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Storyteller: The Authorized Biography of Roald Dahl Hardcover
- LanguageEnglish
- PublisherSimon & Schuster
- Dimensions9.76 x 6.6 x 1.89 inches
Product details
- ASIN : B004Z4M244
- Language : English
- Item Weight : 1.9 pounds
- Dimensions : 9.76 x 6.6 x 1.89 inches
- Best Sellers Rank: #4,351,855 in Books (See Top 100 in Books)
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The misanthropic bent of Dahl's stories for children and adults -- a tincture that also noticeably colors CHARLIE AND THE CHOCOLATE FACTORY (1964), his best-loved novel -- appears to have had many sources. Along with the classic "bad time at a boarding school" (Repton, in his case), Dahl suffered a near-fatal plane crash as a young RAF pilot. In keeping with his tendency to embellish the truth of events in his life, Dahl's smash-up, which was entirely due to "pilot error," was gradually transubstantiated into the tale of an heroic lost dogfight with enemy planes. Dahl's opinion of human nature can't have been elevated by his subsequent service as an air attache and espionage agent in the United States, which gave him opportunities to both hobnob with the powerful (FDR, then Vice-President Henry Wallace) and bed-hop with willing older females. How firmly established Dahl's jaundiced view of life had become by the end of the war is symbolized by the fate of The Gremlins, the little plane-sabotaging critters that represented his highest pre-CHARLIE flight of whimsical fancy. Having seen the public take to the Gremlin idea and "wring it out" with remarkable speed -- so much so that Walt Disney's plans for a movie based on the creatures were ultimately shelved -- Dahl subsequently used The Gremlins as the dark-hearted, opportunistic inheritors of a world decimated by atomic war in his first, unsuccessful novel, SOME TIME NEVER (1948). This novel was actually the first novel ever published about the aftermath of such a war; the mere fact that Dahl latched onto the idea gives us some idea of his mental state at the conclusion of World War II. Dahl's ability to harness his "dark side" and use it to give his later, more whimsical children's tales that "cruel edge" that disturbed parents and professional do-gooders, but seemed to attract and intrigue children themselves, stands as arguably his most noteworthy contribution to children's literature.
The biography only really bogs down when Sturrock gets enmeshed in discussions of Dahl's frequent rows and disagreements with his American and English publishers. Strangely, while Dahl felt loyal to certain individuals in the publishing business, his view of the business itself, like that of most manifestations of official authority, was extremely jaundiced. Dahl's view of himself as the perpetual "naughty schoolboy" and rule-breaker makes it all the more surprising that, in the 1980's (his most productive decade insofar as children's novels went), he emerged as a fan of Margaret Thatcher. Perhaps he sensed that Ms. Thatcher was, like him, something of an outsider, never really accepted by the British establishment?
My own impression of Dahl is that he was the type of man that you'd love to invite to a dinner party but wouldn't necessarily want to linger after the dishes had been cleared. Whatever your previous impression of this significant children's author may be, you're bound to learn a number of new things about him in this well-written, well-researched biography.
In this wonderful and compelling biography, Donald Sturrock rises to the challenge of writing a biography almost as interesting as the stories of its subject. Dahl apparently found biographies boring. "Why on earth would anyone choose to read an assemblage of detail, a catalogue of facts, when there was so much good fiction around as an alternative?" (p6). I loved many elements of this book; among my favorites are the following:
1. While Sturrock is clearly a friendly biographer, he paints no picture of a saint, demonstrating how much previous biographical work on Dahl is rose-colored, how Dahl was mercurial - by turns generous and kind and then rude and judgmental, sometimes (later in life) making unfortunate public statements.
2. Dahl was a storyteller through and through: many stories from his own memoirs was fictionalized. "I don't lie. I merely make the truth a little more interesting..." (p4)
3. In the wake of a tragic accident that left Dahl and Patricial Neal's son Theo with serious head wounds, Dahl teamed up with a craftsman to develop a special valve that would drain excess fluid from the head which was effective and very cheap (as a result of neither inventor gaining from it), the valve "was used successfully on almost three thousand children around the world" (p392). Likewise, after his wife Patricia Neal suffered a serious stroke, Dahl took an intensive rehabilitation approach which led to a very rapid recovery and return to acting for Neal, ultimately "revolutioniz[ing] treatment for future stroke victims" (p444).
4. Hearing how long Dahl struggled to achieve professional success is inspiring.
But without doubt my favorite part was the story of the stories:
1. How Dahl's agent, for years, encouraged him to try children's fiction;
2. How James and the Giant Peach came to be the first children's book;
3. How Charlie and the Chocolate Factory evolved dramatically in plot;
4. Tidbits such as how the NAACP forced the change of the name of the first chocolate factory movie to Willy Wonka & the Chocolate Factory (because they thought the book was racist and didn't want the movie to support book sales), and how Dahl disliked the original movie: He preferred Peter Sellers for the role over the chosen Gene Wilder, who he found "pretentious" and "insufficiently gay [in the old-fashioned sense of the word] and bouncy" (p513).
I just loved this book. It is well written, easy to read, and meticulously documented. I'm glad to have it in my library.
