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With the legislation of mential domination. Mint situation. Aleister Crowley's vague Liber continues to be certainly one of his so much enigmatic obtained magical texts, and one whose genesis at once issues the workings of astral magic and trance-mediumship.
At the floor she's a pretty, subtle socialite, at domestic one of the attractive humans of the Las Vegas higher crust. And Joanna is either. She got here to him whilst he wanted her the most. She got here to him at his lowest element. The voice of an angel, a whisper at nighttime. She's the single factor that will get Nathan Kelly via his captivity, the unending days of torture and the terror that he will by no means go back to his family members.
They are spiritual creatures who can at times be both dangerous and terrifying, which no sane person would ever wish to anger through imprudent action or careless words. Thomas Tryon took this subtle, psychologically rich plot and turned it into a runaway hit— The Other would eventually sell 4 million copies and spend six months on the bestseller list.
The book is not without its limitations. The prose gets the job done, but without much grace. But the characters come alive with animating spirit, and the psychological conflicts simmering throughout this novel are both plausible and disturbing. At the time of its release, The Other earned praise from Anthony Burgess , and comparisons with John Cheever and other highbrow establishment authors.
Tryon had never published a novel before The Other. He was a middle-aged actor, who had enjoyed some modest career successes, largely on the basis of his rugged good looks, suitable for westerns and war movies. His biggest acting success, however, came in the role of a Catholic priest in the film The Cardinal , for which he earned a Golden Globe nomination.
But he suffered under the direction of Otto Preminger, whose treatment of the actor bordered on abuse—at one juncture, he even fired Tryon while his parents looked on. But in his mids, Tryon decided that he needed a career change. He thought he might have some success as a film producer, but the studios showed no interest in his pitch for a horror movie about twins.
So he devoted more than a year to turning the concept into a novel. The Other eventually became a movie, with a screenplay by Tryon, but he eventually decided that he preferred life away from Hollywood.
He had few contacts with the movie industry in the remaining two decades of his life—although he made considerable sums of money selling rights for his stories to the leading studios. The Other is not a novel about the film industry—not by any measure. Yet it does show the dark side of role-playing, and it is hardly a stretch to view protagonist Niles Perry as master of method acting.
The essence of the horror in these pages draws from a simple premise: What happens when you stop playing the role and it starts playing you? Can we go further, and see Thomas Tryon as projecting himself into the deadly twins who instigate the horrors in this novel? That would make The Other a book of a doubled double. Add to this the complexity Tryon faced in Hollywood as a gay man whose career would be jeopardized if the public learned the details of his private life.
Perhaps all this explains the emotional intensity of this novel, and how the untried Tryon managed to move so effortlessly from film to the bestseller list. He had been preparing for years to write this kind of horror story—and in the worst possible way: by living it out.
And the energy in this book, by the same token, perhaps represents the realization of its author that by moving from the screen to the printed page he had found an escape, away from the limelight of Hollywood and into the imaginative life of the professional storyteller. Readers back in could hardly have grasped these aspects of The Other , but they could feel its authenticity and passion. And for all of the limitations of this book, they still enliven its pages today.
Ted Gioia writes about music, literature and popular culture. Publication Date: September 2 7 , This is my year of horrible reading. I am reading the classics of horror fiction during the course of , and each week will write about a significant work in the genre.
You are invited to join me in my annus horribilis. During the course of the year—if we survive—we will have tackled zombies, serial killers, ghosts, demons, vampires, and monsters of all denominations. Check back each week for a new title Ted Gioia.
T homas Tryon's The Other.
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