Amidst all the dispiriting deaths in 2016, that of Richard Adams didn’t get a whole lot of attention. But his Watership Down was a masterpiece, I think. In it, he created a world so vivid, so completely realized, that it rivaled Lord of the Rings. And it was about, you know, rabbits. Forty years later, I still look at a rabbit nibbling on some grass and I think of the word silflay.
I read his second novel, Shardik, and I thought it was just okay. I didn’t bother with The Plague Dogs. But Watership Down is forever.
“Would that the dead were not dead! But there is grass that must be eaten, pellets that must be chewed, hraka that must be passed, holes that must be dug, sleep that must be slept.”
Another in a random series.
A Walk in the Woods, a film based on Bill Bryson’s travel book about hiking the Appalachian Trail, seems to be a small-scale hit. At the showing we went to, the median age was about 70, and everyone seemed to enjoy it. The reviews have not been kind, though, and the reviews are correct. The scenery is great, but the movie tries too hard to be zany and wacky and crazy, and the result is disjointed and just not very funny. Also, what’s up with casting Emma Thompson as the wife of a guy in his seventies?
The main character, of course, is a writer. In real life, Bryson was a middle-aged guy who took on the Appalachian Trail mainly because he had a book contract. That’s motivation enough! In the movie, he’s an old man who is taking on this challenge because he’s facing the reality of sickness and death. And the movie actually has a motif of Nick Nolte saying something like “Don’t put that in your book!” whenever something embarrassing happens, and Redford responding “I’m not writing a book!” He has a notebook, but the only thing we seem hi put into it is a note to his wife when they’re in a bit of trouble. Only at the very end, when Nolte seems to tacitly give him permission to write about their adventures, do we see Redford start the book.
In other words, because this is mild middle-of-the-road entertainment (and it stars Robert Redford!), they chose to downplay the fact that the main character is supposed to be a working professional writer, in favor of a vague Everyman schtick. The result is amiable but empty. And Emma Thompson needs better roles!
Anne Tyler is a writer who faded from my attention over the years, but you know . . . she’s very good, even though, like most novelists, she seems to write the same book over and over again. Here is the beginning of the Washington Post review, which captures what I felt:
The characters in “A Spool of Blue Thread” look like the same Baltimore family members we’ve socialized with for 50 years in Anne Tyler’s fiction. In fact, everything about her new novel — from its needlepointed title to its arthritic plot — sounds worn-out.
So how can it be so wonderful? The funky meals, the wacky professions, the distracted mothers and the lost children — they’re all here. But complaining that Tyler’s novels are redundant is like whining that Shakespeare’s sonnets are always 14 lines long. Somehow, what’s familiar seems transcended in these pages, infused with freshness and surprise — evidence, once again, that Tyler remains among the best chroniclers of family life this country has ever produced.
(I should say, though, that my lovely wife begs to differ and believes that, at age 75, Tyler has forgotten how to be funny.)
BookBub sends me an email every day with blurbs about all the thrillers and mysteries and bestsellers they have on sale. And they all sound the same. Like so:
After a US colonel is murdered in Istanbul, Special Agent Vin Cooper suspects a serial killer is at large — but the truth is even more terrifying…
When a young professor is horribly murdered, coroner Sara Linton uncovers the work of a twisted mind — one that is all too ready to kill again. And her past could hold the key to catching him…
Special Agent Jack Randall is determined to catch the elusive shooter responsible for killing a prominent lawyer. But to find the murderer, he’ll have to delve into his own haunted past…
Some of these books are surely great, with quirky characters and clever plots and great writing. But somehow I never end up buying any of them. But now I have to go back and read all the Anne Tyler novels that I missed. I need fewer special agents with haunted pasts and more quirky Baltimore families.
I was walking from the Boston Common over to Jacob Wirth’s after my road race when I ran into this guy with his pet raven at twilight:
Poe was born in Boston in Boston in 1809, although he went to Virginia soon afterwards.
Poe’s reputation has risen since his death and stays high. In addition to being a writer of fiction and poetry, he was also a good literary critic. Here is Wikipedia summing up Poe’s opinion of our old friend Heny Wadsworth Longfellow:
A favorite target of Poe’s criticism was Boston’s then-acclaimed poet, Henry Wadsworth Longfellow, who was often defended by his literary friends in what was later called “The Longfellow War”. Poe accused Longfellow of “the heresy of the didactic”, writing poetry that was preachy, derivative, and thematically plagiarized. Poe correctly predicted that Longfellow’s reputation and style of poetry would decline, concluding that “We grant him high qualities, but deny him the Future”.
“We grant him high qualities, but deny him the Future” — is that prescient or what?
Here’s more about the Poe statue.
The road race, you ask? Don’t ask. Here’s a photo of the pack going into Kenmore Square.
Notice that my part of the pack isn’t exactly “running”. The folks heading in the other direction, back from Kenmore Square toward the Common–they’re running. Sheesh.
Another in a random series.
The Romantic Englishwoman is a 1975 movie with A-list credentials: it stars Michael Caine and Glenda Jackson, it’s co-written by Tom Stoppard, and it’s directed by Joseph Losey (who also directed Accident and The Go-Between). I love Tom Stoppard, but I hated this movie.
Caine plays a successful novelist and screenwriter; Jackson is his do-nothing, dissatisfied wife. They have a beautiful kid, a beautiful house, beautiful friends, a nanny, but, well, you know. Jackson goes off to Baden Baden for reasons she can’t articulate. Caine is insanely jealous. She comes home and in turn is jealous of him and the nanny. He decides to write a screenplay about all this. He invites the good-looking drug dealer she met in Baden Baden (Helmut Berger) to stay with them, basically trying to stage-manage his screenplay. There are complications. Jackson runs off with the drug dealer; Caine goes in pursuit. They get back together again, in an abrupt ending that neither my wife and I understood in the slightest. But perhaps that’s because we had long since stopped caring. (By the way, that sexy poster has nothing much to do with the movie, although Jackson does have a brief, weird nude scene. It’s kind of depressing to think that she’s now 78. We should all stay young and gorgeous forever!)
You can see that intelligent people were behind the movie. It’s about fiction mirroring reality (or maybe vice versa), and it seems like half the shots in the film involve showing someone’s reflection in a window or a mirror. The plot has the makings of a thriller (the drug dealer is being pursued by bad guys), but the movie shrugs this off in favor of baffling deep meanings. (And the Caine character tells his producer that he doesn’t want to write a thriller.) But the movie didn’t bother making anyone even slightly sympathetic, so I just wasn’t interested in the deep meanings.
Caine’s character isn’t particularly interesting. He’s a selfish jerk, which is of course entirely accurate for a writer, but we don’t get any sense of why he’s so successful, what makes him tick, or how he writes. I can think of a couple dozen Michael Caine movies that I enjoyed more. And virtually anything else by Tom Stoppard.
My friend Jeff Carver has a nice post up about writing as an act of faith, and how that faith was unexpectedly rewarded for him the other night.
As he says, writing is an act of faith almost by definition. Maybe hubris is a better word — you have to think: I have the talent and the resolve to bleed out 70,00 words that will entertain and maybe also uplift and inspire a host of unknown readers. (Actually, for Jeff it’s more like 200,000 words.) And, of course, you have to be prepared for your faith to be shaken when you read your first draft.
I have one quibble with his post. He is working on his second draft in front of a roaring fire at a secluded B&B on Cape Cod. Frankly, anyone can write a frickin’ novel sitting in front of a roaring fire at a secluded B&B on Cape Cod. Real authors write their novels while police are shooting at bank robbers outside their windows. Let’s see him try that!
In honor of Saint Patrick’s Day, here’s an Irish writer in this occasional series. This time it’s Young Cassidy, the 1965 biopic of Irish playwright Sean O’Casey starring Rod Taylor, Maggie Smith, and Julie Christie.
As you can see from the poster, the movie doesn’t emphasize his writing. OK, it doesn’t mention it at all. But boy, do we get an idea of what his soaring male senses are up to.The writing does show up in the actual movie, of course. But they aren’t able to do much with it. We just get a peek at him now and then staring with grim determination at a blank sheet of paper or a typewriter, in between his brawls and his romances. (The young, gorgeous Julie Christie only has a few couple of scenes, but she makes, um, quite an impression.)
The movie really isn’t very good — and it was a flop at the box office. Mostly it’s just a bunch of more or less disconnected episodes from O’Casey’s autobiography, never building to much of anything. But we do see Rod Taylor betraying his best friend by making him a character in The Plough and the Stars — that’s a nice writerly touch. And (spoiler alert) the ever-faithful Maggie Smith finally dumps him, realizing she isn’t cut out to be the wife of a famous writer. Another nice touch.
Anyway, if you want to experience more of Rod Taylor’s soaring male senses, here is the the trailer (assuming I can get the embedding to work):