Then some publishers became interested, and I was commissioned by Pan Books in England to write up the series in book form. After a lot of procrastination and hiding and inventing excuses and having baths, I managed to get about two-thirds of it done. At this point they said, very pleasantly and politely, that I had already passed ten deadlines, so would I please just finish the page I was on and let them have the damn thing.

Meanwhile, I was busy trying to write another series and was also writing and script editing the TV series “Dr. Who,” because while it was all very pleasant to have your own radio series, especially one that somebody had written in to say they had heard, it didn’t exactly buy you lunch.

So that was more or less the situation when the book The Hitchhiker’s Guide to the Galaxy was published in England in September 1979 and appeared on the Sunday Times mass market best-seller list at number one and just stayed there. Clearly, somebody had been listening.

This is where things start getting complicated, and this is what I was asked, in writing this Introduction, to explain. The Guide has appeared in so many forms—books, radio, a television series, records and soon to be a major motion picture—each time with a different story line that even its most acute followers have become baffled at times.

Here then is a breakdown of the different versions—not including the various stage versions, which haven’t been seen in the States and only complicate the matter further.

The radio series began in England in March 1978. The first series consisted of six programs, or “fits” as they were called. Fits 1 thru 6. Easy. Later that year, one more episode was recorded and broadcast, commonly known as the Christmas episode. It contained no reference of any kind to Christmas. It was called the Christmas episode because it was first broadcast on December 24, which is not Christmas Day. After this, things began to get increasingly complicated.

In the fall of 1979, the first Hitchhiker book was published in England, called The Hitchhiker’s Guide to the Galaxy. It was a substantially expanded version of the first four episodes of the radio series, in which some of the characters behaved in entirely different ways and others behaved in exactly the same ways but for entirely different reasons, which amounts to the same thing but saves rewriting the dialogue.

At roughly the same time a double record album was released, which was, by contrast, a slightly contracted version of the first four episodes of the radio series. These were not the recordings that were originally broadcast but wholly new recordings of substantially the same scripts. This was done because we had used music off gramophone records as incidental music for the series, which is fine on radio, but makes commercial release impossible.

In January 1980, five new episodes of “The Hitchhiker’s Guide to the Galaxy” were broadcast on BBC Radio, all in one week, bringing the total number to twelve episodes.

In the fall of 1980, the second Hitchhiker book was published in England, around the same time that Harmony Books published the first book in the United States. It was a very substantially reworked, reedited and contracted version of episodes 7, 8, 9, 10, 11, 12, 5 and 6 (in that order) of the radio series “The Hitchhiker’s Guide to the Galaxy.” In case that seemed too straightforward, the book was called The Restaurant at the End of the Universe, because it included the material from radio episodes of “The Hitchhiker’s Guide to the Galaxy,” which was set in a restaurant called Milliways, otherwise known as the Restaurant at the End of the Universe.

At roughly the same time, a second record album was made featuring a heavily rewritten and expanded version of episodes 5 and 6 of the radio series. This record album was also called The Restaurant at the End of the Universe.

Meanwhile, a series of six television episodes of “The Hitchhiker’s Guide to the Galaxy” was made by the BBC and broadcast in January 1981. This was based, more or less, on the first six episodes of the radio series. In other words, it incorporated most of the book The Hitchhiker’s Guide to the Galaxy and the second half of the book The Restaurant at be End of the Universe. Therefore, though it followed the basic structure of the radio series, it incorporated revisions from the books, which didn’t.

In January 1982 Harmony Books published The Restaurant at the End of the Universe in the United States.

In the summer of 1982, a third Hitchhiker book was published simultaneously in England and the United States, called Life, the Universe and Everything. This was not based on anything that had already been heard or seen on radio or television. In fact it flatly contradicted episodes 7, 8, 9, 10, 11 and 12 of the radio series. These episodes of “The Hitchhiker’s Guide to the Galaxy,” you will remember, had already been incorporated in revised form in the book called The Restaurant at the End of the Universe.

At this point I went to America to write a film screenplay which was completely inconsistent with most of what has gone on so far, and since that film was then delayed in the making (a rumor currently has it that filming will start shortly before the Last Trump), I wrote a fourth and last book in the trilogy, So Long, and Thanks for All the Fish. This was published in Britain and the USA in the fall of 1984 and it effectively contradicted everything to date, up to and including itself.

As if this all were not enough I wrote a computer game for Infocom called The Hitchhiker’s Guide to the Galaxy, which bore only fleeting resemblances to anything that had previously gone under that title, and in collaboration with Geoffrey Perkins assembled The Hitchhiker s Guide to the Galaxy: The Original Radio Scripts (published in England and the USA in 1985). Now this was an interesting venture. The book is, as the title suggests, a collection of all the radio scripts, as broadcast, and it is therefore the only example of one Hitchhiker publication accurately and consistently reflecting another. I feel a little uncomfortable with this—which is why the introduction to that book was written after the final and definitive one you are now reading and, of course, flatly contradicts it.

People often ask me how they can leave the planet, so I have prepared some brief notes.

1. Phone NASA. Their phone number is (713) 483-3111. Explain that it’s very important that you get away as soon as possible.

2. If they do not cooperate, phone any friend you may have in the White House—(202) 456-1414—to have a word on your behalf with the guys at NASA.

3. If you don’t have any friends in the White House, phone the Kremlin (ask the overseas operator for 0107-095-295-9051). They don’t have any friends there either (at least, none to speak of), but they do seem to have a little influence, so you may as well try.

4. If that also fails, phone the Pope for guidance. His telephone number is 011-39-6-6982, and I gather his switchboard is infallible.

5. If all these attempts fail, flag down a passing flying saucer and explain that it’s vitally important you get away before your phone bill arrives.

Douglas Adams

Los Angeles 1983 and London 1985/1986