The City on the Edge of Forever Paperback – 19 May 2009
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About the Author
Harlan Ellison has been called "one of the great living American short story writers" by the Washington Post. In a career spanning more than fifty years, he has won more awards than any other living fantasist. Ellison has written or edited one hundred fourteen books; more than seventeen hundred stories, essays, articles, and newspaper columns; two dozen teleplays; and a dozen motion pictures. He has won the Hugo Award eight and a half times (shared once); the Nebula Award three times; the Bram Stoker Award, presented by the Horror Writers Association, five times (including the Lifetime Achievement Award in 1996); the Edgar Award of the Mystery Writers of America twice; the Georges Melies Fantasy Film Award twice; and two Audie Awards (for the best in audio recordings); and he was awarded the Silver Pen for Journalism by PEN, the international writers' union. He was presented with the first Living Legend Award by the International Horror Critics at the 1995 World Horror Convention. Ellison is the only author in Hollywood ever to win the Writers Guild of America award for Outstanding Teleplay (solo work) four times, most recently for "Paladin of the Lost Hour," his Twilight Zone episode that was Danny Kaye's final role, in 1987. In 2006, Ellison was awarded the prestigious title of Grand Master by the Science Fiction and Fantasy Writers of America. Dreams With Sharp Teeth, the documentary chronicling his life and works, was released on DVD in May 2009. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Top customer reviews
Ellison could not care less about the straitjacket limitations of 1960s television production, however, he's been there and done that - now it's about setting his record straight by throwing a concertedly visceral spotlight upon the many villains of the piece. It's extreme, bruising stuff (boy, can he name and shame), but when principles and integrity are at stake, just how far do you go in the name of self-preservation? So...compare and contrast. Yes, it was a great tv episode, an unusually powerful Star Trek love story with the most tragic of endings...but Harlan's words, the ones that came first, and the belated images conjured up in the mind, well, their validity in the Star Trek universe is also beyond doubt.
Sadly, since Roddenberry's death, the underlying feeling I get reading this now is that the inexorable passage of time and tide has created one hell of a bittersweet victory.
So why not a perfect ten? Well, the screenplay deserves a ten, but it's packaged with an introductory essay that is one of the bitterest things Ellison has ever written, which is no mean feat. The long, rambling essay exorciates pretty much everyone ever involved with Star Trek. Ellison refutes every word of criticism levelled against his teleplay by Roddenberry, Shatner, et al., and he does it without his trademark black humour. Granted, it's hard to be humourous about things when Roddenberry and the hard-core Trekkies have been spreading mistruths about why your screenplay got hacked to pieces for the last thirty years, especially Roddenberry's blatant lie that Ellison had "Scotty dealing drugs," a lie Roddenberry continued to spread despite being corrected on numerous occasions. Still, Ellison's bitter catharsis is hard going. The seventy-five page forward is in almost a stream of consciousness style, with Ellison leaping from topic to topic, going off on tangents in footnotes that cover three pages, and various letters, memos and other documentation thrown in at what appear to be random intervals. Ellison really could have used a good editor.
And White Wolf publishing really could use a good copy editor. The essay is hard enough to follow without the _dozens_ of misspellings and grammatical errors that slipped through.
Still, this is a must read for fans of Ellison and Star Trek, and a chance for both to think of what might have been.
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