We regret to inform our readers of the death of author Janet Berliner-Gluckman earlier today. Born in 1939 in South Africa to Thea Abraham-Berliner and Manfred Berliner, who fled Germany and the growing power of the Nazi party in 1936, she went on to become a Bram Stoker Award winning author (Children of the Dusk), and worked as an editor, writer and journalist during a career that spanned more than twenty years and multiple genres. May her memory and works be a blessing to all who miss her.
You don’t know the things that shape you.
And I mean it. You don’t. They’re so big and so important to you that you have no perspective on them. They’re such a constant presence that you can’t tell them apart from air. You can’t feel them affecting you, influencing you. To you, they’ve always been there, and always will be.
But maybe you get a chance to understand them, when you move away from them. When you grow up, move on, seek to explore. And once you’ve moved on, once you’re wandering a strange new world, you see things and think, “Haven’t I seen this before?” Or you find yourself thinking along a certain process of logic every time, looking at the same things and doing the same things with them.
And you wonder, “Where did that come from? How do I know this? Why do I do this? Why is this so interesting to me?” And you start to think about it.
I stopped reading Ray Bradbury when I went to college. I haven’t really returned to him since then, not in earnest: I started writing, and to write better I felt you had to read things you’d never read before, and expand your horizons.
But the more I write, and the more I think about the things I want to write, the more I find myself returning to Bradbury’s world, to his ideas, to what he wanted things to be like, and what he wanted to warn us about.
It made me proud to hear people say The Troupe felt, in parts, like a Bradbury story. And when they said that, I realized he was who I’d gone to for my next one, one I was still writing, American Elsewhere. I’d been writing in his shadow. I’d sought him out specifically, without even knowing it. I was continuing a conversation I’d been having with his work since I was a child.
It’s okay to write in his shadow. It’s too big to get outside of, really. It falls across so many genres, so much of history. It’s layered in the earth like strata of stone. We carve pieces out of his stories without even knowing it, and stack them up on top of one another. And we work and live with them beside us, unaware they’re in the background. And I think they will be for a long, long time.
So long, Ollie.
So long, Stan.