An in-depth look at the greatest hoax in radio history and the panic that followed, which Publishers Weekly calls "a rollicking portrait of a director on the cusp of greatness" and Booklist, in a starred review, says, "Hazelgrove’s feverishly focused retelling of the broadcast as well as the fallout makes for a propulsive read as a study of both a cultural moment of mass hysteria and the singular voice at its root.”
On a warm Halloween Eve, October 30, 1938, during a broadcast of H G. Wells’ War of the Worlds, a twenty-three-year-old Orson Welles held his hands up for radio silence in the CBS studio in New York City while millions of people ran out into the night screaming, grabbed shotguns, drove off in cars, and hid in basements, attics, or anywhere they could find to get away from Martians intent on exterminating the human race. As Welles held up his hands to his fellow actors, musicians, and sound technicians, he turned six seconds of radio silence—dead air—into absolute horror, changing the way the world would view media forever, and making himself one of the most famous men in America.
In Dead Air: The Night that Orson Welles Terrified America, Willliam Elliot Hazelgrove illustrates for the first time how Orson Welles’ broadcast caused massive panic in the United States, convincing listeners across the nation that the end of the World had arrived and even leading military and government officials to become involved. Using newspaper accounts of the broadcast, Hazelgrove shows the true, staggering effect that Welles’ opera of panic had on the nation. Beginning with Welles’ incredible rise from a young man who lost his parents early to a child prodigy of the stage, Dead Air introduces a Welles who threw his Hail Mary with War of the Worlds, knowing full well that obscurity and fame are two sides of the same coin. Hazelgrove demonstrates that Welles’ knew he had one shot to grab the limelight before it forever passed him by—and he made it count.
William Elliott Hazelgrove is the national bestselling author of ten novels and thirteen narrative nonfiction titles. His books have received starred reviews in Publisher Weekly,Kirkus, and Booklist, have been featured in Book of the Month Selections, ALA Editors Choice Awards, Junior Library Guild Selections, Literary Guild Selections, and History Book Club Selections, and have been optioned for movies. He was the Ernest Hemingway Writer in Residence where he wrote in the attic of Ernest Hemingways birthplace. He has written articles and reviews for USA Today, The Smithsonian Magazine, and other publications and has been featured on NPR All Things Considered. The New York Times, LA Times, Chicago Tribune, CSPAN, and USA Today have all covered his books with features. Learn more at www.williamhazelgrove.com.
The Magician
Prologue
PART 1: THE SET UP
Chapter 1: Who Is Orson Welles?
Chapter 2: Something Deathless and Dangerous
Chapter 3: Rosebud
Chapter 4: Something Dark and Brutal
Chapter 5: The Shadow
Chapter 6: The Cradle Will Rock
Chapter 7: Dummies
Chapter 8: The Perfect Setup
Chapter 9: Martians
Chapter 10: The Script
PART 2: BROADCAST
Chapter 11: The Crapperoo
Chapter 12: Dead Air
Chapter 13: A Wave of Mass Hysteria
Chapter 14: Go Home and Prepare to Die
Chapter 15: The Whole Country Was Bursting Open
Chapter 16: Terrorist in Action
Chapter 17: A Long Night
Chapter 18: Nationwide Terror
Chapter 19: Durn Fools
Chapter 20: Campbells on the Air
Chapter 21: War of the Worlds
Epilogue
Notes
Index
About the Author
Orson Welles may be best known for his film Citizen Kane, but a much earlier outing in his career led to the opportunity to make such an artistically ambitious undertaking. Hazelgrove charts Welles’ rise from a hectic childhood to the anointed genius of stage, radio, and, eventually, film. But it was the night before Halloween in 1938 when Welles bombastic radioplay rendition of H.G Wells’ War of the Worlds, styled as a breaking-news report, caused an uproar. Arriving at a nexus point when Americans began not only to rely on the relatively new invention of radio for entertainment but also as a trusted news source, the radioplay brought many who were listening to the brink of madness, wholly believing that aliens had actually touched down in a New Jersey town. Suicides, car accidents, and general unrest swept the country, and, at show’s end, Welles could only wonder if his career (and even freedom) was over too. Hazelgrove’s feverishly focused retelling of the broadcast as well as the fallout makes for a propulsive read as a study of both a cultural moment of mass hysteria and the singular voice at its root.
— Booklist, Starred Review
In this fine-grained account, historian Hazelgrove chronicles the mass hysteria that accompanied Orson Welles’s infamous 1938 radio adaptation of H.G. Wells’s The War of the Worlds. Hazelgrove presents Welles as an actor of immense ambition and preternatural talent, noting that by age 22, he had put on headline-grabbing plays (the government shut down his 1937 production of The Cradle Will Rock, fearing its pro-labor themes would be incendiary) and traveled around New York City in a faux ambulance to move more quickly between his numerous radio and theatrical commitments. The author recounts the rushed scriptwriting process for War of the Worlds and offers a play-by-play of the broadcast, but he lavishes the most attention on the havoc Welles wreaked. Contemporaneous news accounts reported college students fighting to telephone their parents, diners rushing out of restaurants without paying their bills, families fleeing to nearby mountains to escape the aliens’ poisonous gas, and even one woman’s attempted suicide. Hazelgrove largely brushes aside contemporary scholarship questioning whether the hysteria’s scope matched the sensational news reports, but he persuasively shows how the incident reignited elitist fears that Americans were essentially gullible morons and earned Welles the national recognition he’d yearned for. It’s a rollicking portrait of a director on the cusp of greatness.
— Publishers Weekly
