlan Ellison, “Soldier” (1964) was the first of two episodes of “The Outer Limits” written by Ellison. In “Soldier” and “Demon with a Glass Hand,” Ellison explored somewhat different takes on the same kind of story: A soldier from the future comes back in time to our present day (well, 1964 in the case of “Soldier”). He’s pursued by a relentless killer who’s also from the future. The soldier ends up protecting modern-day humans before he meets his fate.

If the story sounds familiar … well, Ellison thought a movie that came out 20 years later took too many liberties with his basic idea. More on that in a minute.

In “Soldier,” Michael Ansara (who died just recently) plays Qarlo, a soldier from 1800 years in the future who materializes, in full battle gear, in a big-city alley after a battle in the future with his enemy. Qarlo quickly attracts the attention of the police, who arrest him after he melts their patrol car.

Once Qarlo, who struggles like a caged animal, is in the hands of the FBI, an agent (Tim O’Connor) calls in Kagan, a language expert (Lloyd Nolan), to try to figure out what language Qarlo is speaking. It’s English, Kagan says, and he quickly (probably too quickly, but hey, it’s an hour-long show) theorizes that Qarlo is a soldier from the future, in a time when men like Qarlo are bred to be soldiers, fighting machines with no knowledge of love and family and no master but the state.

Kagan, trying to introduce Qarlo to the modern-day world because they have no way of sending him  back to his own time, even takes him home to meet his family.

There’s that other soldier from the future to be considered, however, and a showdown in the Kagan family living room that feels kind of anti-climactic.

There are more than a few leaps in logic in “Soldier,” but most of them can be forgiven. A couple of head-scratchers – Qarlo’s lines-and-circles drawing of his – our – solar system is taken to a scientist who can tell, from the rudimentary sketch, that the Earth’s position around the Sun indicates Qarlo came from 1,800 years in the future – stand out.

But a lot about the episode is still effective, including Ansara’s performance as the bred-and-born soldier and Nolan’s intuitive expert. I also loved O’Connor, a character actor who is great in so many TV shows in the 1960s, 1970s and 1980s, as the snappy FBI agent.

harlan ellison

You’ve probably figured out that a lot of people – notably Ellison – have drawn comparisons between “Soldier” and “Demon with a Glass Hand” and “The Terminator,” director James Cameron’s 1984 SF adventure about two soldiers – one an android – who time-travel back from the future to the present day (well, the 80s), one to kill a woman who’s crucial to the future of mankind and one to protect her.

Ellison heard about the similarities before the movie came out and investigated. His attempts to see the movie before it premiered were stymied by Cameron and his studio. Cameron had apparently joked to a reporter that he had “ripped off” a couple of Ellison “Outer Limits” ideas. Eventually Ellison saw the movie and recognized enough of his plot to threaten to sue.

Ellison ended up with – according to a video interview with him that I saw – $65,000 to $75,000 and an acknowledgement, in the end credits of video releases of “The Terminator,” to his work.

“The Terminator” might have been made even without the inspiration of “Soldier” and it might not. But there’s no doubt that “Soldier” got there first and gave us a sci-fi story that still holds up.