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After his death, his widow Mary discovers that she prefers the helpless brain to her former husband. This 1960 collection features such grim pleasures as William and Mary, a sci-fi story about a man with a terminal diagnosis who agrees to let a doctor transplant his brain into a vat of liquid after death, and link it up to one of his eyes. When a new edition was later proposed, Dahl snapped: “Why in God’s world anybody should want to paperback that ghastly book I don’t know.” But as a Cold War curiosity, it has ample merit for a second run. The book was published in 1948 to tepid reception in the United States and Britain, and Dahl tried to forget all about it. looking straight in front of him through the empty sockets of his eyes.” But their faces were scorched and seared and half-melted and all of them had had their hats blown off their heads so that they sat there baldheaded, scorch-skinned, grotesque, but very upright in their seats.
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Dahl’s descriptions of London after the blast, particularly a barbecued double-decker bus, are powerful: “Through the open glassless windows… the bus was full of people, all sitting in their places, silent, immobile, as though they were waiting for the bus to start again. This apocalyptic fantasy for adults was the first novel to depict nuclear warfare. The best of the collection is Lamb to the Slaughter, an ingenious tale in which a pregnant housewife murders her husband with a frozen leg of lamb and then destroys the evidence by roasting it and serving it to the investigating policeman.
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In Skin, an impoverished tattoo artist resorts to selling the skin off his back in Neck, an adulterous wife who manages to get her head stuck in a piece of sculpture cowers in fear as her cuckolded husband, egged on by their butler, prepares to “free” her by wielding an axe. This 1953 collection contains some of Dahl’s greatest and most macabre stories. Here are Dahl’s 10 most disturbing creations. But let’s just imagine, for a minute, that they might. In a duller reality, though, it’s hard to imagine Netflix taking a punt on the wackier, weirder works when they have such easy, crowd-pleasing children’s favourites in Wonka, Matilda, and the BFG to play with.
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What a brilliantly weird job Black Mirror creator Charlie Brooker could do revamping, for instance, his disturbing story collection Tales of the Unexpected, which was so memorably first brought to TV in the 1970s. The Dahl canon is full of deliciously dark tales that rarely see the light of day and are crying out for on-screen treatment. So, as Ted Sarandos et al plunge their hands in the cookie jar, what gems might they find? The possibilities are tantalising. How much it paid for it is anyone’s guess – a 2018 deal licensing 16 works, comprising 19 novels (including Charlie and the Chocolate Factory, which Taika Waititi is currently turning into a show), three short story collections, and 12 TV or film scripts, is rumoured to have cost $100 million. Netflix, it is understood, now has access to Dahl’s entire body of work. This week, it went and bought the whole bakery: a joint statement from the streaming giant and the late author’s estate announced the creation of a “unique universe across animated and live action films and TV, publishing, games, immersive experiences, live theatre, consumer products and more.”
For three years, Netflix has been eyeing up a chunkier slice of the Roald Dahl pie.
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