'Brain Movies': Annoying New Releases from Harlan Ellison
By Harlan Ellison
Harlan Ellison, once considered the enfant terrible of science fiction (although he rejects the genre label and prefers speculative fiction or just writer) is turning 79. To celebrate, his Harlan Ellison Books.com imprint of Cafe Press is releasing two more overpriced volumes of obscurica for diehard fans, available only through the dedicated website.
Brain Movies III features the unproduced pilot teleplay for Cutter's World, another unproduced teleplay for a series called The Manhunter, an episode of Burke's Law that was produced, and a short story, novel excerpt and related material connected with Demon with a Glass Hand (the teleplay of which appeared in Brain Movies I. The purported reason it's included here is that the bad guys from Demon are also the bad guys in Cutter).
Brain Movies: The Original Teleplays of Harlan Ellison, Vol. 4 features Brillo, the pilot for a series about a cop with a robot partner (which was never filmed but became a lawsuit when the network which rejected it produced another show about a cop with a robot partner), another Burke's Law script and a teleplay for the TV series The Sixth Sense.
Now, as I noted in a previous post, maybe Cafe Press is too small a publisher or the titles are too limited in appeal to produce in sufficient quantity to make them less expensive. Then Ellison could make more of an effort to make them more attractive. Hardcover editions might be a nice option. How about putting all of the material related to his Outer Limits script Demon with a Glass Hand in one volume instead of spread out over two? All of his Burke's Law scripts in one volume instead of three or four? To spread them out over multiple volumes suggests Ellison is trying to coerce fans to buy all of the books whether they want to or not. In that case he should just sell subscriptions to the Harlan Ellison Collection like Time-Life used to do with its series.
It's not the first time Ellison seems to have cynically or poorly packaged books.
In the 1990s, when White Wolf began repackaging older Ellison titles in attractive hardcovers, pairing two books in one volume, I thought that was a nice way of allowing Ellison fans new and old to get his work in hardcover for a reasonable price. The project ended after four volumes, though at least 11 were planned. I bought only one of them because Ellison insisted on grouping the books not by when they were written, genre, subject or form (novel, essay, screenplay) but rather by seemingly cynical whimsy. Indeed, Ellison seemed to take perverse pleasure in pairing disparate works.
Take the first volume, Edgeworks 1, released in 1996. The titles were selected based on a word in their titles: a 1970 short story collection, Over the Edge, and a 1985 collection of essays, An Edge in My Voice. The latter was so recent that anyone who was interested in it probably already had it. If they only wanted the earlier short story collection, which hadn't been available in decades, they would have to double-buy the essay collection. Then there are people who don't like his essays. Must they buy both books? The essay collection was the larger part of the collection, too.
The second volume collected his 1961 rock novel Spider Kiss -- a title that is among the first titles in every Ellison reprint project -- with a 1982 collection of mostly science fiction and fantasy stories, Stalking the Nightmare. Again, it is not a very simpatico pairing.
Volume three was really just one book, the 1990 essay collection The Harlan Ellison Hornbook that was the long-delayed publication of the 1970s column of the same name. The "second" book was another unproduced movie script -- modestly titled Harlan Ellison's Movie -- that originally appeared as installments of the Hornbook column (yes, he was recycling "found" material even then) but was published separately by a small press and sold as a set with the first book. (Ellison apparently forgot that the small press had the hardcover rights to the collection, and gave them the screenplay as an exclusive in compensation.) Why reprint such a recently published title? His television criticism column The Glass Teat was a natural, as it was published in two volumes, was older and had never had a hardcover edition.
That brings us to volume 4, collecting 1965's Love Ain't Nothing But Sex Misspelled, mostly mainstream tales, and 1969's The Beast That Shouted Love at the Heart of the World, an early science fiction collection. Finally, two books that kind of belonged together. They were both short stories, and not far apart chronologically in terms of creation. The latter hadn't been in print for awhile, and I thought it would look good on my shelf in hardcover, so I bought it.
The series then stopped, why I don't know. It was at least the third time that an attempt to reprint all or most of of Ellison's work in uniform volumes had ended before completion.
Ellison is in apparent poor health and has said he thinks he will die soon. Making his monthly bill payments sometimes takes fancy footwork or selling some of the memorabilia and objets d'art he has collected. I suppose he is trying to leave his wife a legacy. I think he could do a better job if it didn't seem like he was trying to rip off his remaining fans, who are aging almost as fast as he is. White Wolf, for all its faults, was a labor of love by fans of Ellison. Harlan Ellison Books seems like a cynical ploy by someone who can't produce new work, who's going through his drawers and publishing whatever dross he can find there and charging for it like it's gold. Most of these books are "found," requiring only repackaging or typesetting, but the price is higher than he ever charged for new work.
In one of Ellison's short stories, a man disappears into his own belly button. I'm afraid Harlan Ellison's life and work are imitating that art.