Checkerboard Films has produced a new documentary film on James Salter, “James Salter: A Sport and a Pastime.” You can see Nick Antosca and myself, waxing admiringly, as the “young literary voices” who’ve been influenced by Salter.
“Chekhov’s contemporaries wondered: What sort of Russian writer was he? He had no solution to the ultimate questions. With no ‘general idea’ to teach, wasn’t he more like a talented Frenchman or Englishman born in the wrong place?” (And our own Sonya Chung argues that personal character was in fact his “general idea.”)
Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
“It is hard to see why anyone would abandon the generous Pearce Sectional Sofa, so we must assume that whomever was under that cozy throw was taken by force. More signs of abduction: reading glasses left atop a rare antique encyclopedia, a half-finished glass of wine, and a decorative conch shell that has tumbled to the floor, not to mention the wide-open French doors.” Pottery Barn catalogue descriptions written by an aspiring crime novelist.