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Lost Grounds: Bradford Park Avenue – the forgotten England international venue

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Lost Grounds: Bradford Park Avenue – the forgotten England international venue

Once an integral part of the towns and cities they called home, dozens of the nation’s Football League grounds have disappeared over the past 30 or so years. All took with them a wealth of memories for generations of supporters.

But what happened next? The Athletic has travelled the country to find out, taking in an array of housing estates, retail parks and even the odd hospital along the way.

Kicking off our four-part series, running each Tuesday in August, is perhaps the most poignant of the lot, Bradford Park Avenue. Home to a League club for 62 years and county cricket for more than a century, Park Avenue sits forgotten and forlorn, with one of its few visitors in the past decade being an archaeological dig…


Looking up at a row of turnstiles that once led to a football ground where England played an international match, it is as if time has stood still.

Painted high on the wall is ‘5/-’, indicating an admission price of five shillings in old money. Another couple of bricked-up entrances can be found around the corner, along with a giant rusting iron gate topped with spikes to deter anyone trying to get in for free.

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A gents’ toilet block can also clearly be seen towards the back of a banking where supporters last stood more than 50 years ago, while a stroll inside reveals two massively overgrown terraces and a crumbling perimeter wall staring out over the bumpy remains of a pitch once graced by greats such as Stanley Matthews and Len Shackleton.


(Richard Sutcliffe/The Athletic)

Also buried amid the shrubbery that has been allowed to run wild are two floodlight pylon bases, plus a mountain of sporting memories. Welcome to Park Avenue, Bradford, the forgotten home of the former Football League club who went by the same name that is now the ghostly preserve of Mother Nature.

In an age when the demolition crews seem to move in almost the moment the gates close for the final time at great sporting cathedrals such as Highbury, Roker Park and White Hart Lane, this one-time sporting mecca really is a throwback.

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Not only does the cricket ground where Yorkshire played for more than a century until 1996 remain, albeit in a semi-derelict state, but enough survives on the adjacent football side — the two sports shared a main stand, designed by leading architect Archibald Leitch — to leave supporters of a certain vintage misty-eyed.


Cricket at Bradford Park Avenue in the summer of 1949 (S&G/Getty Images)

Park Avenue was always regarded locally as superior to Valley Parade, the home of Bradford City — once of the Premier League and now of League Two. For a start, it had cover for 14,000 and a capacity of 37,000. The railway station and tram spur that could be found where the ornate Grand Mosque now stands just across Horton Park Avenue meant thousands of fans could also be ferried to and from the area in hardly any time at all.

Then there was the corner pavilion, nicknamed the ‘Dolls’ House’ by visitors. This charming two-storey building served a similar purpose to Fulham’s Craven Cottage, housing the football club’s dressing rooms and committee room with officials able to watch matches from an upstairs balcony.

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This, though, could not save it as Bradford’s fortunes declined markedly as the Swinging Sixties morphed into the next decade.

Voted out of the League in 1970, the club stumbled on in the Northern Premier League for another four years before folding amid debts of £57,652 ($73,580 in today’s exchange rates). By then, the football ground had been sold to a property developer, with Avenue playing their final season across the city at Valley Parade.


Bradford Park Avenue, as seen in 1955 (George W. Hales/Getty Images)

A restrictive covenant that dictated the land could only be used for sport and recreation pursuits meant the football ground ended up being left to wither and die, even after the local council stepped in to purchase the site with grandiose plans to build a sports complex.

By 1980, Leitch’s ornate main stand had become so unsafe it had to be demolished. The news sparked a wave of nostalgia across the city, as hundreds of fans streamed to the old ground for one last look.

A pensioner was even helped onto the weed-infested Canterbury Avenue End and left, leaning unsteadily on a rusting crash barrier, to stare silently over what must have felt like an unkempt grave.

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Tim Clapham, a supporter since 1963 and now the club historian, was among those making one last pilgrimage before the wrecking ball claimed not only the 4,000-seat main stand and its distinctive three gables, but also the Dolls House and the Horton Park End roof.

“Only the half-time scoreboard was left standing, with even the old social club sold to a local pig farmer,” Clapham says. “Such a sad time. So many turned up, hoping to take a keepsake, something to remember the ground by.

“Some wanted the ‘BFC’ letters etched on the middle gable of the stand, while others fancied the two coats of arms at either end. But, when they came down, these things were much bigger than they had looked. You’d have needed a truck to carry them away!”

As Bradford mourned for a second time the loss of a venue that had hosted not only an England versus Ireland international in 1909 but also what remains the fastest-ever Football League goal (four seconds, Jim Fryatt against Tranmere Rovers in 1964), cricket at least survived.

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That was until 1996, when Yorkshire County Cricket Club opted to focus primarily on Headingley as their home with a small number of games every season also played in Scarborough. Others to lose their status as out-grounds were Middlesbrough, Harrogate and Hull, where part of the MKM Stadium now sits on the old Circle cricket ground as the dual home of Hull City and rugby league club Hull FC.

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Park Avenue had become a shell of its former self long before that final County Championship match against Leicestershire in 1996.


(Richard Sutcliffe/The Athletic)

Just what anyone able to remember Park Avenue in its heyday would make of the old place in 2024 is anyone’s guess. The cricket square has, in recent years, been brought back to first-class standard, allowing Yorkshire’s second XI to return and play the odd match.

But the surroundings are in a sorry state. Where the grand-looking pavilion once stood until the late 1980s is now just a wasteland and where Fred Trueman, Ray Illingworth et al would plot the downfall of visiting batsmen now sits 10-foot bushes. Time is a formidable opponent when sports arenas are left to rot.

Just in front sit a few dilapidated rows of seats, a good number vandalised and all doing battle with the weeds gradually creeping through the concrete steps. It’s a similar story elsewhere, with fenced-off sections of crumbling terraces interspersed with banks of vegetation.

The only bright spot is a mural depicting England spin bowler — and local hero — Adil Rashid that was painted to mark the launch of the Hundred competition in 2021. Even that, though, is fading to add to the rundown feel of a ground once regarded as the jewel in Yorkshire’s cricketing crown.

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(Richard Sutcliffe/The Athletic)

What remains of the old football ground is no less depressing, even allowing for how its abandoned state allowed an archaeological dig in 2015 that unearthed all manner of fascinating artefacts.

The haul, captured for posterity by the Breaking Ground art project, included boot studs, coins, marbles, goal hooks and even a nappy pin. The latter, it transpired, related to the elastic on goalkeeper Chick Farr’s shorts snapping during one match, forcing the trainer to perform an emergency repair. Farr never lived the episode down, regularly finding himself showered by pins when standing between the posts.

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GO DEEPER

‘I visualised the stadium enclosed by rock’: How they carved Braga’s home into granite

Hopes of Bradford ever returning to their spiritual home ended when a cricket school (now a gym) was built on half of the old football pitch in 1988. A new Park Avenue club was formed in the same year and their home for almost three decades has been Horsfall Stadium, an athletics venue that sits a couple of miles away from this old ground.


(Richard Sutcliffe/The Athletic)

On the cricket side, however, grand plans were unveiled just a few years ago to bring Yorkshire back to their old stomping ground via an ambitious £5.5million revamp.

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Stage one saw a state-of-the-art changing facility, outdoor nets and a score-hut open in 2017, with England and Yorkshire team-mates Joe Root, Jonny Bairstow and Rashid among those cutting the ribbon. The nets, built between what was the halfway line and roughly the penalty area of what remained of Avenue’s old pitch, were converted to an indoor facility last year.

The rest of the original scheme — a community pavilion with changing rooms that were to be located to the side of where the original stood, a restaurant catering for 250 diners, 1,000 seats for spectators and security fencing — never materialised. As a result, the mooted return of county cricket to the city of Bradford never became reality. Instead, York joined Leeds and Scarborough on the roster of Yorkshire’s home grounds.

That may be the final nail in the coffin for any hopes of bringing professional sport back to this corner of Bradford. Now, all that’s left behind is the ghostly presence of the past to go with the abandoned turnstiles and terraces that, for the past five decades, have been home to just the worms and the weeds.

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GO DEEPER

We ranked every Premier League stadium so you could shout at us

(Top photo: Richard Sutcliffe, Tim Clapham)

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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