The Life of Forry: Forrest J. Ackerman is the sort of book that a review is inclined to be generous to and gentle with, in large part due to the obvious and immense affection author Deborah Painter has for her subject. Indeed, her personal reminiscences of her interactions with the late Mr. Ackerman are prominently displayed in the latter sections of the book, without a trace of self-consciousness or irony. And in this, perhaps, the real nature of the book becomes apparent: Not so much a biography, nor a personal memoir, it’s really a valentine to the man who in many ways defined sci-fi fandom.And if that’s what you’re looking for as a reader – a detailed but by no means exhaustive biography, mixed with a lot of affectionate storytelling from the back nine of the man’s life, all told with a healthy dollop of respect and admiration – then you’ll enjoy the book. The reader looking for something a little more focused in any direction, however, may find themselves disappointed.
The early section of the book, dealing with Ackerman’s family history, youth, and inculcation into speculative fiction, makes the best stab at serious literary biography. Some of this is fascinating, such as Ackerman’s family connection to the legendary Bradbury Building of Blade Runner fame, while other bits are more exhaustive – and exhausting. The detailed rundown of movies Ackerman is likely to have seen, for example, is of interest only to the most obsessive completist. But since that tone and level of detail isn’t adhered to through the rest of the book, the more casual reader runs the risk of being scared off and the more aggressive one the risk of being disappointed.
From there the narrative picks up steam, fairly plowing through the next few decades of Ackerman’s professional life. There’s material on his courtship and marriage, on the founding of Famous Monsters of Filmland, on various and sundry other professional triumphs, and it all moves quickly. Here, more detail would have been welcome. Anecdotes like the time C.M. Kornbluth hauled off and popped Ackerman one for apparently no good reason are dangled out there, but dangled is all they are. In a book about as enthusiastic a raconteur as Mr. Ackerman, that seems almost criminal.
Things slow down again toward the back end of the book. Here, greater care is given to what conventions Ackerman was invited to and honored at, who else was there, and where birthday and other celebrations were held. Less detailed but still present is the sad story of the downsizing of the Ackermansion due to lawsuit-induced financial issues.
There, too, is another curious aspect of the book. As brutal as the legal actions got – and Painter is clearly indignant on Ackerman’s behalf – the material is still handled with distance and a lack of detail. Nor is Ackerman’s courtroom antagonist vilified directly (though there’s plenty of indirect commentary); it’s all surprisingly calm, for lack of a better word, for as shabby a treatment as Ackerman received.
And maybe that’s the key to getting it. Ackerman gave every indication of having moved on as best he could, continuing to celebrate the genre, the friends and the fans he loved. It’s not inconceivable that a book written by a friend and admirer would attempt to do the same, in his memory or in his honor. That, really, is what the book is – a tribute to a friend, stuffed with facts when the facts are what there is to go on, switching to a more personal reminiscence when that’s available, and just generally being thoroughly pro-Forry. It that context, the book works – indeed, by definition it kind of has to. It’s not the definitive anything about Forrest Ackerman, but it’s a good overview of his life and career, well-intentioned and affectionate. If you’re in the mood for that sort of thing, there’s plenty of Ackermania to be had. Just don’t expect the most of anything – biography or memoir or professional hagiography – and it will do nicely for most readers.
(McFarland, 2010)
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