Game of Thrones is dead. Er, over. Oh no! What to read now? Over at Electric Literature, Seth D. Michaels has you covered, suggesting a list of books to read post-GoT that includes work by N.K. Jemisin, Nnedi Okorafor, and Kirstin Downey. “At its best,” Michaels writes, the original book series “is both a page-turning adventure and a revisionist fantasy, surfacing some of the hard questions underneath the tropes of the genre. Who has a legitimate claim on power, and what can they do with it? How does the past determine and constrain today? How can women exert power in a cruel and oppressive world? How do personal relationships shape politics, and vice-versa?”
It was my ex who first suggested I read George R.R. Martin’s A Game of Thrones. “I think you’ll like it,” he said, pulling his copy from the wooden bookcase in the corner of his bedroom. The shelves sagged under the weight of the epic fantasies that stood staunchly like a row of guardians. “Feuding families and magic. It’s like the Wars of the Roses but with dragons.”
This last reference was a call out to my most recent reading binge: just a few months before, I had picked up Philippa Gregory’s The Other Boleyn Girl and fallen down the rabbit hole of Tudor history. Real Tudor history, not the creative license version Gregory took (although, despite any and all inaccuracies, I still tend to revisit both Boleyn girls on an annual basis). The palace intrigues and century long feuds captivated my imagination, as did the courtly love and drama of Henry VIII and his six wives.
Divorced, beheaded, died. Divorced, beheaded, died…and dragons?
I had read fantasy novels before, although they were certainly more lighter fare: like others, I was desperately waiting for the seventh and final book of the Harry Potter series, due out the following year. I had only recently moved down to Kentucky from my home state of Ohio in order to live with my boyfriend and found a job working the coffee shop counter at a Barnes & Noble, proudly proclaiming my Slytherin status. During the day I would swap Snape theories with co-workers, then during the evenings dive deep into the online discussions scattered across Internet forums.
But then I started reading A Game of Thrones and this was something completely different. This wasn’t just a fantasy series, it was a fantasy series. The books were behemoth; dense volumes of carefully constructed lineages and battlefields ravaged by war. The paper reminded me of onionskin, the font small and precise. A lifetime of emotions swept through me as I devoured the series: I wept when Ned lost his head and fell in love with Tyrion and Brienne in equal measure. To this day, I still cheer when Viserys gets his gold crown and the absence of Lady Stoneheart from the television adaptation broke my own heart.
This was in the fall of 2006, almost two years after the publication of A Feast for Crows. Its follow-up, A Dance with Dragons, was still four years away, although at the time readers had no word on when, if ever, it would appear. In the meantime, as I did with Harry Potter, I flocked to online forums to participate in discussions and text analysis.
One night, when my then-boyfriend came home from work, I greeted him at the door, bursting to tell him about this incredible theory I read about.
“It’s about Jon Snow,” I explained. The words tumbled out quickly, my mouth no longer able to contain them from sheer adrenaline. “His parents are really Rhaegar and Lyanna. Not only that, but he didn’t kidnap her, they ran away together. They were in love.” I stopped there and waited, my eyes wide with excitement.
He looked at me as though I had suddenly sprouted a second head. “Jon’s parents are Ned and Wylla.” He gave a little frustrated shake of his head, as if he couldn’t believe I had missed such an obvious plot point. “It says so in the book.”
My smile wilted. “No, I know, but there’s all these clues—”
“The. Book. Says,” he repeated, enunciating each word through clenched teeth.
I nodded, mute. I continued to read the forums and began to read between the lines, clues scattered like blue rose petals throughout the text. While I ached to have someone to discuss theories with, he was the only one I knew in real life who read the books and so I stayed silent.
Within six months I had broken up with him after realizing his refusal to even entertain a theory was merely one single banner in a field of red flags. After moving out of his place and into my own, one of the first things I did was go to the local Half-Price Books and buy my own set of George R. R. Martin’s books.
Then the waiting began.
Twelve years later and I’ve officially stopped waiting, my levels of patience waxing and waning with each rotation around the sun. The only difference is that this time I’m (not) waiting for The Winds of Winter, the anticipated sequel to his 2011 A Dance with Dragons.
As each year passes without a release date and the trickle of information has slowed down to infrequent solitary droplets, I have become more and more convinced that Martin has no intention of ever finishing his grand opus. Back in 1991, when he first put pen to paper, I’m sure he had all the intention in the world. Of course, back in 1991, he also envisioned it as a trilogy. But as new characters were introduced, new plot lines explored, I imagine that the series just grew too unwieldy; an oversized dragon impossible to tame.
So, I decided to stop waiting and I firmly believe it’s okay if George R. R. Martin never, ever finishes his series. After all, he doesn’t owe me anything. He doesn’t owe any of us anything.
Neil Gaiman said it first:
George R. R. Martin is not your bitch.
Make no mistake, I sympathize with the frustration some readers feel. I’ve lost hours of my life to this series, first in the form of reading the books, then rereading them, then watching the television show. I’ve stalked his social media pages, including his blog, in the hopes of gleaning new information, a gust of hope regarding a release date. I’ve purchased the books, the DVD sets, and licensed merchandise.
But this is not a transactional relationship. There is no quid pro quo here. My giving George R.R. Martin money, my helping him achieve superstar status, does not earn me the right to dictate and demand when and how his next book should appear.
Would I like GRRM to finish his series? Of course. But I am also a writer and I know that writing is hard work. It’s a job, and we all have days and weeks and months where we hate our job. We all wish we had the option to just quit and here is a man who has that luxury. Or maybe he grew bored, grew tired of attempting to train the dragons. Maybe he’s letting the television show do the work for him.
Or maybe, as my fiancé suggested to me the other night, he’s not announcing anything until both books are done: The Winds of Winter and A Dream of Spring. Maybe he’s tired of the pressure, tired of readers antagonizing him because he’s not a monkey capable of performing on command. Maybe he doesn’t want to deal with this all again and so he’s waiting until both manuscripts, the final volumes of his series, are safely in the hands of his publishers.
Or maybe…maybe it doesn’t really matter. Maybe he’s writing, maybe he’s not. Either way, I’ve stopped waiting. Not that I’ve stopped caring: on the contrary, these books continue to occupy space on my bookshelf. Like old friends, they have witnessed heartache and celebrations and have been shuttled from one apartment to another to another, across state lines as I made my way from Kentucky back to Ohio.
I am content with the series as it stands, the television show filling in gaps when it can. For me, it was never about the end. I started reading because a man I thought I loved recommended it to me. But I kept reading, and continue to read, because the magic of Martin’s world is breathtaking to behold.
And that magic exists regardless of whether or not he ever produces another book.
All readers have seen literary works they adore adapted for the screen, cataloging, scoffing, cringing, and wondering at changes to the original narrative — or, if lucky, delighting in them. No readers, though, have had the experience that devotees of A Game of Thrones, or more specifically, of George R.R. Martin’s in-progress suite of novels A Song of Ice and Fire, are about to. The upcoming season of HBO’s Game of Thrones will reportedly push past Martin’s fifth and most recent book, extending numerous plotlines beyond where readers last left their heroes. The series will continue to do so until it concludes, presumably reaching its denouement long before Martin can publish the two remaining novels he plans.
Fansites are abuzz with virtual hand-wringing about this, their anxiety different from the usual panic about a screen version’s faithfulness. Game of Thrones is about to go where no adaptation has gone before, into the realm of the unpublished source, adapting books that do not yet exist, that will become available later — thus undercutting the very premise of adaptation. Anyone fatigued with Game of Thrones, the socio-technological phenomenon — most illegal downloads! most on-line videos of viewers watching characters die! — may find their interest piqued by the show’s challenge to modern assumptions about adaptation and the idea of canon.
Our notions of original and adaptation logically privilege chronology. We call the first published version of a narrative the original and consider the versions that follow adaptations — less definitive, and somewhat degraded. We make exceptions, of course: William Shakespeare’s plays are adaptations, but their stature is elevated by his genius and cultural context. (For Shakespeare’s time, indeed, notions of originality and adaptation would have made no sense.) We are also used to privileging print above screen, but chronology seems to takes precedence: nobody gives a darn that Graham Greene’s screenplay and subsequent novella of The Third Man call (absurdly) for the hero to get the girl at the end, because nobody saw his screenplay before the film came out; the novella also arrived afterwards.
These principles lurking in our thoughts, we usually watch screen adaptations of our favorite books with a kind of dual consciousness, what adaptation theorist Linda Hutcheon calls (with a nod to Mikhail Bakhtin) “an ongoing dialogical process,” and “an intertextual pleasure that…some call elitist and others enriching.” That is, we watch adaptations and enjoy comparing them to the source, perhaps thinking That’s not what happens in the book or I caught that in-joke. The adaptations I have in mind here are neither the inspired by kind, nor the let’s focus on two minor characters instead of Hamlet kind. Productions like Game of Thrones are predicated on a large degree of faithfulness. Sure, the series has deviated and bastardized — every season moves further afield of the books — but it does so largely in order to keep protagonists in the foreground and Martin’s structure intact.
Until now. The producers, to whom Martin has revealed his plans for the conclusion of his books, have announced that henceforth the adaptation will diverge significantly. Naturally, they have not announced how much, or starting when, or with which plotlines and character arcs, and that’s where this gets interesting. Devoted readers’ “intertextual pleasure” will be tempered with uncertainty, as they may find themselves thinking: That’s not what happens in the books — yet! or I don’t know any more about this than my idiot friend here does. The commentariat has expressed concern about spoilers for the books, but the fact is, no one will know when the show is revealing Martin’s plot and when it is telling a different story. As a corollary, when readers finally receive Martin’s sixth and seventh novels, they may be discomfited by literary narratives contradicting the screen version.
This reversed chronology of print to screen destabilizes categories of original and adaptation. Yes, the next three seasons of Game of Thrones will still spring from Martin’s fictional world, but when the series becomes first to portray developments beyond the books’ chronology, when its narrative unfolds in dialogue not with a prior text but only with fan speculation, labeling it an adaptation will seem wrong. What if Martin revises his plot under the influence of the show? (Will anyone know that he has not?) Which then becomes original, and which adaptation? The conceptual binary is inadequate.
Similarly disrupted by the particularities of Game of Thrones is the notion of canon, the designation of certain texts as authentic at the expense of others. The term dates to the early Christians, who felt the need to legitimate the real gospel created by the right people under divine guidance, as opposed to apocryphal spin-offs. Our current idea of canonicity derives from this sense of a unified and godlike authority. Its 20th-century paradigm is perhaps the case of Sherlock Holmes: when Arthur Conan Doyle, tired of churning out detective stories, killed off the beloved sleuth in 1893, readers filled the void with fan fiction and biographies, even after Conan Doyle bowed to pressure and resuscitated — and copyrighted — the character in 1903. The preponderance of Sherlockiana was termed non-canonical by the literary industry, despite much fan dissent. It is an example that highlights canonicity’s deference to the powers of the creator, authorial intention combined with intellectual property law and the marketplace.
In recent years, the deployment of canonicity has resurged as technology has exponentially expanded the dissemination of texts. It is especially present in the context of science-fiction and fantasy, genres that are set in fictional realms, worlds subsequently used in adaptations and continuations, whether licensed (such as recent novels depicting Isaac Aasimov’s Foundation world, or commercial video games, role-playing games, etc., based on film and book franchises) or unlicensed (fan fiction, costumed play). The idea of canon helps those who care maintain clear divisions between what really happened in that universe, according to its creator(s), and what is some loser’s version of what could have happened. Of course, there are disturbances in the force: the Star Wars films re-edited and revised by creator George Lucas in the 1990s have been anointed by their creator as canon. But so many enthusiasts publicly denounce Lucas’s rewriting of specific moments — such as when Han Solo is fired upon by Greedo first, and only then shoots back — that the significance of canon diminishes. Lucas’s reaction has been to make the revisions the only versions commercially available and claim that the original reels are ruined. The canon, it turns out, is auteur theory beholden to intellectual property rights and to estates covering their assets, but may be challenged by audiences voting with their mouse-clicks and wallets.
Game of Thrones makes all this clearer, even as it offers the possibility of a less monolithic sense of canon. It may be, years from now, that the novels will be seen as canon, that audiences will instinctively defer to Martin’s vision. But Martin himself, by inviting the show creators to deviate from his plot, has opened up the possibility that two versions can exist on equal terms. Then, as now, more people will have seen the series, and seen it first, than will have read the books. Someday it may be considered as canonical as the second of the two Adam and Eve stories in the Old Testament.
At the beginning of each semester, I gather basic information from my fiction writing students such as major, hometown, and favorite book. Some of this arrives from the registrar before the semester begins, but the information isn’t always accurate, and many students accustomed to large, impersonal classes appreciate even perfunctory interest in their lives. My students’ majors are varied, and the students come from all over the world, even at a state university. With few exceptions, their book selections are depressing.
The selections are not depressing because the books are sad. That would be great. I mean depressing as in uninspired, as in the last book the students can remember reading in high school, the book a movie was based on (sometimes they have only seen the movie), the Twilight series or Hunger Games series. Pretty much any series. This semester three students picked Lord of the Flies and three picked Harry Potter, edging “no response” as the most popular titles. It’s not that these books are necessarily bad, though some are. Instead, it’s what these choices suggest to me, that books occupy an ancillary role in the students’ lives. Books are something they had to read in class, or something a movie is based on, a movie everyone else is seeing. The book is rarely the thing the student willingly came to first.
Although my students and I infrequently read the same books, we watch some of the same television shows. We’re more likely to find common ground discussing Breaking Bad than Yiyun Li. If I watched Game of Thrones or The Walking Dead, we’d have a lot to talk about because those programs influence their writing more than any author, living or dead. Other influences: CSI (in its various locales), Law and Order (in its various incarnations), True Blood (vampire everything). I’m not trying to be glib or cute. These are the narratives that influence students’ writing. It’s something I need to take seriously.
Who am I to determine what’s good or bad? That’s a reasonable question. Isn’t it my job, as possibly the only creative writing instructor these students will ever have, to place moving stories into their hands, instill the virtues of reading, caution them against the culture’s basest offerings? Yes, gladly. But that’s not the question I find myself asking. The question isn’t even how to teach writing to students who don’t read. The question is how to teach writing to students who watch movies and television instead of reading.
This class, I should note, is an upper-level elective. All of my students arrive voluntarily, and most are upperclassmen. My classes are unfailingly populated with curious young men and women. They’re earnest and respectful and hard-working. I genuinely like them. Every fall and spring there is a waitlist because students want to write stories. What they don’t particularly want to do is read them. Reading literary fiction for the pleasure or edification of reading literary fiction is something very few of my students do.
What they reliably do is watch movies and television. I’m not sure if I’ve encountered a student who doesn’t. When I was in college — this is the last time I’ll allow myself this indulgence — I remember few conversations about television and little time spent watching it. There was a TV in the communal lounge, but it was a shabby space relative to the temptations elsewhere. To be fair, television has improved since I was a student. David Chase’s The Sopranos and David Simon’s The Wire, everyone seems to agree, raised the bar for what a television show could be. One can debate Simon’s characterization of The Wire as a “visual novel,” but for some of my students, it’s the only novel they choose to consume.
I have my students read a lot of stories. I make a point, as most instructors do, to vary the subjects and styles, to include authors of different ages, ethnicities, genders, classes, and backgrounds. Every two years I change all of the stories, so I’m not flying on autopilot. There is no shortage of incredible short fiction. The students digest the stories dutifully. Sometimes students are visibly moved in class, which visibly moves me. These mutually-moved moments don’t happen all of the time. I’ve learned to appreciate them.
When a student really likes a story, she will often compare it to a favorite episode, and then this happens:
“It totally reminds me of the Dexter when he —”
“Oh my God, I’m obsessed with that show.”
(General murmurs of approval.)
“Have you seen the one where he [kills someone in a mildly unpredictable way for morally dubious reasons]?”
“That one is amazing.”
Nobody says she is obsessed with Denis Johnson.
My students love Dexter. I have watched enough episodes to conclude I do not love Dexter, though it’s an interesting case study, as it attempts to communicate the protagonist’s inner life. This is harder to do on the screen than on the page, and while I applaud the show’s writers for taking this aspect seriously, the character’s monologues strike me as clumsy and inorganic. They’re supposed to be funny, but they’re not funny.
I have yet to find a voiceover that doesn’t make me cringe. As great as Vertigo is, the voiceover bums me out every time. I feel like Hitchcock doesn’t trust me — or his filmmaking — enough, and I’m thrown out of what John Gardner calls the “vivid and continuous dream.” If American Hustle wins a bunch of academy awards, it will be in spite of the lazy voiceover.
Good fiction grants you sustained, nuanced entry into a character’s mind that is difficult to achieve on the screen. This is one of the reasons the best books rarely translate into transcendent films, no matter how many times studios try (e.g. The Great Gatsby). It’s also why some of the best films come from books that aren’t universally regarded (e.g. The Godfather). That The Godfather works better as a film than a book doesn’t diminish the story. Film and literature aren’t interchangeable, and watching the former isn’t necessarily going to help you write the latter. Indeed, it may give you some bad habits. In the classroom, I regularly find myself contradicting the students’ first teacher, the screen.
Each Law and Order episode begins with the short dramatization of a crime. Those two minutes set the tone for the rest of the hour. The showrunner makes a contract with the audience before each episode: There will be a crime, it will be investigated, there will be red herrings, but the crime will be solved. Although the characters are more or less the same from episode to episode, the crimes are self-contained. Clearly, this formula works. It’s hard to find someone who hasn’t enjoyed an episode of Law and Order. I particularly enjoy the halcyon days of Special Victims Unit with Christopher Meloni, Mariska Hargitay, Ice-T, and BD Wong, whom I regard as a master of deadpan.
What I don’t enjoy are short stories inspired by SVU. Meloni and Hargitay are fine actors, but on the show, their inner lives are straightforward. They’re driven by primal and singular impulses. The world they inhabit offers little complexity. Sex offenders are bad. Detectives are good. Sometimes good people have to do bad things to get bad guys; that’s about as morally ambiguous as the show gets. It also has a fetish for vigilantism that I don’t share.
One of the most common student stories begins with a scene of violence. It’s unclear who is involved, or why they’re doing what they’re doing. Typically, nobody is named. There’s a space break signifying a leap in time and place, and then the story unfolds in a linear fashion. By the end, the villain (easier to spot than the writer imagines) is apprehended, often with a bit of insufferable banter. The story doesn’t work. My students didn’t learn this formula from reading.
I reference the stories we read. Look where Raymond Carver starts his story. What is all of the protagonist’s furniture doing on the front lawn? Why does Mary Robinson have the strange woman stop by the house on the second page? Start the story as late in the action as you can, I tell my students. Make sure your protagonist wants something, even if only a glass of water. I tell them Kurt Vonnegut gave me this advice. Some of them read Slaughterhouse Five in high school. We’re getting somewhere. Did you read any of his other books? Blank stares.
Ideally, the stories I assign and recommend will lead my students to read fiction on their own. Sometimes this happens. They take other classes with me, stop by my office hours, write me emails. Few things make me happier than students from past semesters soliciting books. I hope they’re still writing, but if they’re only reading, they’re enlarging their sense of human experience. They’re becoming more empathetic and, in turn, better brothers and sisters, sons and daughters, boyfriends and girlfriends. I believe this.
Most students I never hear from again. We get fifteen weeks, twice a week, eighty minutes a class. It’s not a lot of time to inspire a lifetime of reading. It’s not a lot of time to give students a framework from which they might begin to construct meaningful stories on their own.
Each student writes two stories for my class, but the time he or she spends thinking about the published stories I assign is arguably more important. Students who haven’t taken many writing or literature classes at the university will likely arrive with few reference points, and I treat each story as an opportunity to teach students about character or structure or language. When students reference television shows, I counter with stories. If the story isn’t protected by copyright, I’ll post a link to Blackboard. Anyone can read Anton Chekhov’s “Gusev” or James Joyce’s “Araby” or Alice Munro’s “The Bear Came Over the Mountain” for free online. Publishers mail me unsolicited books all of the time; I give the good ones to my students.
Sometimes when students reference television shows, I go with it. I ask students what they like about the show and what, if anything, they might apply to their writing. If I admire the film they reference, and I think it offers something narratively rewarding, we discuss why. Occasionally, I reference a moment in a film, for better or worse. The Third Man delays the introduction of the antagonist in a way that’s supremely effective (it doesn’t hurt that Graham Greene wrote the screenplay). I rather like Lost in Translation, but the scene where Bill Murray whispers something unheard to Scarlett Johansson strikes me as a narrative betrayal. The writer and character, I’ve told them, shouldn’t know more than the reader. Like all teachers, I’m happy when students intelligently disagree.
In their own stories, I encourage students to write something that makes them uncomfortable. If they’re going to write autobiographically, and many do, they have to be prepared to show their worst characteristics. Probably, the protagonist should do something stupid or ugly. That’s what the reader wants. If they’re going to make something up completely, and I encourage this, they have to move beyond formula. If they crib a violent scene from The Walking Dead, I give them Flannery O’Connor. It’s no less gruesome.
My students are curious in my own tastes, to an extent. What do I like to watch? I tell them. I pair the film with a book. They want to know why the book is always better than the movie. They’re referring to Harry Potter or The Hunger Games. They’ve been told this so many times they believe it, even if they don’t see it personally. It’s because your imagination is so much more interesting than what’s on the screen, I tell them. They don’t buy it. Their interest wanes. The reader and the writer co-create the story, I insist. Reading is collaborative in a way that watching a screen isn’t. You prefer your image to the director’s, no matter how beautiful Jennifer Lawrence might be. You’re narcissistic that way. It’s okay.
They nod reluctantly, like maybe it is.