A kind visitor to 17th Street recently got in touch to share that KPFA radio has digitized, remastered, and edited an interview with Caleb Carr from October 15, 1997 that hasn’t been heard in over a quarter century. In this half hour interview, Caleb talks exclusively about the Alienist novels, including the approach he took in researching and writing both novels and providing insights into his inspiration and intentions. For fans of The Alienist or The Angel of Darkness, this fascinating interview contains insights not found anywhere else. You can listen to the interview below or download it from KPFA here.
In addition, the Press page has been updated to include two interviews I had not previously been aware of. One from the New York Times News Service in 1999 describes Caleb’s purchase of his Cherry Plain property, and the other from The Denver Post in 2001 focuses on his future-oriented novel, Killing Time.
I hope you enjoy these newly unearthed interviews. If you know of any others that aren’t already on the Press page, please feel free to contact me.
With the year nearing its end, the time has come for the last post in our celebration of the 30th anniversary of The Alienist’s publication. To honor the novel and its author, we have so far discussed its origins and first/special editions (Parts One and Two), explored early attempts to adapt it to the screen (Part Three), and summarized the publication history of its sequel, The Angel of Darkness (Part Four). In order to complete our homage today, we now turn our attention to the novel’s many translations and consider its enduring legacy.
Translations
Perhaps one of the best markers of a novel’s success is how widely translated it has been, and The Alienist is no exception. Although our celebration so far has primarily focused on the novel’s reception in the United States, this is only the tip of the iceberg when it comes to its status as a bestseller. As described in Part Two, The Alienist was a worldwide phenomenon upon its release. Since that time, millions of copies have been sold, and it has been translated into over two dozen languages.
While it is beyond the scope of this blog series to provide details about each and every translation, a very small subset of covers for translated editions can be viewed below. These include editions in German, French, Italian, Spanish, Czech, and Russian.
Continuation of the series
Over the past 20 years, perhaps the most frequently asked question I’ve received as the owner of 17th Street relates to whether the series will ever be continued. Although the idea of a third novel was floated on and off in interviews with Caleb Carr following The Angel of Darkness’ publication (see Part Four), it wasn’t until 2016 that the long-awaited announcement was made: Mulholland Books would be publishing two new Alienist novels intended to ‘bookend’ the series. More exciting still, the books would shed light on the two most enigmatic characters in the series: Miss Sara Howard and Dr. Kreizler himself.
We have now reached the penultimate post in our celebration of the 30th anniversary of The Alienist’s publication. In the series so far, we have discussed the novel’s origins (Part One), its release and first/special editions (Part Two), and the early attempts to adapt the novel to the screen, including glimpsing a rare leather-bound copy of Steven Katz’s script (Part Three). In today’s post, we will examine how the success of The Alienist led to the publication of a sequel before exploring the various uncorrected proofs (including a very rare proof), an advanced reader copy, first editions, and one example of a paperback that have been released for the novel over the years.
A sequel is called for
It should come as no surprise that the phenomenal success of The Alienist led to a book deal for a second. Partially inspired by Wilkie Collins who often had multiple characters narrating a single mystery, Caleb Carr revealed in interviews that he had similar plans for alternating narrators in the Alienist novels. Speaking to Crime Time in 1997, he explained that the original idea was for “the narration of each book [to] shift from person to person to person, with each narrator telling the story that was most significant for them. I chose Moore in the first book, as he was the most accessible of the group. He was modern in some ways, and I felt that people would have the least trouble with him.”
For the sequel, Caleb decided to shift to a narrator who was, in some respects, easier to write. He told The Seattle Times in 1997 that “Stevie is a little closer to me personally, in terms of growing up in a lot of different worlds, a lot of different levels of society, in New York.” In response to the Crime Time interviewer suggesting that this shift in narrator involved “cheating,” as Stevie was less educated than Moore, Caleb argued, “I didn’t have Moore’s attitudes myself, so you could say that I had to cheat with him as well. This is really to do with language: the way Stevie views the city is not slumming. He’s been there, he has lived in the lower depths, unlike Moore. To a degree, this reflects my background: I lived in an area where it was a question of slumming for the rich kids when they came to buy drugs and act disgracefully, before going back to their well-upholstered homes.”
In an interview with NewCity in 1997, Caleb revealed that he spent eighteen months “creating the world” for the novel that would become the sequel; and, according to Times Union, he would “disappear into 12-hour writing binges” while cloistered “in a fifth-floor walk-up apartment on the Lower East Side (in a family-owned brownstone).” The end result would be The Angel of Darkness, a 629-page novel that focused on a female serial killer driven to violence by society’s insistence that motherhood was the only “way for her to be a full, complete woman.” Speaking to Salon about why people find maternal violence particularly difficult to grasp, he said: “You want to believe that there’s one relationship in life that’s beyond betrayal—a relationship that’s beyond that kind of hurt—and there isn’t.”
The proofs are distributed
It is unclear when the manuscript that would become The Angel of Darkness was finally turned in to Random House, but a kind visitor to 17th Street, Steve Rogers, recently obtained what is likely to be one of the earliest extant copies: an extremely rare, non-copy-edited manuscript, signed by Caleb Carr, that was sent to a magazine reviewer in early July of 1997 to meet the lead time for their October issue. The manuscript came presented in a red two-piece tray case, and included a protective cover, a letter addressed to the reviewer by Pamela K. Cannon (a senior publicist at Random House), and an information page about the book. This is a truly special find.
To honor Caleb Carr’s birthday today, I am pleased to release the third post in our series commemorating the 30th anniversary of The Alienist’s publication. Having discussed the novel’s origins in Part One and its critical reception in Part Two, in this installment we return to Caleb’s first love — the screen — and a major source of buzz in the lead up to The Alienist’s publication: the promise of a movie adaptation. “You won’t find many writers who love movies as much as I do,” Caleb explained in an interview from 1997. “Movies formed much of the imagery that I use in my books.”
Thanks to a generous visitor to the website, in today’s post we glimpse a rare leather-bound copy of one of the first scripts developed for the book and learn about the challenges it faced making the leap to the screen.
Taking the story from page to screen
As described in Part One, The Alienist was the talk of Hollywood even before its publication. Soon after the manuscript was turned in to Random House in 1993, interest in purchasing the film rights was high, with names like Mike Nichols and Kathleen Kennedy looking at the project; however, it was Scott Rudin who made the winning bid of $500,000. Unfortunately, the excitement that followed was short lived. Caleb revealed in a 2013 New York Times book club chat that he ultimately came to wish he hadn’t listened to his agents’ advice on proceeding with the sale:
“What originally happened was that Mike Nichols had wanted to buy the book; but he was outbid, for reasons of professional competitiveness, by producer Scott Rudin, and how I wish I hadn’t listened to my agents. Rudin promised me I could write the script, then immediately reneged on that pledge and told me that there was “no movie in the Alienist.” He spent many years and millions of dollars on writers and directors who turned in one lousy script after another, which I was fortunate enough to be able to stop, incurring Rudin’s well-known wrath. He has now repeatedly said that there will never be a film of the movie, and although that decision is the studio’s, not his, he spent so much money on development that no one can afford the turnaround.”
The saga of the scripts
The script problems Caleb referenced go back to the very beginning. According to an article in the Los Angeles Times from 1995, the first of the scripts to be rejected was written by Tony-award winning playwright David Henry Hwang, who turned in a draft that “diverged too radically from the novel, focusing on a minor female character.” A second script, this time written by Steven Katz (Shadow of the Vampire, The Knick, and uncredited for work on Interview with the Vampire), was “considered too slavish to the original source material.” Even so, it appears this was a version Rudin had hopes for.
To entice studio executives into paying attention to the project, it was revealed in July of 1995 that Rudin made the unusual decision to arrange for copies of the script to bound in a special leather volume. Illustrated with period photographs and artwork of late 19th century New York, these copies were truly beautiful, as you can see below.
