The Thing from Another Manuscript

On March 2, 1966, Howard Applegate, the administrator of manuscripts at Syracuse University, wrote to the editor John W. Campbell to ask if he’d be interested in donating his papers to their archives. Two weeks later, Campbell replied:

Sorry…but the Harvard Library got all the old manuscripts I had about eight years ago! Since I stopped writing stories when I became editor of Astounding/Analog, I haven’t produced any manuscripts since 1938…So…sorry, but any scholarly would-be biographers are going to have a tough time finding any useful documentation on me! I just didn’t keep the records!

Fortunately for me, this turned out to be far from the case, and I was only able to read these words in the first place because of diligent fans and archivists—notably the late Perry Chapdelaine—who had done what they could to preserve Campbell’s correspondence. When I came across his exchange with Applegate, in fact, I was busy working through thousands of pages of the editor’s surviving letters, which provided the indispensable foundation for my book Astounding. But the reference to Harvard surprised me. At that point, I had been working on this project for close to a year, and I had never heard the slightest whisper about a collection of his manuscripts in Cambridge. (I subsequently realized that Campbell had referred to it in passing to the fan Robert Swisher in a letter dated October 7, 1955, but I didn’t notice this until much later.)

When I looked into it further, nothing came up in a casual search online, but I finally found an entry for it buried deep in the catalog for Houghton Library. (I’ve never seen it mentioned anywhere else, not even in scholarly works on science fiction, which implies that the papers were sent to Harvard and then promptly forgotten.) The description was intriguing, but I had plenty to do in the meantime, and I didn’t have a chance to follow up on it until last September, when I sent a request for more information through the library’s query system. About a week later, I heard back from a very helpful librarian, who had taken the time to examine the carton and send me a list of the labels on the folders inside. There were about fifty in all, and while most bore the titles of stories or articles that I recognized—“Out of Night,” “The Elder Gods,” The Moon is Hell—there were quite a few that were unfamiliar to me. I was particularly interested in the folder labeled “Frozen Hell,” which I knew from Campbell’s correspondence had been the original title of “Who Goes There?”, the classic novella that was adapted three times for the movies as The Thing. At that point, I knew that I had to check it out, if only because I didn’t want to get scooped by anybody else, and although I wasn’t able to travel to Cambridge in person, I managed to hire a research assistant to go to the library and scan the pages on my behalf. She did a brilliant job, and after a few rounds of visits, I had copies of everything that I needed. As I had hoped, there was a lot of great stuff in that box, including previously unpublished works by Campbell and the only known story credited to his remarkable wife Doña, which I hope to discuss here in depth one day. But the very first file that I opened was the one called “Frozen Hell.”

When I sat down to read these pages, I was mostly just hoping to get some insight into the writing of “Who Goes There?”, which has been rightly ranked as the greatest science fiction suspense story of all time. But what I found there was so remarkable that I still can’t quite believe it myself. “Who Goes There?” is famously about an Antarctic research expedition that stumbles across a hideous extraterrestrial buried in the ice, and as it originally appeared in Astounding Science Fiction in 1938, the novella opens with the alien’s body already back at the base, with everything that happened beforehand—the magnetic anomaly that led the team to the site, the uncovering of the spaceship, and its accidental destruction—recounted in dialogue. In the draft of “Frozen Hell” that was preserved in Campbell’s papers, it’s narrated in detail from the beginning, with a huge forty-five page opening section, never before published, about the discovery of the spacecraft itself. (Apart from a few plot points and character names, the rest tracks the established version fairly closely, although there are some interesting surprises and variations.) We know that Campbell discussed the story with the editors F. Orlin Tremaine and Frank Blackwell, and at some point, they evidently decided that most of this material should be cut or integrated elsewhere. Judging from the other manuscripts that I found at Harvard, Campbell often cut the beginnings from his stories, which reflected the advice that he later gave to other writers, including Isaac Asimov, that you should enter the story as late as possible. But when you restore this material, which is written on the same high level as the rest, you end up with something fascinating—a story that shifts abruptly from straight adventure into horror. This is the kind of structure that I love, and there’s something very modern about the way in which it switches genres halfway through.

The result amounted to an entirely different version, and a completely worthwhile one, of one of the most famous science fiction stories ever written, which had been waiting there at Harvard all this time. As far as I can tell, no one else ever knew that it existed, and the more I thought about its potential, the more excited I became. I began by reaching out to Campbell’s daughter Leslyn, whom I had gotten to know through working on his biography, and she referred me in turn to John Gregory Betancourt, the writer and editor who manages the estate. John agreed that it was worth publishing, and he ultimately decided to release it through his own imprint, Wildside Press, in a special edition funded through a campaign on Kickstarter. The result went live last week, with a goal of raising $1,000, and it quickly blew past everyone’s expectations. As I type this, its pledges have exceeded $27,000, and it shows no sign of stopping. (Andrew Liptak of The Verge had a nice writeup about the project, which seems to have helped, and word of mouth is still spreading.) At the moment, the package will include an introduction by Robert Silverberg, original fiction by Betancourt and G.D. Falksen, and cover and interior illustrations by Bob Eggleton, with more features to follow as it reaches its stretch goals. I’ll be contributing a preface in which I’ll talk more about the manuscript, Campbell’s writing process, and some of the variant openings that were also preserved in his papers. Publication is scheduled for early next year, and I’m hoping to have more updates soon—although I’m already thrilled beyond measure by the response so far. Astounding comes out tomorrow, and I’m obviously curious about what its reception will be. There are some big developments just around the corner. But I wouldn’t be surprised if Frozen Hell ends up being the best thing to come out of this entire project.