First published in 1981, Alvin Schwartzâs Scary Stories to Tell in the Dark series has since become a necessary staple of every elementary schoolerâs intellectual development. Namely, itâs how they learn that books can make you s--t your pants.
Not to detract from the late author Alvin Schwartzâs contributions to the three-book series; he had a knack for culling the most unsettling examples of folk lore and urban legendry from the collective unconscious and distilling them into a simplified narrative that appealed to the reading level of children whilst not losing an ounce of their spine-tingling effectiveness and grim brutalityâ¦ but it isnât the text that folks remember giving them nightmares until they turned thirty.
It was the chilling, phantasmic artwork by Stephen Gammell. And to celebrate the 30th Anniversary of the Scary Stories book series, publisher Harper Collins decided to eliminate all traces of Gammellâs presence, replacing the original illustrations with new ones by celebrated artist Brett Helquist. Yeah, Happy Anniversary, indeed.
Scary Stories to Tell in the Dark, More Scary Stories to Tell in the Dark and Scary Stories 3: More Tales to Chill Your Bones have been three of the most challenged pieces of childrenâs literature for their thirty years in publication due to the ghastly content of the tales collected and, more-so than that, the gruesome illustrations that have caused many a child to begin crying on the spot. Gammellâs skill at reaching into the darkest depths of his imagination and returning with vivid nightmares which he then captures in all their macabre detail through his paintings is, simply put, unmatched. Harper Collins has shown impressive resolve over the last three decades in standing their ground amidst all the bannings and controversy over the immensely popular book series; so why they finally waited until the 30th Anniversary to relent and remove the most objectionable quality of the books is beyond me.
In a way, itâs a matter of principle; they stood firm for so long, why finally fold after thirty years? But itâs also that, after so many, many years and being fondly remembered by so many generations of terrified children, Scary Stories has come to be defined by the art of Stephen Gammell; remove his contributions while leaving the text untouched and, well, it just isnât Scary Stories anymore.
Thatâs not to say Brett Helquist isnât a skilled artist of the creepy and the obscene. Helquist is perhaps best known for illustrating the books and the merchandise for the “Series of Unfortunate Eventsâ childrenâs novels. He is extremely talented and respectedâ¦ but he isnât Stephen Gammell. His contributions to Scary Stories are admirable, and while theyâd be superb when attached to any other collection of ghost stories for children, they have thirty years of an established visual presence to stack up against and thereâs just no overcoming that.
So here are a few comparisons between Gammellâs original illustrations and Helquistâs substitutions.
The Title Page
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Click to enlarge
Right off the bat, when you open up Helquistâs edition, you can tell that youâre in for a far less elaborate experience.
This is just the *title page*; you havenât even gotten to the content of the collection yetâ¦ And already Gammellâs version is firing on all cylinders with a dark and surreal backdrop. An old rural house floating in some weird dimension, an unoccupied rocking chair, the silhouette of a man who has hung himselfâ¦ You havenât even gotten through the title of the book and already youâre feeling wary. Itâs like one of those sign posts outside a dark forest reading “Danger: Do Not Enterâ. Frightening, yet alluring you to proceed with apprehension.
Meanwhile, Helquist drew a bird and a tombstone. Very creative.
Thereâs also the dedication page, “To Dinahâ; Gammell draws a rusty, cobwebbed wheelchair while Helquist draws nothing. Before even getting to the stories themselves, Helquistâs editions are already a blander, less unsettling experience.
This comparison illustrates one of the major differences between Gammellâs approach and Helquistâs. Gammell is more about conveying the notion of dread rather than capturing the minute details of the scene and the setting. Here in “The Walkâ, thereâs a fog-shrouded forest and two dark figures becoming separated in the mist; or perhaps theyâre approaching you? You donât know WHAT they are and, in a way, you can just look at this drawing without reading the accompanying story and come up with your own tale. Itâs food for the eeriest part of your imagination.
Helquist, meanwhile, goes for interpreting the text explicitly. He captures the scenes as theyâre described and what liberties he takes tend to revolve around setting the illustrations in a distinct period. This robs the story of its timeless quality; which Schwartzâs vague prose made certain to create. Itâs not so scary when itâs happening to a pair of guys from the Victorian era; the reader is safely separated from the danger by a century or more and thus they become less engaged.
But black shadows in the woods after dark? That could happen to anyone at any time and thatâs what makes it so much more effective.
The Haunted House
There she is, boys: The face that shat a thousand pants.
Gammellâs illustration for “The Haunted Houseâ is without a doubt the most iconic image in the entire Scary Stories series; even becoming the cover of the Treasury edition that collects all three books in a single hardcover volume. No mystery as to why itâs so famous among people who grew up with the books: it is extremely effective.
As with “The Walkâ, Gammellâs version succeeds in that it places the reader in the story. The ghost is looking at YOU. YOU are trapped in that creaky old house, staring down the empty, rotted eye sockets of some girl who was strangled by her lover. Many of Gammellâs illustrations take this approach, putting the “shotâ of the piece in the POV of the reader. Rarely are multiple parties visible at the same time. Gammell places you in the story and thatâs what makes nine year-olds want to drop the book and swear to never open it again. Gammell removes the neutrality of third party observations and puts YOU in danger.
Helquist, meanwhile, chooses to render the scene as depicted in the book. The ghost doesnât notice you because you arenât there. Itâs just a picture in a book and the only one in danger is the priest. For what itâs attempting to do (illustrate the scene as described), itâs actually a rather nice piece and I suppose thatâs something thatâs getting away from me here as I work myself up; all of Helquistâs illustrations are excellent pieces of art. Theyâre very dynamic, and though they donât match how I always imagined the story in my head over the past 20 or so years (and how could they?), theyâre suitable depictions.
But they just arenât scary. The neutrality of the audience makes them less engaging. Another good example is the illustrations for “The Thingâ. Gammell once again opts for a frontal shot of the monster, staring directly at the reader, while Helquist takes the angle to behind the monsterâs back as he menaces two children. The reader is in a perfectly “safeâ position and the entire experience just loses an element of excitement.
Iâm a bit on the fence about this one.
Gammellâs illustration is incredible; this utterly bizarre, incomprehensible universe of nightmares and you just canât tell what the HELL is going onâ¦ but it has absolutely *nothing* to do with the story it is attached to. Itâs just awesome.
Helquistâs earns points for actually relating to the story (about a girl being woken in the middle of the night by her roommateâs whistling, only to find her roommate beheaded in the morning along with the realization that the whistling belonged to the killer)â¦ but for being scary or unnerving? Not so much.
The Red Spot
Gammellâs version: “GAAAAAHHHH! GET EM OFF GET EM OFF GET EM OFF!!!â
Helquistâs version: “Meh.â
Now here, I feel, it is entirely fair to compare the two versions against one another as it is a case where both Gammell and Helquist take the same approach to the material: “Scary-looking scarecrow staring at the readerâ.
However, I donât think thereâs any doubt which incarnation of Harold is the more frightening. Gammellâs version could almost be a madman disguised as a scarecrow, but youâll be damned if youâre going to get close enough to check.
Meanwhile, Helquistâs is definitely a dude made out of straw, but in a way, he almost looks “cuteâ which takes away from the horror. The fact that he looks so wispy and, yes, made of straw also makes him less threatening. Meanwhile, the hulking monstrosity of Gammellâs Harold leaves no doubt that he could kill you and tan your skin on the roof of the farmhouse.
These are just six examples among scores and scores of them. Everything about the production of the 30th Anniversary edition of Scary Stories to Tell in the Dark is lacking in comparison to the originals. The illustrations are smaller and only accompany the stories-themselves; small graphics that could be confused for generic clip art accompany glossaries, dedication and title pages. Helquistâs drawings are expertly and professionally rendered for what they are, but they donât approach the lavishness of Gammellâs sinister paintings.
While this would be a fantastic production of just about any other book of ghost stories, when compared to its predecessor, itâs simply a cheap and uninspired product.
The necessity of this edition completely eludes me. Why celebrate the 30th Anniversary of the book by changing its most notable feature? The Gammell editions remain in print, so it isnât “replacingâ them, either; the Helquist edition is simply here to coexist with the originals for reasons I cannot fathom.
I suppose it may have been done as a compromise to all the school boards and PTAs that have been picketing Harper Collinsâ offices for three decades. Gammellâs original editions arenât going away, but now a “less intenseâ version of the book has been published to appease outraged Helen Lovejoys the country over. Not a notion I can get behind, I must confess.
No child should ever have to grow up without Stephen Gammellâs artwork keeping them up at night. I donât want to imagine a world like that. Itâs just tooâ¦ frightening.
As it turns out, the original Stephen Gammell editions HAVE been taken out of print by the publisher! At least at the time of this update, anyway. Prices on new and used copies are already inflating on sites like Amazon.com in response to the altered art, too (a new copy of the Treasury edition from a 3rd party seller is going for $50 bucks at the cheapest).