Mean
Mean Mondays: Trailer Trash
Movies of books have a way of retro-actively hijacking the memory, or sealed conception, of a book in one’s mind. If fiction’s merit is the ability to collaborate with the imaginations of its readers, then film productions of movies ruin it.
Though I have not seen Revolutionary Road (forthcoming, 2009), Leonardo DiCaprio will forever replace the image I had in my head of Frank Wheeler. I had imagined him as a dour-faced bearded Richard Yates type of man, and yet I will most likely see the movie—in some sick masochistic way to brine in my own indignation. I guarantee you the movie will focus on infidelity (with bonus tit scene(s) of Wheeler’s secretary/mistress), and less (if any) on what the book seemed for me to be about, namely, Frank’s irrevocable self-loathing and self-pity.
John Krasinski (of The Office fame) has written a screenplay for Brief Interviews with Hideous Men (in post-production), the late D.F. Wallace’s exploration into crass sexually-driven male vernacular, sorta like lowbrow stream o’ consciousness via a plumber or taxi driver. Here’s the catch: instead of conveying the fragmented way each ‘entry’ was written—and its existential narrative ‘incompleteness,’ Krasinski provides us a plot arc: a female graduate student, recently broken-up with her boyfriend, interviews men in order to understand their behavior. Now, I wasn’t looking for an epiphany—but Jesus—does everything have to be about a man/woman?
In porn, there are many categories: man/woman; man/man; woman/woman; woman/horse; woman/dog; man/car exhaust pipe; cartoon character/‘furry’; etc. (for the records, I only enjoy the first category). The film industry would do good to learn from porn. Don’t worry about love, just try to make it interesting, even if it involves a gallon of horse emission.
There ought to be a White List of books that it is illegal to adapt into film, because I’m so afraid one day I’m going to see Holden Caulfield on the big screen, hanging out with his girlfriend in Central Park.
Tags: Brief Interviews with Hideous Men, film industry, Revolutionary Road, screenplay adaptions
Usually the short story to film adaptations turn out better – neither form is really compromised, or at least not in the same way as novel-to-movie, but this Brief Interviews adaptation doesn’t sound good at all. I want to see a George Saunders short on the big screen. I heard he’s already written screenplays for CivilWarLand and Sea Oak.
Usually the short story to film adaptations turn out better – neither form is really compromised, or at least not in the same way as novel-to-movie, but this Brief Interviews adaptation doesn’t sound good at all. I want to see a George Saunders short on the big screen. I heard he’s already written screenplays for CivilWarLand and Sea Oak.
its ridiculous shit
its ridiculous shit
i’m scared
i look forward to revolutionary road, i like Sam Mendes as a director/think he makes intelligent choices.
i’m scared
i look forward to revolutionary road, i like Sam Mendes as a director/think he makes intelligent choices.
I am with you Jimmy, in that movies from novels suck ass with great regularity and most likely, I won’t see Revolutionary Road to try to hold onto my sacred reader’s imaginative world created from reading that book. But I can’t agree that the book was just about Frank. It was also about April. And their entire community, in my mind. If fact, one of things I loved about it, was the constant switching of POV, something all MFA programs tell you not to do. The end bit? From the neighbors’ POV? Priceless. Perfect ending.
“Man/woman” thing? That comment confused me. Thier marriage and family and the life around that were their torture. The pivotal scene of her late abortion and death was not nothing to the book. And it wasn’t just Frank’s self loathing.
BTW- since I know Blake Butler hates meaning, I just finished reading “Barf Manifesto” ( to try and redeem myself here) where Bellamy quotes Raymond Federman as saying “As an experimental writer, I do not teach anything because experimental fiction does not try to say anything; it tries to be something”. That quote has nothing to do with Yates, but I had to throw that in there.
I am with you Jimmy, in that movies from novels suck ass with great regularity and most likely, I won’t see Revolutionary Road to try to hold onto my sacred reader’s imaginative world created from reading that book. But I can’t agree that the book was just about Frank. It was also about April. And their entire community, in my mind. If fact, one of things I loved about it, was the constant switching of POV, something all MFA programs tell you not to do. The end bit? From the neighbors’ POV? Priceless. Perfect ending.
“Man/woman” thing? That comment confused me. Thier marriage and family and the life around that were their torture. The pivotal scene of her late abortion and death was not nothing to the book. And it wasn’t just Frank’s self loathing.
BTW- since I know Blake Butler hates meaning, I just finished reading “Barf Manifesto” ( to try and redeem myself here) where Bellamy quotes Raymond Federman as saying “As an experimental writer, I do not teach anything because experimental fiction does not try to say anything; it tries to be something”. That quote has nothing to do with Yates, but I had to throw that in there.
lots of cartoons are better then the books.
lots of cartoons are better then the books.
i love barry
i love barry
I feel like doing a giant Mean Monday post about anti-MFA misconceptions. The only stories that I’ve seen receive ardent and almost unanimous praise in my MFA workshops are those that break the floating “rules” everybody equates with MFA programs. “This isn’t like an MFA story at all” is the highest praise doled out.
Of course, maybe it has something to do with my particular program, but I dunno.
To sum it up, MFA =/= Hollywood. Hollywood is going to fuck Rev. Road in the ass.
P.S. I don’t mean to pick on you, pr. Plenty of people say stuff like that. And then transition into talking about how everybody in an MFA program is a trust fund kid or some shit. I just get tired of it. No hard feelings.
I feel like doing a giant Mean Monday post about anti-MFA misconceptions. The only stories that I’ve seen receive ardent and almost unanimous praise in my MFA workshops are those that break the floating “rules” everybody equates with MFA programs. “This isn’t like an MFA story at all” is the highest praise doled out.
Of course, maybe it has something to do with my particular program, but I dunno.
To sum it up, MFA =/= Hollywood. Hollywood is going to fuck Rev. Road in the ass.
P.S. I don’t mean to pick on you, pr. Plenty of people say stuff like that. And then transition into talking about how everybody in an MFA program is a trust fund kid or some shit. I just get tired of it. No hard feelings.
Yeah, I’m not so sure the switching POV thing really happens in MFA programs, meaning I think it’s a misconception to say that MFA programs are anti POV switching. There are much better criticisms of MFA programs.
Eh, I think Revolutionary Road might be a good movie, but it’s going to be a different beast than the book. i love the book, but I think I can still love the movie as a separate entity. And, sometimes, the movies are better than the books (Lord of the Rings, for example.)
Yeah, I’m not so sure the switching POV thing really happens in MFA programs, meaning I think it’s a misconception to say that MFA programs are anti POV switching. There are much better criticisms of MFA programs.
Eh, I think Revolutionary Road might be a good movie, but it’s going to be a different beast than the book. i love the book, but I think I can still love the movie as a separate entity. And, sometimes, the movies are better than the books (Lord of the Rings, for example.)
“horton hears a who” comes to mind.
“a christmas carol” with scrooge mcduck. i rather watch that then read dickens any day.
bg+pr=4ever
“horton hears a who” comes to mind.
“a christmas carol” with scrooge mcduck. i rather watch that then read dickens any day.
bg+pr=4ever
I’m not anti-MFA at all. I guess I didn’t really put a lot of thought into that last post regarding that part in particular. Thanks for pointing out my half assedness there. When I got an MA in creative writing (I didn’t get an MFA so you can mock me right there for that) I heard a lot of things like- “you can’t switch POV in a story, or even a novel” and “show don’t tell” and well, other stuff.
I loved getting my MA degree in Creative Writing. But it wasn’t perfect. Nothing is. Also, that Federman dude I quote is from Nairopa, a program that surely wouldn’t tell anyone how to do anything, from what I gather. There are many different MFA programs. I guess I feel that most contemporary fiction doesn’t allow for “omniscient 3rd person” and really sticks to one POV. I would love to hear examples of recent fiction that switches POV. I’m sure there are many.
The trust fund thing I’ll let you get into. I worked part time, while i went to school part time. I went to school in Harlem- no one was a “trust fund kid”. I didn’t mean to insult MFA programs. I meant to say that Yates’s movealbe POV is something I love and very old-fashioned (think Dickens here) and something that I really like.
I’m not anti-MFA at all. I guess I didn’t really put a lot of thought into that last post regarding that part in particular. Thanks for pointing out my half assedness there. When I got an MA in creative writing (I didn’t get an MFA so you can mock me right there for that) I heard a lot of things like- “you can’t switch POV in a story, or even a novel” and “show don’t tell” and well, other stuff.
I loved getting my MA degree in Creative Writing. But it wasn’t perfect. Nothing is. Also, that Federman dude I quote is from Nairopa, a program that surely wouldn’t tell anyone how to do anything, from what I gather. There are many different MFA programs. I guess I feel that most contemporary fiction doesn’t allow for “omniscient 3rd person” and really sticks to one POV. I would love to hear examples of recent fiction that switches POV. I’m sure there are many.
The trust fund thing I’ll let you get into. I worked part time, while i went to school part time. I went to school in Harlem- no one was a “trust fund kid”. I didn’t mean to insult MFA programs. I meant to say that Yates’s movealbe POV is something I love and very old-fashioned (think Dickens here) and something that I really like.
I HEART BARRY
I HEART BARRY
Easter Parade is in the works says imdb.
Easter Parade is in the works says imdb.
I think Disturbing the Peace rocks. Anyone else with me on that? It’s up the with with Kesey’s One Flew Over the Cuckoo’s Nest. That made a good movie,but back when movies were maybe better.
I think Disturbing the Peace rocks. Anyone else with me on that? It’s up the with with Kesey’s One Flew Over the Cuckoo’s Nest. That made a good movie,but back when movies were maybe better.
Oh, I think there’re plenty of reasons to be anti-MFA, or at least critical of them. They are worth criticizing. I don’t think they are as homogenizing as they are accused of being. That’s a broad statement – I don’t think they are as a rule as homogenizing as they are sometimes accused. I think students do that to themselves sometimes, though, and what we get are many mediocre workmanlike stories that can feel ‘workshopped’. But my observation has not been that people coming out of Iowa are all Iowa writers. Maybe it is that there are shitty writers in all MFA programs who will become proficient at writing a particular kind of story, but the best writers at all programs will do what they do.
I like Federman.
Oh, I think there’re plenty of reasons to be anti-MFA, or at least critical of them. They are worth criticizing. I don’t think they are as homogenizing as they are accused of being. That’s a broad statement – I don’t think they are as a rule as homogenizing as they are sometimes accused. I think students do that to themselves sometimes, though, and what we get are many mediocre workmanlike stories that can feel ‘workshopped’. But my observation has not been that people coming out of Iowa are all Iowa writers. Maybe it is that there are shitty writers in all MFA programs who will become proficient at writing a particular kind of story, but the best writers at all programs will do what they do.
I like Federman.
I really like movable POVs and third person omniscience too, pr. I feel like it might be coming back. Paula Fox is another I first read in an MFA class who’s old but contemporary, and she does it pretty well in The Widow’s Children. Even if that novels, admittedly, is about upper class New Yorkers. They’re still people. The novel Arkansas by John Brandon switches POV, though it’s not quite Dickens omniscience. There are plenty of examples of new work that I can’t think of, I’m sure.
I’m glad you’re not anti-MFA. I didn’t mean to put you on the defensive. My apologies if it came off that way. There are many different MFA and MA programs, you’re right, and they all operate a little differently. And the class thing is probably the touchiest thing.
I am making the giant post right now. It will be vigorous and scornful and mean, but only to people who are genuinely anti-MFA.
the muppet christmas carol is a personal favorite
I really like movable POVs and third person omniscience too, pr. I feel like it might be coming back. Paula Fox is another I first read in an MFA class who’s old but contemporary, and she does it pretty well in The Widow’s Children. Even if that novels, admittedly, is about upper class New Yorkers. They’re still people. The novel Arkansas by John Brandon switches POV, though it’s not quite Dickens omniscience. There are plenty of examples of new work that I can’t think of, I’m sure.
I’m glad you’re not anti-MFA. I didn’t mean to put you on the defensive. My apologies if it came off that way. There are many different MFA and MA programs, you’re right, and they all operate a little differently. And the class thing is probably the touchiest thing.
I am making the giant post right now. It will be vigorous and scornful and mean, but only to people who are genuinely anti-MFA.
the muppet christmas carol is a personal favorite
Also The History of Tom Jones, A Foundling by Fielding does the POV shifting thing in an interesting way with the omniscient narrator messing with whose POV you’re allowed into at any point.
Also The History of Tom Jones, A Foundling by Fielding does the POV shifting thing in an interesting way with the omniscient narrator messing with whose POV you’re allowed into at any point.
doesn’t coover do this in the babysitter?
doesn’t coover do this in the babysitter?
were the muppets shows book first?
what about the peanuts series….
were the muppets shows book first?
what about the peanuts series….
oh, i was talking about, like, christmas carol was a book first, then the muppets adapted it to screen
right?
or was it the other way around
oh, i was talking about, like, christmas carol was a book first, then the muppets adapted it to screen
right?
or was it the other way around
I appreciate Matt and Mike, your telling me about multilpe POvs in contemporary lit. It’s not that I think it is the most important thing, but when I was in school, no one liked it in my work. I had to dig deep to eventually keep it — sometimes — in my work. Also, there is 3rd person omnisceint which is different from multiple POVs. But regardless, my point was that Revolutionary Road was not just about Frank- April mattered.
I appreciate Matt and Mike, your telling me about multilpe POvs in contemporary lit. It’s not that I think it is the most important thing, but when I was in school, no one liked it in my work. I had to dig deep to eventually keep it — sometimes — in my work. Also, there is 3rd person omnisceint which is different from multiple POVs. But regardless, my point was that Revolutionary Road was not just about Frank- April mattered.
Barry and ryan are making me laugh.
phillie are doin great man.
let’s talk sports. I HEART BARRY.
I think Proulx changes POV too.
Barry and ryan are making me laugh.
phillie are doin great man.
let’s talk sports. I HEART BARRY.
I think Proulx changes POV too.
Ryan, Coover did do that in The Babysitter. Good call. That story – as I remember-was broken into pieces, and from many POVs.
Ryan, Coover did do that in The Babysitter. Good call. That story – as I remember-was broken into pieces, and from many POVs.
it is so confusing!
i want to read it now, but i need to finsih eading these sutdent papers
it is so confusing!
i want to read it now, but i need to finsih eading these sutdent papers
jeez, i grab a whiskey after work and you guys went apeshit. i love you guys.
pr, yah, i guess it wasn’t all about frank, though i always thought april was merely reacting conditions that frank’s self-pity created. maybe i’m just a guy and read the book from that perspective.
there seems to be alot of ambivalence with MFAs. people always bring class/social economic issues up. htmlgiant should host a high school diploma/BA/MFA face-off.
jeez, i grab a whiskey after work and you guys went apeshit. i love you guys.
pr, yah, i guess it wasn’t all about frank, though i always thought april was merely reacting conditions that frank’s self-pity created. maybe i’m just a guy and read the book from that perspective.
there seems to be alot of ambivalence with MFAs. people always bring class/social economic issues up. htmlgiant should host a high school diploma/BA/MFA face-off.
diploma/bfa/mfa/peacecorps face off
diploma/bfa/mfa/peacecorps face off
ask the dust was a good movie adaptation i thought.
ask the dust was a good movie adaptation i thought.
there are a lot of good movie adaptations.
there are a lot of good movie adaptations.
It’s not Monday anymore. I will try to post the big post next Monday.
It’s not Monday anymore. I will try to post the big post next Monday.
no but it is time for a tuesday massive people interview
no but it is time for a tuesday massive people interview
i am excited to see revolutionary road, the movie
one time someone read an interview i did with someone where the other person said they didn’t like that revolutionary road was being made into a movie (or something) and then they commented on richard yate’s myspace page talking shit about me and saying i’m the kind of person who hates everything on TV and everything ‘mass consumed’ or something
i am excited to see revolutionary road, the movie
one time someone read an interview i did with someone where the other person said they didn’t like that revolutionary road was being made into a movie (or something) and then they commented on richard yate’s myspace page talking shit about me and saying i’m the kind of person who hates everything on TV and everything ‘mass consumed’ or something
i dont hate meaning. i hate forced meaning. as if anyone could know something enough that nobody else knows to say it in a clear way.
not getting started on that one.
**i bet RR will be better than the book, its pretty much a movie on paper anyway** INTENTIONALLY MEAN COMMENT THAT I KIND OF AM SERIOUS ABOUT
i dont hate meaning. i hate forced meaning. as if anyone could know something enough that nobody else knows to say it in a clear way.
not getting started on that one.
**i bet RR will be better than the book, its pretty much a movie on paper anyway** INTENTIONALLY MEAN COMMENT THAT I KIND OF AM SERIOUS ABOUT
i fucked maureen grube
i fucked maureen grube
who is maureen grube?
who is maureen grube?
the lady who is gonna show her boobs in the movie
the lady who is gonna show her boobs in the movie