Tag Archives: Land of Unwritten Books

Sad Days…

I think T.S. Eliot might have been mistaken.  This year, February has been the cruelest month.  Particularly, the nineteenth of February, which was the day the world lost both Harper Lee and Umberto Eco, two giants in the literary world, and both truly good human beings, who did much to make us all better human beings.

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Harper Lee, courtesy of www.telegraph.co.uk

Pulitzer Prize winner Harper Lee was born on April 28, 1926, in Monroeville, AL, which severed as the model for Maycomb, the home of Scout and Atticus Finch in To Kill a Mockingbird.  It was in Monroeville that Lee not only learned to love reading, but through reading develop the beautifully simple, honest empathy that marked her book, which remains one of the undisputed classics of American literature.  In a letter to Oprah in 2006 (excerpted here from Letters of Note), Lee described how the children of her neighborhood shared books, since they were all too far from a library or store to get new ones–and what a privilege that was:

Books were scarce. There was nothing you could call a public library, we were a hundred miles away from a department store’s books section, so we children began to circulate reading material among ourselves until each child had read another’s entire stock. There were long dry spells broken by the new Christmas books, which started the rounds again….

We were privileged. There were children, mostly from rural areas, who had never looked into a book until they went to school. They had to be taught to read in the first grade, and we were impatient with them for having to catch up. We ignored them.

And it wasn’t until we were grown, some of us, that we discovered what had befallen the children of our African-American servants. In some of their schools, pupils learned to read three-to-one — three children to one book, which was more than likely a cast-off primer from a white grammar school. We seldom saw them until, older, they came to work for us.

We covered the enormous international interest (and speculation) over the release of Lee’s second novel, Go Set a Watchman last summer; there were many who believed that Lee was coerced into publishing, and others who were horror-struck by the evolution of the characters that generations of readers who had grown up loving Atticus and Scout.

watchman1The book’s release has indubitably changed Lee’s legacy, mostly in a way that strikingly mirrors her two published works…Just as the heroic, the untouchable, and the incorruptible Atticus Finch was revealed to be shockingly human, so was Harper Lee herself revealed as a writer of enormous talent, and human shortcomings, whose work was both time-stoppingly haunting and, it has to be said, somewhat clunky and awkward, at times, too.  But, in this past year, what we learned about Harper Lee was not that “Mockingbirds don’t do one thing except make music for us to enjoy”; but that their voice–her voice–can make us accept the humanity in ourselves, and work ever harder to see it in those around us, too.
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SPETT.UMBERTO ECO A NAPOLI (SUD FOTO SERGIO SIANO)
Umberto Eco, (SUD FOTO SERGIO SIANO)
Meanwhile, in a seemingly different world altogether, Umberto Eco was born on  January 5, 1932, in Alessandria, Italy.  Though perhaps best known for his ground-breaking, genre-defying work, The Name of the Rose, and Foucault’s PendulumEco was also a veteran, an essayist, an historian, and a polyglot writer, producing books for children as well as novels, literary theory, thrillers, and more.  He was also a beloved and respected professor, most recently at the University of Bolonga.  He also, apparently, had a library of over 30,000 books, most of which he hadn’t read, believing that an unread book was infinitely more valuable than a read one.

Sky, fog, and clouds on a textured vintage paper background with grunge stains.

In addition to giving us a wealth of books to read, Eco also made him name by helping us learn how to read.  His work on Interpretation helped change the way that scholars read texts, and his surprisingly approachable lectures continue to open our eyes to how writing and reading can change our lives and our world.  In this excerpt from a lecture given at Columbia University in 1996, for example Eco makes the startling and brilliant point that books–specifically printed books–can teach us more about life than any other medium:

Let me conclude with a praise of the finite and limited world that books provide us.

Suppose you are reading Tolstoy’s War and Peace: you are desperately wishing that Natasha will not accept the courtship of that miserable scoundrel who is Anatolij; you desperately wish that that marvellous person who is prince Andrej will not die, and that he and Natasha could live together happy forever. If you had War and Peace in a hypertextual and interactive CD-rom you could rewrite your own story, according to your desires, you could invent innumerable War and Peaces, where Pierre Besuchov succeeds in killing Napoleon or, according to your penchants, Napoleon definitely defeats General Kutusov.

Alas, with a book you cannot. You are obliged to accept the laws of Fate, and to realise that you cannot change Destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such a kind of inventive activity will be practised in the schools of the future. But the written War and Peace does not confront us with the unlimited possibilities of Freedom, but with the severe law of Necessity. In order to be free persons we also need to learn this lesson about Life and Death, and only books can still provide us with such a wisdom.

We’ve discussed this very topic here–that sometimes, books end in ways that make you sad.  And while I railed against cruel fate, and retreated to a world where book endings grew like wildflowers, Eco’s insight teaches us that sometimes, life–and death–is beyond our control.  And learning to accept that lesson through the act of reading, and in the safety of a book, may make us better an wiser than the text of that book ever could.

There aren’t good words to sum up what these two human beings did with their lives, or what their lives have meant to all that they touched with their words and their ideas.  But those words and those ideas are far more durable than flesh, and for that, we can only be grateful.

“Tom Cruise isn’t coming to steal your books”: A word about adaptations

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So because my birthday was last week, Stephen King made an appearance in Cambridge to moderate a discussion with Lee Child, author of the much-beloved Jack Reacher novels (at least, that’s what my dad told me–not because Lee Child just released a new book).  The event was a wonderful one for fans of Child and King alike, not in the least part because it turns out that Child and King are enormous fans of each other, and spoke together not only as colleagues and fellow wordsmiths, but as delighted readers who ad just met an author who had a profound influence on their literary life.

And, unsurprisingly, in the course of this conversation, the topic turned to issues of film adaptations and the perhaps misguided selection of actors to play certain roles (Cough–Tom Cruise!!–cough, cough!).  It seemed that, by and large, readers still had not yet come to terms with an actor who would never be mistaken for tall, or rugged, playing a character who is defined by his height and rough-hewn survival instincts.  King and Child, however, attempted to assuage the masses, in part by discussing the nature of film-making and casting, but also by offering one of the most fascinating pieces of counsel I have ever had the good fortune to receive.

“I want to assure you,” Child said, with a little British smile on his long British face, “that Tome Cruise is not coming to steal your books.  When it’s all over, the books will still be there.”

And after I overcame the urge to leap out of my chair and cheer, I began thinking…what is it, really, about film adaptations, that so upsets many devoted readers?  Because, truthfully, no one is coming to steal your books.  And when you come home from the cinema, the books, and all the words inside them, will still be waiting for you.

I think, in part, at least, it might have something to do with that sense of ownership we feel over the characters and scenes in books we have loved, which we’ve mentioned previously.  For someone else to tell us what Jack Reacher, or Kurt Barlow, or Edmund Bertram look like seems like heresy; we know what they look like, and sound like, and act like, because, in part, we brought them to life through the act of reading.

On another level, nothing is as scary/romantic/moving/surprising on screen as it is on the page, precisely because your own imagination is fueling those scenes of terror, or love, or reunion, or shock.  When you see the product of someone else’s imagination on screen, there is nothing for your brain to add.  This is precisely why no aliens are ever scary once they walk on-screen.

Actually, there are some superb adaptations out there; works that allow us to explore relationships that the author could not (for example, in the latest Brideshead Revisited film, where we could finally talk about the relationship between Sebastian and Charles with a measure of honesty), or to unpack issues that the book may have rendered obscure (like The Painted Veil did for Kitty’s feelings towards Walter), or show us flashy magic or grand explosions in a way that, perhaps, our imaginations can not (I, for one, can never imagine being as cold as Jon Krakauer was on Everest, so I look forward to the film showing me what a blizzard on the world’s tallest mountain looks like).  Adaptations also, occasionally, give authors the chance to revisit and re-consider previous works.  Douglas Adams stated that whenever he adapted The Hitchhiker’s Guide to the Galaxy for another medium, like film or radio, he always changed things up, not only so readers could see a different story, but also so that he could explore options that he didn’t when writing.  Though this doesn’t really excuse the poor production qualities and general lack-luster feel of the latest Hitchhiker’s film, it does, at least, make us that much more grateful for the book, I suppose.

Which brings me back to Child’s words of wisdom.  Movies aren’t coming to steal our books, or to take that experience of reading away from us–or from anyone else.  What they can do is offer us, at their best, is a new way of looking at characters or events, give us a chance to visually wallow in period details, or, at their worst, a chance to be grateful that we have those books to savor, and the pictures in our imagination to sustain us.

Here are some adaptations for your readerly consideration:

2426609The Painted VeilAs I mentioned above, I personally think this is one of the most successful adaptations I have seen.  It is pretty closely based on W. Somerset Maugham’s novel, in which Dr. Walter drags his adulterous wife, Kitty, to China, where he has been assigned to assist in a cholera hospital during one of the largest epidemics in Asian history.  While the book is a moving and engaging one, the film moves past Maugham’s inherent ambiguity about Kitty and Walter’s relationship, showing us the joys and tragedies of getting to know the person you married, wholly and completely.  It also delves into issues in Chinese history just after the First World War with a sensitivity and insight that Maugham was simply not in a position to do.  All in all, this is a visually stunning, deeply engrossing love story–between people and places–that is definitely worth checking out.

2421451Jane Eyre: Though there are aspects of Charlotte Bronte’s seminal novel that seem generally un-adaptable, this version seems to ‘get’ Jane’s quiet-but-steel-willed personality, and also captures the tension between her and Rochester in pitch-perfect fashion…and even allows us to see a few moments that Bronte couldn’t…this is no ‘bodice-ripper’ by any stretch, but by showing us Jane and Rochester touching and (gasp) kissing (!), it also allows us to realize just how powerful–and dangerous–their relationship was for the time period in which they lived.  I love the fact that the film makers weren’t afraid to allow the two main characters to look plain, ugly, and generally human, as it enhances the power of their performances and relationships immeasurably.

2414590The Prestige: This is a tricky one to discuss for those who haven’t read the book, but suffice it to say, this is one of those films that allows us to see what authors attempt to describe: in this case, magic, both the mystical and the technological kind.  Christopher Priest’s novel is a wildly complicated, deeply complex story of two warring magicians in the late 19th century, and the film embraces not only the heights of the Age of Invention, but also the depths that these two men are willing to go in order to prove their own superiority.  Plus, David Bowie plays Nikola Tesla.

3650525Jonathan Strange and Mr. Norrell: Oh, I’m sorry, did you think you could get through a post on literary adaptations without this one getting mentioned?  Not going to happen this week, beloved patrons.  This adaptation not only captures the simply breath-taking quality of simple magic with simple tricks and angles, but the grand, awe-inspiring majesty of it, as well.  Truthfully, it was interesting to read reviews of this miniseries in Britain, which generally complained that the adaptation was too close to the book.  Which seems to be a different problem entirely, and one that we shall have to tackle on another day….

A word on endings…

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Back when I was twelve, I read A Particular Book by A Particular Author (we don’t actually have it in our system, so we shall let this particular tome reside in infamy).  I loved this book, adored the characters, and couldn’t wait to find out how they would conquer all the enemies ranged against them and survive.  There was also a love triangle in this book, as well, and I knew, down in my bones, with every fiber of my being which of the two suitors this heroine should marry.  In the end, the protagonists triumphed, as they should, and all seemed well.  And then…

The heroine picked the wrong guy.

This was pretty much my reaction.
This was pretty much my reaction.

I mean, nothing against him.  As an adult, I can see that choosing this particular hero was the heroine’s way of accepting the changes in herself, and her willingness to begin a new life.  But to my twelve-year-old heart, he was just wrong.  Not to mention that the hero on whom I had pinned all my hopes and dreams was left crushed and lonely, sitting on a train bound for New York.

So, being the mature reader I was (and still am), I threw the book against a wall and refused to speak to anyone for two days.

Since then, I have managed to accept that all books will not end the way I want them to end.  I still don’t like it, but I try to bear in mind the words of Frank Herbert, author of the Dune sagas: “There is no real ending. It’s just the place where you stop the story.”

Those words have saved many books from being hurled against walls, and also saved many relationships, as the excuse “I just read a book that ended badly!” only works so many times when one is trying to explain why one can’t stop crying/can’t stop yelling/can’t get out of bed today.  As we discussed a few weeks ago in regards to the release of Go Set A Watchman, the characters we love, and the worlds they inhabit don’t always exist solely in an author’s imagination.  They become part of us, and we become part of them.

This gives us, as readers, a certain amount of agency over the things we read.  For me, books that I love are a lot like home movies.  They start, and they stop, but that doesn’t necessarily mean that the characters cease to exist when the action stops (unless they die, and their world is obliterated by aliens, or something like that).  They are still alive in some kind of Land of Unwritten Books, where readers, like you and I, can imagine their further adventures.

In the Land of Unwritten Books, which I have just named, and to which I will now continually refer, lovers can be reunited, despite any distance that may separate them, the detective always gets his crook…or the crook finds a clever way to escape…the magician’s wife finds a final spell…the hero comes home in time…the missing letter gets delivered at last, and everyone is home in time for tea.

For me, that poor hero, alone in his train car, returns to New York, and meets another woman who challenges him, who makes him laugh, and helps him recover from the rejection he received at the end of That Particular Book.  Perhaps he thinks back on those times with a bittersweet fondness, but in the Land of Unwritten Books, he isn’t sad or lonely for very long.  No one needs to be, if that is how we, as readers wish it–at least in our own minds.  That may not change the outcome on the final page, but it may make your heart a little lighter when you get there.