ONE HUNDRED ANNIVERSARY APRIL 10 2025
STARRED REVIEW BOOKLIST DEAD AIR THE NIGHT THAT ORSON WELLES TERRIFED AMERICA
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
WALL STREET JOURNAL REVIEW
In 1937, 22-year-old Orson Welles was already a creative force, a prodigious writer and director for stage and radio via his Mercury Theatre. On May 6, he had listened, along with thousands of horrified others, to the broadcast account of the Hindenburg airship disaster, as reporter Herbert Morrison dropped his sober objectivity and practically burst into tears. The transfixing immediacy of the experience would be the key to Welles's next project, which would air the following year: a documentary-style drama masquerading as the real thing. With "The War of The Worlds," H.G. Wells's 1898 novel about an alien invasion of England, Orson Welles found the material to match his vision.
William Elliott Hazelgrove's richly anecdotal "Dead Air" is the story of Welles's landmark October 1938 radio broadcast and the nationwide panic that resulted. Welles's "you are there" adaptation, crafted to imitate a breaking-news bulletin, sent a tremor of panic into listeners across the country who believed it to be a real report of a flying-saucer invasion. Mr. Hazelgrove has scoured regional newspapers of the time to provide a ground-level view of the hysteria that Welles's radio drama instilled—on the night before Halloween, no less. According to "Dead Air," police switchboards lighted up across the nation; in Indiana, a woman ran into a church screaming: "New York has been destroyed! It's the end of the world!"
At a Harlem police station, "thirty people arrived with all their possessions packed and told officers they were ready to be evacuated." In New Jersey, where the fictional invasion was supposedly taking place, some listeners loaded up their cars and took to the road.
Mr. Hazelgrove has provided a granular history of this landmark in fake news, placing us inside CBS's Studio One, where Welles orchestrated every detail to his exacting standards, then outside the studio doors, where confusion reigned until media stories of the stunt set minds at ease.
PUBLISHERS WEEKLY REVIEW OF DEAD AIR
Publishers Weekly, August 8,2024
In this fine-grained account, historian Hazelgrove (Writing Gatsby) 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. (Nov.)
"This book uses the Fort Lauderdale incident as a frame, but its real subject is mass shootings in the U.S. . . . . Hazelgrove is a talented writer, and it is impossible to read this deeply personal, questioning, powerful book without feeling sadness both for the victims of mass shootings but also, perhaps counterintuitively, for the shooters themselves, who might have followed a different course if they had received help when they needed it."
—Booklist
William Hazelgrove is the National Bestselling author of ten novels and twelve nonfiction titles. His books have received starred reviews in Publisher Weekly Kirkus, Booklist, Book of the Month Selections, ALA Editors Choice Awards Junior Library Guild Selections, Literary Guild Selections, History Book Club Selections, History Book Club Bestsellers, Distinguished Book Award. and optioned for the movies. He was the Ernest Hemingway Writer in Residence where he wrote in the attic of Ernest Hemingway’s 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, USA Today, World News Tonight have all covered his books with features. His book Madam President The Secret Presidency of Edith in development He has two forthcoming books. Dead Air The Night Orson Welles Terrified America, Hemingways Attic Hell and Glory in Cuba and the Writing of Old Man and the Sea