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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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A Comic Feast: Michael Winterbottom’s The Trip to Italy
“To read a good comedy,” wrote William Hazlitt, is to keep the best company in the world, where the best things are said...” Said in the voices of Michael Caine, Anthony Hopkins, Al Pacino, and Hugh Grant, Hazlitt might have added, had he lived to see The Trip to Italy, the latest collaboration between director Michael Winterbottom and the comic team of Steven Coogan and Rob Brydon.
In The Trip to Italy and its precursor, The Trip (both originally shot as BBC mini-series), Coogan and Brydon play fictionalized versions of themselves, doing impressions, riffing and sparring with each other as they drive around the Lake District or Italy. They are on assignment for the Observer, which in each case has enlisted them to write a series of amateur restaurant reviews. Proceeding from such a wonderfully slight premise -- comedy, like dough, is best not overworked -- the pair set off on a well-fed pilgrimage to poetic shrines (Wordsworth and Coleridge’s in the first, Byron and Shelley’s Mediterranean haunts here). Balancing out the high culture are lengthy discussions of pop stars and loving recitations from Hollywood films.
Despite their apparent casualness, the two films reveal a chiastic structure that reverses the men’s personal and professional fortunes. In the first, Coogan reluctantly invites Brydon on the trip he had originally planned to take with his girlfriend, mulls moving to Hollywood to film a project, and ends up moping around his austere London apartment. By contrast, we last see Brydon eating a homemade meal with his adoring wife, whom he promises never to leave for more than three days again. In the sequel, Brydon invites Coogan on the trip, auditions for his own Hollywood part as a mob accountant in a Michael Mann film (which irritates and baffles Coogan in equal measure), and is in no particular rush to return to his wife after conducting an affair with a younger woman. Coogan, meanwhile, has just had his American series Pathological cancelled and seems ready to leave Hollywood and rededicate himself to fatherhood.
The men are friends, even if their relationship is often marked by needling, jealousy, frustration, hostility, exhaustion, and indifference. (When Brydon mentions his wife’s name at the beginning of the movie, Coogan has no idea who he’s talking about.) Coogan is the more saturnine of the two, harboring largely unrealized dreams of Hollywood dramatic success, and reading Byron in bed at night. The antic Brydon, who rents a Mini Cooper for the journey just to give himself an occasion to quote Michael Caine from The Italian Job, is always ready to slip into an inspired bit or impression, from Richard Burton to Gore Vidal. He soldiers on throughout, determined to combat his companion’s glumness and belittlements with incessant, exhausting cheer.
When Coogan does occasionally lighten up, often in the midst of the multi-course meals that are ostensibly their reason for being together, the two embark on inspired flights of fancy in which the full splendor of their comic romance becomes momentarily visible. In The Trip To Italy, it’s on full display in an extended gag about a cowed assistant director asking Tom Hardy’s Bane and Christian Bale’s Batman from The Dark Knight Rises to enunciate and receiving profane, garbled replies. In The Trip, the best moment comes when they spoof the pre-fight battle speeches of historical epics: “Gentlemen, to bed, for tomorrow we rise at dawn.” By the end, Coogan’s blustery liege and Brydon’s obsequious aide-de-camp have pushed back the departure to 9:30ish, which allows for a quick continental breakfast and warm-up run. We then witness them engaged in a perfectly unmotivated a cappella scat session, a wordless duet as fun as the oratorical comedy that precedes it.
But beneath the laughs, of which there are many, The Trip to Italy is an anxious comedy supremely anxious about comedy itself. In a previous collaboration with the pair, Tristram Shandy: A Cock and Bull Story, Winterbottom expressed similar anxiety. Like the unruly autobiographical tale on which it is based, the film struggles to take shape, prompting the director and writers to ponder why they are taking a year out of their lives to make it. “Because it’s funny,” is one answer. When the director is asked, “Is that all?”, he replies: “Isn’t that enough?” It isn’t necessarily enough for Coogan, who in the course of insulting “inferior talents” like Brydon worries whether he as a comedian will be remembered as Byron and Shelley are. It is no wonder that Coogan has in his arsenal Hamlet’s “Alas, Poor Yorick!” speech, which he delivers to a blanching Brydon in a Neapolitan, skull-filled crypt:
Where be your gibes now? your
gambols? your songs? your flashes of merriment,
that were wont to set the table on a roar? Not one
now, to mock your own grinning? quite chap-fallen?
A momentary chap-fallen Brydon is, in a first, left speechless.
The Trip to Italy frets over much else besides the artistic importance of its comedic genre. The movie is anxious about sequels, of which it is one; anxious about male friendships (evidenced by some puerile gay jokes); anxious about aging and mortality, as seen in the lingering shots of Pompeii, Naples’s Cimiterio delle Fontanelle, and Shelley’s grave; anxious about morality, particularly about which transgressions cannot be laughed off; and finally anxious about comic masks, whether it is ever possible for a comedian to confront the “brutal reality” of life: “Behind every pithy, vaguely amusing little joke is a cry for help,” Coogan says in a mock-eulogy of Brydon at Bolton Abbey in The Trip.
Coogan is of course just as unwilling to confront said reality. While Brydon’s compulsion to recite poetry in one of his celebrity imitation voices is a source of great frustration to his more serious companion, who sees in his friend’s comic deflation of high art a frustrating evasion, Coogan’s self-deluded view of himself as a Byronic figure -- Brydon suggests his friend write a “Childe Steve’s Pilgrimage” -- is a version of the same evasive impulse. What Henri Bergson said about the comic artist applies to both men:
However interested a dramatist may be in the comic features of human nature, he will hardly go, I imagine, to the extent of trying to discover his own. Besides, he would not find them, for we are never ridiculous except in some point that remains hidden from our own consciousness.
To wit: When the two comics pause to examine a petrified Pompeian corpse preserved in a glass bier, Coogan’s bathetic musings on death are in a way as deflective as Brydon’s decision to break out his famed “small man trapped in a box” voice and discuss footwear with the sandaled ancient. Masks come in different styles.
Once or twice these masks come off -- to an extent. After a riotous lunch late in the film, Brydon, who has demonstrated little guilt for his infidelity, comes clean about the affair to Emma, Coogan’s pregnant assistant. Still laughing from Brydon’s humorous confession -- delivered in his Hugh Grant voice -- she demurs when asked for her advice, explaining that a hormonal pregnant woman might not be the best person to ask. Her lingering smile is one of the most ambivalent moments in the film, laughter and disappointment at war on her face. She can’t bring herself to deliver a moral judgment to the comic mask that delights her even as it reveals an unpalatable truth; the film slyly counts on the same from viewers. I’m not suggesting that one needs adopt a sententious stance on adultery, only that by tarnishing Brydon’s goofy, family-man image, the film demonstrates the powerful sense of complicity created by laughter.
The Trip to Italy is more than just funny -- though that would be enough. It is a sneakily moral tale about historical figures (Byron, Casanova) renowned for their amorality; a capacious comedy about two rather narrow, inflexible characters; and a vivacious lark so haunted by death that by the final credits the title has acquired a newly metaphysical import. Each comedian, masked though he may be, knows exactly where the trip is ultimately headed.
Tristram Shandy, Dilettante: Laurence Sterne and the Pleasures of Attention-Deficit Literature
There’s been a lot of talk in recent years about attention atrophy and the Internet. And I mean a lot of talk. If you haven’t noticed, it’s because some of the trend pieces are really long (like, 2,000 words long) and your gchat may have been buzzing at a clip that precluded sustained focus on what a given writer for the The Atlantic, Slate, or The New York Times had to say about the latest UCLA study on how Google can affect your dorsolateral prefrontal cortex.
Entering freshmen at the university where I teach are required to read Nicholas Carr’s Pulitzer-finalist The Shallows: What the Internet is Doing to Our Brains. It clocks in at 280 pages, and most students will not finish it.
I’ve got nothing against the hand-wringers -- idle hands, etc. -- but I’d like to advance a modest defense of the good that can come from the browser’s mindset, and from inattentive dilettantism. Indeed, let me suggest that we can find solace for the dilemma not in studies showing that video games make you smarter, but rather in Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman, a long, obstreperous 18th-century work that Virginia Woolf (author of short, prismatic 20th-century works) called “the greatest of all novels.” Shandy makes the Cervantes/Fielding/Dickens picaresque look like a straight walk down a well-lit road. It is both a challenge to read and a sustained work of jumpy, distracted hilarity. Attention deficit, for Sterne, is not something to be feared in the reader -- it is the basis for his process of composition.
A précis of Shandy is more or less impossible, and tempts Shandean distractions of its own. Nonetheless: the title character wishes to write his memoirs. (The why is unclear, though an encyclopedic impulse runs in the family -- Shandy senior has written tracts on the naming of children; pseudo-Descartian meditations on the pineal gland; a discourse on the importance of proper balance between “radical heat and radical moisture” in the human animal -- you get the idea.) Along the way, everything goes wrong, both in the writing and the living. A mis-wound clock distracts his parents at the moment of his conception; a scullery maid’s malapropism results in his absurd, medieval first name; the memoirist himself becomes so distracted that he does not emerge from the womb until the novel is one-third done. Sterne writes a chapter on buttons; he writes a chapter on knots. Many of the chapters are shorter than a page. The author’s preface arrives in chapter 20 of the third volume. The novel’s most endearing character -- besides the garrulous autobiographer himself -- is Uncle Toby, a veteran of the French wars who returns with an embarrassing wound to his groin and, post-convalescence, spends his days in the backyard building scale models of various theaters of battle, the better to relive his glory days. Transitions between high, anarchic comedy and sustained passages of sentiment can be sudden and vertiginous. Shandy is accidentally circumcised by a falling window sash; Shandy falls in love with a “nut-brown maid” in France; a heartstring-yanking obituary for a jolly priest named Yorick is followed by a wordless, all-black page; an inveterate bore named Phutatorius (Latin for “Fucker”) has the misfortune to catch a burning chestnut in his breeches. (Genitalia in general do not fare well in this book.) And an alleged act of bestiality leads to the iconic final words of the novel:
'L--d!' said my mother, 'what is all this story about?' ----
'A COCK and a BULL,' said Yorick ---- 'And one of the best of its kind, I ever heard.'
I could go on, but that’s the point -- Shandy’s project is telescopically expandable, as he notes with less anxiety than glee: “At this rate I should just live 364 times faster than I should write.” Days are more easily lived than written, at least with the narrator’s level of detail and errant whimsicality: “I write a careless kind of a civil, nonsensical, good-humoured Shandean book, which will do all your hearts good.” Hamlet saturates certain volumes of Shandy, the Dane’s inability to take action here spun into a structural literary motif: the fullness, absurdity, hilarity, and pathos of life outpace man’s ability to take stock of them -- and man, in turn, responds by dragging his feet, gazing at his navel, and losing focus whenever a new and shiny object is presented to him.
Let’s not mince words: this is all deeply silly. And that, of course, is the point. On trial in Shandy are the masturbatory elements of scholarship; distractible humans and their whimsical hobbies; the proliferating literary phenomenon of “biographical freebooters”; and self-involved males who can argue (with a Voltairean antilogic) finer points of causality while, upstairs, poor Mrs. Shandy lies in excruciating, protracted labor. Few novels -- even few early novels -- have less believability in them. And yet Shandy, in all its digressive, distracted, ADD glory, captures something of life that narratives of linear focus rarely can.
The characters who labored in service to the early novel -- the fictional memoirists of Defoe, the virtuous letter-writers of Richardson -- told tales semi-intended to be taken as true, and which sometimes were: after the massive success of Gulliver’s Travels, Arbuthnot wrote to Swift, “Gulliver is in every body’s hands...I lent the book to an old Gentleman, who went immediately to his map to search for Lilliput.” The idea of readerly enjoyment was a vicarious identification with characters we might, in an idle moment, fancy to be real. (Richardson coyly dubbed himself the mere “editor” of Clarissa; Fielding, in proto-Sternean mockery of Richardson, insisted on Tom Jones as a “history.”) Sterne took this early and enduring premise of fiction and extended it to its illogical conclusion: a book that seeks to mimic “reality” will, in fact, smack of distraction and madness.
When people talk about Shandy nowadays, it is in the context of the postmoderns. In the inventive and charming 2006 film, Steve Coogan intones: “Shandy was a postmodern classic before there was a modernism to be post about."
Sterne indeed anticipated many of the tics and preoccupations that came to define (and oversimplify) postmodernism as inherently “self-conscious.” A text is a text, and there is an author behind it, whatever Roland Barthes may say, and somewhere in the 20th century the dominant premise of fiction -- the suspension of disbelief, of our knowledge that these characters aren’t real -- was no longer enough. The Wizard had to emerge from behind the curtain; metacritical comment became de rigueur. Books of fiction had to declare as such, and to remark, speciously or otherwise, on the process of their own composition.
What is lacking in the more paranoid of the postmoderns is a Shandean sense of textual play as total entertainment. Did Sterne agonize over the “constructed” nature of his opus? No; he reveled in it. His footnotes were not self-lacerating interrogations of the potential dishonesty of the enterprise -- they were postscript punchlines to jokes that already had you splitting your sides and getting weird looks in terminal D at O’Hare. The book is a total funhouse, full of toys, surprises, and regressive loops. Volume IX leaves two chapters totally blank, where the author sees fit to introduce the events of chapter 25 before returning to numbers 18 and 19. In lieu of describing the toothsome Widow Wadman in Volume VI, Sterne allows you an empty page on which to draw your conception of the perfect woman: “Sit down, Sir, paint her to your own mind----as like your mistress as you can----as unlike your wife as your conscience will let you--'tis all one to me.”
‘Tis all one to us, as well. Sterne invites us to skip passages that bore, forget passages that displease, to hop and jump between chapters, and to reimagine scenes to our own liking. In elevating to muse-status his own fickle fancy, Sterne indulges ours, creating a book that is less a novel than the longest sustained joke in the English language.
And yes, it is long. But here’s the secret: you don’t really need to finish it to get the joke. Just follow the big F, if you prefer -- you’ll miss the climax between Toby and the Widow, but so did Coogan et al. in the film. (There was just a lot happening on the set, see, and they got distracted.) Information overload is not a new phenomenon -- it’s sort of just part of being alive. Our current objects of distraction may be somewhat newer and shinier, and fewer of us read Latin and French, but the Shandean truths abide. If Sterne can teach us anything, it is to enjoy the flightiness of our mortal minds -- not to lament, but to laugh.
The Treacherous Journey From Page to Screen
When it comes to adapting serious fiction for the screen, John Huston has few peers. But the English director Michael Winterbottom continues to burnish his reputation as a master of this maddeningly slippery art at this year's Tribeca Film Festival, which is featuring the American premiere of Trishna, Winterbottom's daring re-imagining of the Thomas Hardy novel Tess of the D'Urbervilles. Today, by way of exploring the difficulty of transporting stories from page to screen, we'll look at three Winterbottom adaptations of three very different novels from three different centuries.
Thomas Hardy's Tess of the D'Urbervilles
Trishna is not Winterbottom's first foray into Hardy's fiction, nor the first time he has lifted Hardy's characters from fictional Wessex and plunked them down in a faraway place. Winterbottom adapted Hardy's most controversial novel, Jude the Obscure, in 1996, and followed it four years later with The Claim, a retelling of The Mayor of Casterbridge set in California's Sierra Nevada mountains during the gold rush.
But Trishna, set in contemporary India, is by far Winterbottom's most daring – and successful – adaptation of Hardy. The conventional reading of Hardy is that he was a forward-thinker who railed against the two most confining straitjackets of life in Victorian England: the pressure to conform to social conventions and the stark boundaries imposed by class and gender. Winterbottom offers a much subtler reading. As he told The Guardian recently by way of explaining his decision to set Trishna (and, he might have added, The Claim) far from England: "Hardy's novels are often about modernity and speed and energy. But it's hard to get that sense of a dynamically changing world if you set one in this country [England]. Here the problems are more to do with a lack of mobility rather than an excess of it."
That's smart, but it carries a risk. While contemporary India offers an abundance of photogenic modernity, speed, and energy, it is also a gargantuan cliche: the gaudy colors, the cows, the slums and traffic and noise and dirt, those nearly visible smells. It's worth remembering that two of the biggest international hits to come out of India recently, Slumdog Millionaire and Darjeeling Limited, were avalanches of these very cliches.
Winterbottom, who also wrote the screenplay, avoids this trap by streamlining Hardy's story and using the frenzied urbanization and changing class structure of contemporary India as tools to tell his story, never as mere eye candy. The title character is played by Freida Pinto (who had her breakout in Slumdog Millionaire), a poor girl in the rural northwestern state of Rajasthan who catches the eye of a wealthy hotel owner named Jay (Riz Ahmed) when he passes through her town with a freewheeling gang of rich tourists. Smitten, Jay offers Trishna a job at his hotel in the capital city of Jaipur, which her family pushes her to accept. Inevitably, a romance will bloom.
A composite of the novel's two love interests, Alec d'Urberville and Angel Clare, Jay spirals from seduction to genuine love to fatal cruelty after the lovers move to Mumbai. There are other deft echoes of the novel. Instead of giving birth to her illegitimate child and losing it to illness, as happened to Tess, Trishna deals with an unwanted pregnancy by having an abortion. And in a moment of extreme need, Trishna goes to work in a dehumanizing food-packaging factory, just as Tess was nearly crushed by a ravenous new invention called the threshing machine. Hardy's fiction, as Winterbottom noted, was suffused with the tension in an urbanizing society – the seduction of modern inventions even as they brutally obliterate old ways. A rural English train depot perfectly captures this tension. It is, Hardy writes, a place where "a fitful white streak of steam at intervals upon the dark-green background denoted intermittent moments of contact between their secluded world and modern life. Modern life stretched out its steam feeler to this point three or four times a day, touched the native existences, and quickly withdrew its feeler again, as if what it touched had been uncongenial."
By bringing this tension to life in contemporary India, Winterbottom has captured the spirit of Hardy's novel without being slavish to its letter. As a result, the movie manages the difficult trick of being both faithful and new, less a reproduction than a rich act of re-imagining.
Laurence Sterne's Tristram Shandy
If ever a work of literature deserved to be called "unfilmable," The Life and Opinions of Tristram Shandy, Gentleman is surely it. Laurence Sterne's great bawdy romp of a novel – a man named Tristram Shandy is talking to the reader about the story of his life he is trying to write as he writes it – is so disheveled, so plotless, so self-referential, so sprawling and messy and repetitive and hilarious that it almost dares a filmmaker to take a whack at it.
For his 2005 adaptation, which he called Tristram Shandy: A Cock and Bull Story, Winterbottom worked from a screenplay by Frank Cottrell Boyce, who also wrote the scripts for Winterbottom's The Claim, 24 Hour Party People, and Code 46. This time out, Boyce cleverly solves the conundrum of the source material by turning it on its head: if Sterne wrote a book about writing a book, then let's make a movie about making a movie about that book. The cast is led by two more Winterbottom regulars – Steve Coogan playing himself playing Tristram Shandy and Rob Brydon playing himself playing Tristram's uncle Toby.
The movie they're fitfully making is at times surprisingly faithful to Sterne's novel. We get Tristram's botched conception, his botched birth, his botched nose, his botched, nearly disastrous circumcision. Also, as in the novel, we get countless throwaway lines, such as when Coogan tries to gently fend off the advances of a horny crew member with this left-handed compliment: "Your knowledge of German cinema is second to none." There are snide swipes at Kevin Costner's interpretation of Robin Hood and a moment when Coogan looks at a copy of Sterne's novel and marvels, "Can you believe that a book as thick as that doesn't have an index?" But the best of the lot is when Coogan, who knows how movie stars act and who obviously hasn't read the novel, describes it to an interviewer as "a post-modern classic written way before there was any modern to be 'post' about." Sterne surely would have approved. After all, he offers this defense of his tendency to digress, to talk to the reader, to leave pages blank, to write chapters out of chronological order and otherwise break every rule of conventional novel-writing: "All I wish is, that it may be a lesson to the world, 'to let people tell their stories their own way.'"
While spoken in jest, Coogan's remark about "post-modern classic" backs up my beliefs that this 18th-century novel is indeed one of the earliest exercises in post-modernism, that Don Quixote was the first, and that Flann O'Brien, not Joyce or Beckett, was the 20th century's first practitioner of the form. In other words, the novelist's willingness to expose the creative process, play structural tricks and be shamelessly self-aware was not an invention of the 20th century. Virginia Woolf believed Sterne "is singularly of our own age" and "the forerunner of the moderns," while Italo Calvino anointed Tristram Shandy as "undoubtedly the progenitor of all avant-garde novels of our century."
Along with the David Cronenberg's adaptation of Naked Lunch and Terry Gilliam's Fear and Loathing in Las Vegas, I say Winterbottom's brilliant Tristram Shandy is final proof that the overused word "unfilmable" should be banished from the lexicon.
Jim Thompson's The Killer Inside Me
Jim Thompson's noir novels and stories have been turned into more than a dozen movies. Most filmmakers have latched onto the obvious cinematic allures of Thompson's fiction – the intricate plots, the stunning double-crosses, the lavish violence – while shying away from what goes on in the dark recesses of the human mind, which is where Thompson did his real work. Maybe this is to be expected since fiction has an unfair advantage over film in this regard. It isn't forced to rely so heavily on images; it's freer to explore interiority; it is, in a word, more psychological. Just the sort of material for a filmmaker as smart and literary as Michael Winterbottom. And yet, this time he stumbles.
In 2010 Winterbottom directed a second version of Thompson's breakthrough 1952 novel, The Killer Inside Me. The first version, a half-baked disaster directed by Burt Kennedy and starring Stacey Keach, came out in 1976. While Kennedy and his screenwriters, Edward Mann and Robert Chamblee, blithely butchered Thompson's novel, Winterbottom and his screenwriter, John Curran, remain almost slavishly faithful to the text. It's a lesser sin, but still a sin and not at all characteristic of Winterbottom, as we have seen. It's hard to tell if he was suffering from a surfeit of reverence or a rare failure of imagination and will. But what's on the screen is far too literal – more transcript than interpretation, more homage than distinctive work of art. As a result, the movie feels frozen in amber, oddly lifeless considering what the characters are doing to each other on the screen.
As the story unfolds, we learn that a small-town Texas deputy sheriff named Lou Ford is fighting not to have a relapse of "the sickness," an adolescent sexual fascination with little girls that morphed into a scandalous, violent liaison with a much older woman. Lou's step-brother took the fall for Lou years ago and ended up getting murdered for it. Lou has waited six years to get back at the killer, the construction tycoon Chester Conway, because he understands that revenge is a dish best served cold. He'll exact his by murdering his prostitute lover, then luring Conway's son to the scene and shooting him, making the mess look like a double murder between illicit lovers. The Conway family name will be ruined. We're deep in Jim Thompson country here: the novel is less a straight crime yarn than an unflinching tour of a sick mind.
Lou Ford himself serves as tour guide, speaking in the first person to the reader in a voice that gives new meaning to the word unreliable. Sometimes he stands in for Thompson, who enjoyed his first big success with this novel but never apologized for his lack of highbrow aspirations. Here's Lou Ford delivering a very Thompson-esque piece of literary theory:
In a lot of books I read, the writer seems to go haywire every time he reaches a high point. He'll start leaving out punctuation and running his words together and babble about stars flashing and sinking into a deep dreamless sea. And you can't figure out whether the hero's laying his girl or a cornerstone. I guess that kind of crap is supposed to be pretty deep stuff – a lot of book reviewers eat it up, I notice. But the way I see it, the writer is just too goddam lazy to do his job. And I'm not lazy, whatever else I am. I'll tell you everything.
Atmosphere is critical in any noir, and Winterbottom tries to capture the novel's moral aridity through verbatim dialog and voice-overs from the novel, but it never quite gels. Much more successful at capturing atmosphere is the movie's cinematography – those bleached colors, stark stretches of desert, and brooding mountains. It's an extreme place where extreme things seem almost destined to happen. Another strong point is a killer soundtrack that includes works ranging from Enrico Caruso and Gustav Mahler to Hank Williams, Charlie Feathers, and the Western swing fiddler Spade Cooley. (Cooley, in an apt twist for these surroundings, was convicted of beating his wife to death in 1961.)
Best of all is the cast. Elias Koteas, who always looks like he was just dipped in dirty motor oil, plays a deliciously smarmy union boss. Ned Beatty is serviceable as the porcine tycoon. Bill Pullman has a nice little cameo as an unhinged defense attorney. Jessica Alba as the doomed hooker and Kate Hudson as Lou's doomed fiancee both do fine jobs of living hot and dying (or appearing to die) hard. But the key gear in the works is Casey Affleck's deadpan portrayal of Lou Ford. His smooth cheeks, lidded eyes, monotone drawl. and correct manners are a mask, his way of convincing the world he's decent and a little slow, no threat to anyone. Affleck is not capturing the banality of evil; he's uncovering the evil that can hide behind blandness. He did the same thing in The Assassination of Jesse James by the Coward Robert Ford. This is true creepiness, and true art.
So creepy that Lou is capable of beating two women to death with his bare hands while murmuring, "I'm real sorry...I love you...goodbye." Many viewers and critics had a hard time watching this graphic violence, which begs the question: Is domestic violence supposed to look pretty? Only if you're in the fetishistically stylized world of a Guy Ritchie or Quentin Tarantino movie, where getting your head blown off can look so cool. Thompson – and Winterbottom – are making the point that such violence is both horrible and horrible to look at, and, what's way worse and way more important, there's a bit of Lou Ford inside every one of us. The only person who doesn't get this is Lou Ford. He believes, rightly, that he's sick, but he also believes, wrongly, that this sets him apart from the rest of humanity, that he's one of the evil "us" who live in the midst of the sane and good "them." As Lou puts it, "If the Good Lord made a mistake in us people it was in making us want to live when we've got the least excuse for it." Later he adds, "Our kind. Us people. All of us that started the game with a crooked cue, that wanted so much and got so little, that meant so good and did so bad."
Winterbottom's portrayals of violence in this movie have been called everything from "misogynistic" to "feminist." They're neither. They're valid artistic representations of an abiding fact of human life, especially when the humans are damaged goods. Thompson and Winterbottom never exalt Lou Ford or other monstrous characters, the way, say, Oliver Stone did in the execrable Natural Born Killers. I watched The Killer Inside Me with a friend who is a staunch opponent of the Guantanamo Bay prison and the death penalty. Unable to watch Lou Ford beat a second woman's face into hamburger, my friend muttered, "I'd like to torture that sonofabitch to a slow death." Then she stormed out, halfway through the movie. I took her revulsion to be a barometer of Thompson's and Winterbottom's success. They loosed my friend's monstrous yearning to torture and kill the monstrous Lou Ford. In doing so they proved that there is, indeed, a bit of Lou Ford in all of us.
It wasn't until I'd re-read all three novels and watched Winterbottom's adaptations that I came to understand what ties these three movies together and what sets them apart. First, of course, they were all directed by a man with a high literary sensibility who is a master at casting actors and drawing quality performances out of them. Production values are uniformly high. Marcel Zyskind served as cinematographer on all three films, giving each a look appropriate to the story's mood and message.
Then came the realization why these movies are so uneven: each had a different screenwriter. In Trishna, Winterbottom's script shrewdly updates a story about a rural society's traumatic urbanization; Boyce's script of Tristram Shandy perfectly captures the antic, self-referential spirit of its source material; and The Killer Inside Me falls flat because Curran's script treats Thompson's novel as a blueprint rather than a springboard.
In other words, the hardware of a movie – its direction, acting, cinematography, editing, makeup, music. and wardrobe – can carry it only so far. It turns out that in movies just as much as in books, the writing is, always and forever, the thing.
Difficult Books: Richardson, Sterne, Melville
Samuel Richardson, Clarissa, Or the History of a Young Lady (1747-8): The difficulty of Richardson's masterpiece lies almost exclusively in its length: the outsized Penguin Classics edition (9x5.5x3) is 1,500 pages and weights nearly three pounds. I'm not sure it's the longest novel in English; Richardson's own Sir Charles Grandison might be longer, and surely the likes of Pynchon, Wallace, and Bolaño have overtaken Clarissa by now—but she is certainly among the longest. Other possible sources of difficulty: the eighteenth-century diction and syntax of Richardson's masterpiece may seem a little strange or prim at first, as may the social mores of eighteenth-century England, and some readers find the plot insufficient to the length of the book (“if you were to read Richardson for the story," Samuel Johnson noted, "your impatience would be so much fretted that you would hang yourself.”) Many readers, however, are ultimately drawn in by Richardson's hero and heroine and the incredible psychological depth with which he draws them (Johnson again: “the first book in the world for the knowledge it displays of the human heart"). The nature of the relationship between the beautiful, virtuous, otherworldly Clarissa Harlowe and her lover/tormenter, the aristocratic libertine Robert Lovelace is entrancing. For emotional and psychological complexity, you will not find a more impressive novel in English.
Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759-1767): In the words of Steve Coogan (playing himself playing Tristram Shandy in Michael Winterbottom's film version of Sterne's seemingly unfilmable novel), Tristram Shandy is “a post-modern classic before there was any modernism to be post- about.” Sterne's 1759 masterpiece is an anachronism—a case of modern, even post-modern, literary sensibility springing up almost two hundred years before either aesthetic became widespread. The difficulty of the book is primarily structural: the novel's jumbled, non-linear chronology is frequently interrupted by hero/narrator Tristram's taste for digressions, pre-history, and recounting the doings of minor characters instead of his own life story (he does not get around to narrating his own birth until the third volume of the novel). Tristram patches into his text seemingly unrelated tales, letters, and images as he pleases, and (maddeningly) begins recounting events only to stop short of their denouement (a sort of writerly/readerly coitus interruptus). Some readers just don't enjoy the novel’s intense consciousness of the chaos of real "life and opinions" and the near-impossibility of representing them accurately in literary form (Samuel Johnson, for one: "Nothing odd will do long. Tristram Shandy did not last."). Sterne’s artful literary approximation of the associative, digressive messiness that is the real mode of human thinking and life plots, his attention to the difference between real time and narrative time, and his constant attention to the author’s determinative and problematic role in the story he tells, are not for everyone. But for those willing to mount their hobbyhorses and give TS a go, I recommend watching Winterbottom's film (a movie about making a movie about a book about writing a book) as a warm-up. Also, as one of our readers testified in the introductory post for this series, "Tristram Shandy is laugh aloud funny. I picked it up a few years ago with no prior knowledge–just wanted a novel from the eighteenth century. It’s a real treat. At one point, Sterne gets 8 pp. out of a piping hot chestnut falling into a guy’s breeches. This is lofty stuff."
Herman Melville, Moby Dick; Or, The Whale (1851): This is one of my favorite books and my choice for the great American novel, but I know others to have found it tough sledding (which, in a Shandian vein, reminds me of Moby Dick's Nantucket sleigh rides…). The trouble with Moby Dick, as I've gathered, is twofold: First, it's structurally odd, an anatomy more than a novel: a mix of novelistic narration and plot, reverie and essay, a quasi-scientific treatise on whether the whale is a fish (the dreaded ceatology chapter—which I recommend skipping altogether the first time through), dramatic monologues and dialogues, technical descriptions of the craft of whaling, a miscellany of quotations. Second, I have a feeling with Melville (as with his sometime friend and contemporary Nathanial Hawthorne) that the allegory at work in the novel is a little out of my league as a contemporary person (the allegorical habit of mind is rarely evident in contemporary culture—perhaps in Lars von Trier's Dogville), that I might not have the wherewithal to construe properly: What does the counterpane represent? The whiteness of the whale? The doubloon? Unlike, say, Pilgrim's Progress whose allegory is totally transparent (Obsinate, Pliable, Worldly Wiseman…), Melville's symbols have an indissoluble ambiguity, a lingering feeling of disparate possible meanings. But this is how it's supposed to be, I think, and speaks more to Melville's genius and his slightly mystical taste for signifiers with multiple signifieds. As with Milton, I recommend hearing this book. Moby Dick is really funny—occasionally verging into slapstick (Ah, the meeting between Queequeq and Ishmael! Oh, the shark sermon!)—and its prose is magnificent from start to finish (though heavy on dialect speech, which can be hard to read). With a recording, someone else (I recommend Frank Muller at Recorded Books) has the trouble of doing the dialect and you just have the pleasure and the beauty. For those averse to audiobooks, I am particularly fond of the Norton edition with illustrations by Warren Chappell and notes and commentary by Harrison Hayford and Hershel Parker.
More Difficult Books
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