« When the dark mists rise up from the graveyard, and shutters bang in the windows of old abandoned houses, and the lights burn late in the back rooms of funeral parlors, the hour has struck for the Autumn People. » — anonymous back cover blurb
Frank Frazetta‘s cover for Ballantine Books’ October 1965 collection of EC adaptations of Ray Bradbury short stories (such a string of possessives!), namely « There Was an Old Woman » (art by Graham Ingels) « The Screaming Woman » (Jack Kamen), « Touch and Go », aka « The Fruit at the Bottom of the Bowl » (Johnny Craig), « The Small Assassin » (George Evans), « The Handler » (Ingels), « The Lake » (Joe Orlando, some of the finest, most sensitive work of his incredibly-brief peak, which he would coast on for the rest of his career), « The Coffin » and « Let’s Play Poison » (Both Jack Davis).
I’m feeling foolishly generous, so here’s a panel from each story. Owing to personal bias, Mr. Craig is the only one who gets a full page to show off. Seriously, though, scripting his own stuff afforded him greater latitude in storyboarding his work… and how it shows!
I first encountered Bradbury through « The October Country » (1955), which turned out, I was to discover later, to be a heavily-revised version of his initial, Arkham House-issued collection, « Dark Carnival ».
« When given the chance to rerelease the out-of-print collection in 1955, Bradbury seized the opportunity to revisit his first book and correct the things he deemed inadequate. (Ever the perfectionist, Bradbury was, throughout his career, often discontent with calling a book done, even after its publication.) He rewrote a number of stories, made light revisions on others, cut twelve tales altogether, and added four new ones to round out the collection. The stories Bradbury discarded he thought too weak, too violent, or too primitive, and not representative of where he was as a writer at that moment. »
As it happens, several of the stories that caught Gaines & Feldstein’s fancy were the very ones that Bradbury was in the process of disowning. Ditching « The Coffin » or « Let’s Play Poison » or, for different reasons, « The Black Ferris » (as he was to expand it into « Something Wicked This Way Comes » a few years down the line) I can understand, but losing the incredible « The October Game »? Especially since he was making (lots of) room for his most plodding story, the seemingly-interminable (at 44 pages) « The Next in Line ».
There was a companion volume devoted to EC’s adaptations of Bradbury science-fiction tales, « Tomorrow Midnight », also boasting a Frazetta cover.
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