By Anne Serling
"A haunting and wonderfully written memoir in regards to the writer of The Twilight Zone." --Robert Redford
"Beautifully written. . .I laughed and that i cried. I plan to learn it back as soon as I seize my breath." --Carol Burnett
In this intimate, lyrical memoir approximately her iconic father, Anne Serling unearths the fun-loving dad and relations guy in the back of the enforcing determine the general public observed webhosting The Twilight area each week. After his unforeseen, early loss of life, Anne, simply 20, used to be left surprised. yet via chatting with his buddies, poring over outdated correspondence, and recording her youth thoughts, Anne not just chanced on solace, yet received a deeper figuring out of this striking guy. Now she stocks her discoveries, besides own photographs, revealing letters, and scenes of his formative years, struggle years, and their family's time jointly. A tribute to Rod Serling's legacy as a visionary, storyteller, and humanist, As I Knew Him is additionally a relocating testomony to the affection among fathers and daughters.
"A gentle, considerate and extremely own portrait of yankee genius Rod Serling." --Alice Hoffman
"Richly instructed. . .a haunting memoir approximately grief, creativity, and a father-daughter bond as memorable and magical as any Twilight sector episode." --Caroline Leavitt
"Filled with anecdotes and self-reflection. . .Serling nonetheless casts an oversized shadow." --Variety
"Lush stories of a outstanding father and adept research of his work." --Kirkus Reviews
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Additional info for As I Knew Him: My Dad, Rod Serling
As David Ellison argues, it is important to acknowledge that Swearengen represents a “fusion of characteristics that Dickens could only distribute across characters. 5 In this way, the fortuitous casting of McShane (the real Al was born in Iowa) allowed David Milch to articulate and realize a depth to Swearengen that not only enhanced the vividness of a real historical character but was also to overcome one of the pervasive oddities of nineteenth-century British literary characterization. In this respect, Al Swearengen, as played by McShane, is a philosophic intervention into the nature of characterization itself.
He is alive to the temptations of self-deception as much in others as in himself. Watching from the Gem balcony with Dority and Adams as Seth emerges from an energetic sex session with Alma Garrett, Swearengen is unimpressed with the way this blinds Bullock to himself and the purpose Al has set out for him: He don’t even know if he’s breathin’ or takin’ it in through fucking gills. He is that fucking cuntstruck. They’re afloat in some fairy fuckin’ bubble—lighter than air—him, her snatch, and his stupid fuckin’ badge.
The Western journalist usually requires the help of the hero’s gun (Lusted 42) or, just as likely, is on the wrong side of the gun and killed for what he does, as are newspaper editor Dutton Peabody (Edmond O’Brien) in The Man Who Shot Liberty Valance (1962) or Frank McHugh (Joe Clemens) in Dodge City (1939). In a rare conflation of gunfighter and editor, Ned Britt (Randolph Scott) drops his composing stick and picks up a gun to clean up the town in Fort Worth (1951). Even so, his actions compound an underlying Western theme: that when the printing press brings civilization to the frontier, the Old West somehow loses a special part of itself (Barris 91).