From Children of the Damned to Liquid Sky: The Novel, LIGHT INTO INK is the first major critical survey of the film novelization, or movie tie-in. Taking 50 examples of the form – including titles as diverse as Forbidden Planet, Taxi Driver, Performance and Mad Max – LIGHT INTO INK examines each book in depth, evaluating their success both as cross-media adaptations and as ‘Alternative Histories’: prose reinventions of the film narrative, which reshape their source in sometimes startling new ways. Beginning with a detailed history of the phenomenon, charting its evolution from theatre to film (and beyond), LIGHT INTO INK explores the enduring appeal of the form and, in the process, seeks to answer that age-old question: is the film novelization inherently moronic?
Including background data on authors and publishers, detailed analysis of exclusive content, and extensive extracts from the novels themselves – including some translated into English for the very first time – LIGHT INTO INK is extensively illustrated with reproductions of jacket art, film posters and more. Exhaustive and informative, LIGHT INTO INK is an indispensable addition to any film-lover’s bookshelf.
LIGHT INTO INK is available to buy in a choice of two editions: a DeLuxe Edition (white jacket) with full-colour interior, and a Midnight Edition (black jacket) in glorious monochrome. Both are distributed exclusively through Amazon.
Titles included in this survey:
1: Of Changelings, Antichrists and Devils (Incarnate) – Children of the Damned by A.V. Sellwood (1964)/Bedazzled by Michael J. Bird (1968)/The Omen by David Seltzer (1976)/Holocaust 2000 by Michael J. Robson (1978).
2: Better Than the Film – Moon Zero Two by John Burke (1969)/The Incredible Melting Man by Phil Smith (1978)/Capricorn One by Bernard L. Ross (1978).
3: This is the End – Part 1: Armageddon GB – The Day the Earth Caught Fire by Barry Wells (1961)/Survivors by Terry Nation (1976). Part 2: Armageddon USA – Conquest of the Planet of the Apes by John Jakes (1974)/Dawn of the Dead by George A. Romero & Susanna Sparrow (1978). Part 3: Armageddon Down Under – The Last Wave by Petru Popescu (1978)/Mad Max by Terry Hayes (1979)/Mad Max 2 by Carl Ruhen (1981)/Mad Max 2 by Philippe Manoeuvre (1983).
4: Scritti Spaghetti: Italian Genre Cinema – Part 1: The Man With No Name – A Fistful of Dollars by Frank Chandler (1972)/For a Few Dollars More by Joe Millard (1967)/The Good, the Bad & the Ugly by Joe Millard (1967). Part 2: Two Films by Elio Petri – The 10th Victim by Robert Sheckley (1965)/A Quiet Place in the Country (1969). Part 3: Thrilling all’italiana – The Laughing Woman by Hadrian Keene (1970)/The Cat O’Nine Tails by Paul J. Gillette (1971)/Il gatto a nove code by Nanni Balestrini (1975)/The Case of the Bloody Iris by Michael Hudson (2015)/Suspiria by Nicola Lombardi (1997).
5: Cult Filmmakers 1 – John Carpenter – Dark Star by Alan Dean Foster (1974)/Eyes of Laura Mars by H.B. Gilmour (1978)/Halloween by Curtis Richards (1979)/Halloween II by Jack Martin (1981)/Halloween III – Season of the Witch by Jack Martin (1982)/The Fog by Dennis Etchison (1980)/Escape from New York by Mike McQuay (1981)/The Thing by Alan Dean Foster (1982).
6: Cult Filmmakers 2 – David Cronenberg – Rabid by Richard Lewis (1977)/The Brood by Richard Starks (1979)/Scanners by Leon Whiteson (1980)/Scanners II – The New Order by Professor Janus Kimball (1991)/Videodrome by Jack Martin (1983)/eXistenZ by John Luther Novak (1999).
7: Dangerous Visions – X by Eunice Sudak (1963)/Performance by William Hughes (1970)/Zardoz by John Boorman & Bill Stair (1974)/Phase IV by Barry N. Malzberg (1973)/Sorcerer by John Minahan (1977)/Harlequin by Keith Hetherington (1980).
8: Ne plus ultra; or, That’s How It’s Done – Forbidden Planet by W.J. Stuart (1956)/Monte Carlo or Bust by E.W. Hildick (1969)/Taxi Driver by Richard Elman (1976)/Quatermass by Nigel Kneale (1979)/Liquid Sky: The Novel by Anne Carlisle (1987).
PRAISE FOR LIGHT INTO INK:
“If you’re a movie tie-in aficionado who’s looking for a nostalgia overload, this is it. Over 480 tightly-packed and richly illustrated pages, Guariento explores the complete scope of the movie and TV tie-in genre (yes, he touches on the early Doctor Who, Star Trek, and Space: 1999 novelisations as well.) He analyses fifty examples of the form in fascinating detail (even if you’re not familiar with the movies, the genesis of these novelisations makes for a compelling read) and also includes extensive extracts from the novels themselves, several of which have been translated into English for the first time (fans of Argento’s Suspiria have got a delightful surprise in store.) There’s something here for everyone, with chapters covering everything from Forbidden Planet, The Omen, and Dawn of the Dead to forgotten gems like The Last Wave and A Quiet Place in the Country, to Taxi Driver, Mad Max, and The Good, the Bad and the Ugly… Guariento’s passion for the genre shines through and, although it’s an exhaustive, scholarly study, it’s written for everybody to enjoy. If you’ve ever been captivated by the movie tie-in format, or if you’ve ever wondered why its appeal continues to be so enduring, Light into Ink will answer all your questions and more.”
“With a populist readership in mind at least as much as a scholarly one, Light into Ink is written with consistent humour and panache. […] The book’s popular appeal should not, of course, be allowed to occlude the impressive range and depth of Guariento’s research. Indeed, the extent to which he succeeds in juggling the needs of different readerships is one of its great strengths. For the scholar, it contains a lot of hard facts as well as valuable critical observations. […] Packed with information and critical insight, and attractively priced, Light into Ink will undoubtedly appeal to a wide range of readers. While fans and collectors of novelisations would seem to be the core readership Guariento sets his sights on, his study also contains a great deal to interest enthusiasts of pulp and genre fiction more broadly. On top of that, there is plenty of material to hold the attention of readers interested in learning more about the films themselves and, despite his assertion that ‘this study is not an academic treatise’ (p. 5), the book also contains much of value to scholars of adaptation studies, paratexts, and media consumption. Enjoyable and informative in equal measure, this is a book I can recommend without hesitation.”
–Deborah Allison, Senses of Cinema (#94, April 2020)
“Excellent […] The book’s subtitle ‘50 Film Novelizations’ can perhaps be easily misinterpreted and arguably underrates this book’s mammoth amount of content. In terms of subject genres, Guariento hits the sweet spot every single time. In his chapter selections he has chosen very wisely, covering Eastwood, Bond, Planet of the Apes, Horror, Sci-fi, Hammer, Crime, Spy – in fact, everything that is both engaging and appealing to a key audience. Other chapters focus more specifically, such as cult filmmakers (including David Cronenberg and John Carpenter) and the adaptations of their various films. Most importantly, do not be misled into thinking that 50 film novelisations simply equates to 50 cover illustrations. The book also serves as a spectacular pictorial treasury with hundreds of covers featured – either related within the context of a chapter or shown as different or alternative editions of certain titles. Guariento certainly has this covered. This book is practically a dream. […] There’s very little doubt about it, ‘Light into Ink’ is an exceptionally detailed, well produced and yes, a beautifully illustrated book. But just be aware; make sure you know exactly which edition you are ordering should you choose to indulge further. If it’s entirely possible, make every effort towards the deluxe colour edition, I can promise you – you’ll be very glad you went the extra yard.”
“Guariento has dedicated a whole chapter to Italian Genre Cinema with a very generous sub section handed over to The Man with No Name and Eastwood’s Spaghetti western tie-in novels. It’s arguably the most in-depth study that has ever been afforded to these books. The images are great and plentiful with some that are even new to me – including a stunning 1972 German tie in for A Fistful of Dollars (which has just elevated itself to the top of my ‘most wanted’ list). But you don’t have to be just an Eastwood fan to appreciate this book, it stands high on its own merits – any film fan will treasure it.”
–Darren Allison, The Clint Eastwood Archive (10/07/20)
“Myself, I’ve never been a fan of the novelization form. My thinking has always been: why read a novelization when there are so many genuine novels still to read? Mr. Guariento acknowledges this viewpoint (which is certainly not mine alone), and does a first-rate job of meeting it head-on.
“Initially I found it ironic that this big, beautiful, serious, and (as I was to learn) very smart book would concern itself with these things, which I’ve always viewed as artificial, throwaway pulp products. But the author does a strong, persuasive job of arguing their worth. […] If I, initially uninterested in the topic, enjoyed this book – and I certainly did – then those with any interest at all in novelizations will absolutely love it. I still can’t count myself a fan of novelizations, and I don’t plan to dive into that world, but I am a huge fan of smart, smooth writing, and there’s a lovely book here just full of that.”
-Rick Pruitt, Little Shoppe of Horrors (#44, June 2020)
“Author-researcher S.M. Guariento has broken ground on a fresh topic and done it justice… Guariento’s title says fifty novelizations but his 480 authoritative, entertaining pages cover hundreds more movies that were converted into reader bait for the drugstore racks. […] Light into Ink qualifies as an art book as well — it is illustrated with hundreds of colour reproductions of vintage paperback covers, in many cases, multiple covers for popular novelizations. I know a couple of collectors that would consider this volume something of a Bible on the subject. […] For movie fans wanting more there’s a revelation to be had on every page. […] The fifty films given individual chapter attention are an eclectic bunch, from horror pix by Carpenter and Cronenberg to Leone’s spaghetti westerns to things like The Day the Earth Caught Fire. In comparing images to ink we learn more than a little about both, as the novelizations illuminate different elements, or follow a different path than the film entirely. Guariento’s dedication to detail digs deep into foreign version research for the pocketbook adaptations of a number of Giallo classics.”
–Glenn Erickson, CineSavant (8 Aug 2020)
“I loved the book — and I mean absolutely loved it… Guariento’s introduction alone is almost worth the purchase price. In just under 50 pages, he gives a thorough, global tour through the history of the novelization, which dates back much further than I assumed: 1608! […] Remarkably, not a single chapter fizzles, each adhering to a sturdy framework of context and criticism covering not just the book, but the film itself, the assigned author, the book publisher and its various editions. In essence, Guariento is reviewing as many movies as he is books, but of most value are his comparisons of the two media: what was lost, what was gained and — since authors often had to work from early screenplays that didn’t necessarily represent the final product — what could have been. […] Whether his prose is irreverent, sober or somewhere in between, I simply love the way Guariento writes across these winning essays. Coupled with several hundred glorious illustrations of cover art, that makes Light into Ink a volume to treasure.”