I’ve been on a big historical fiction kick lately. All three of the novels I’ve read recently in this genre jumped off the page and played like movie reels in my mind. There’s something about the genre (when done well) that naturally lends itself to adaptation for both big and small screens. In this golden era of “limited series” on TV and in streaming services, I couldn’t help but imagine how these novels would play.
Darktown by Thomas Mullen – This crime drama about the first African-American cops in Atlanta in the 1940s and the corruption and racism they had to battle would seem a perfect fit for TNT or FX. I could see it playing out similarly to the recent limited series from Patty Jenkins, I Am the Night. Heck, that series’ own Carl Franklin would be a fantastic choice to direct.
When It’s Over by Barbara Ridley – This tale of refugees from the Czech Republic and Germany fleeing to England during WWII would make a splendid PBS Masterpiece Theater series.
The War in Our Hearts by Eva Seyler – When I first read started reading this melodrama about Scots on the Western Front of France during WWI, it initially made me think about those searingly romantic mini-series of classic 1980’s TV (think The Thornbirds or North and South). But the novel ended on such an achingly poetic note that I couldn’t help but picture it as a cinematic moodpiece by Terence Davies.
What have you read lately that begs for a big or small screen adaptation?
And I am all the things I have ever loved: scuppernong wine, cool baptisms in silent water, dream books and number playing. – Toni Morrison
I was the only (dumb) white guy in the class. Maye the only wannabe writer, too. 1999. African American Literature at Elon College. I thought I was cool being the minority. We had to read Jazz by Toni Morrison. From the very first line…Sth, I know that woman…I was transported, and changed. It was, and still is, to this day, unlike any other novel I have ever experienced. It was wholly unique, a novel written like music…a looping chorus of tortured souls, a deepdown, spooky jazz song about people and places I had never thought about before…voices I had never heard and feelings I would never forget.
It was also composed in a way that broke every rule of
writing. Jazz is the reason all of my novels have roving, shifting, intertwined
Morrison shunned the idea of writing something universal…but
in her specificity and focus on the African-American reality, she tapped into
the timelessness of the human experience. The human frailty and strength she evoked
Margalit Fox of The New York Time’s wrote: “Ms.
Morrison animated that reality in a style resembling that of no other
writer in English. Her prose, often luminous and incantatory, rings with the
cadences of black oral tradition. Her plots are dreamlike and nonlinear,
spooling backward and forward in time as though characters bring the entire
weight of history to bear on their every act.”
I loved to hear her talk, her voice like a cool babbling
brook gossiping about the world it snaked through, and read her thoughts on the
craft. I basked in her wisdom.
If you don’t see the book you want to read out there, go
write it. Damn it.
I loved her thoughts on freedom.
Once you’re free, you gotta free somebody else…otherwise
what’s the point?
Her thoughts on leadership were no different…set the bar
high, and when you get some real power, use it to empower others.
I was lucky enough to see her speak and meet her in person
at the Free Library of Philadelphia with my wife in 2015. She was everything I
knew she always was.
Toni Morrison is, and always will be, all the things I have
She is the Greatest American Novelist, and she has left
behind a legacy of words and wisdom we are hardly worthy of. She is the best of
us. She is all of us.
I’d like to imagine that a thousand years from now when all musical
recordings are lost, the internet is unplugged, and the only clouds are those
in the sky…someone might wonder, what was jazz?
The only answer will be her book, whose opening paragraph
was sung like this…
Sth, I know that woman. She used to live with a flock of birds on Lenox Avenue. Know her husband, too. He fell for an eighteen-year-old girl with one of those deepdown, spooky loves that made him so sad and happy he shot her just to keep the feeling going. When the woman, her name is Violet, went to the funeral to see the girl and to cut her dead face they threw her to the floor and out of the church. She ran, then, through all that snow, and when she got back to her apartment she took the birds from their cages and set them out the windows to freeze or fly, including the parrot that said, “I love you.”
“Most of the time in our world, truth is opinion.” – pg 101, Anil’s Ghost
In the chaos of war-torn Sri Lanka in the 1980’s, a Sri Lankan born forensic anthropologist trained in Britain and America, returns to her homeland on behalf of a human rights group and teams up with an archaeologist to solve the mysteries of unidentified skeletons, as likely to be remains from an ancient burial site as they are to be the recently desecrated and burned corpses of victims of terrorism left in a jungle ditch.
While reading Michael Ondaatje’s Anil’s Ghost, a novel so rich in immutable sadness and beauty I’m not even sure what happened at the end, only that it was beautiful and sad and unforgettable like the very best and weird dreams are, I started to think about the run Ondaatje was on when he published it. Most artists are lucky if they produce one great work in their lifetime, and the masters can typically eek out three great works if they are prolific enough over many decades. It’s absolutely staggering to think that Anil’s Ghost came directly on the heels of In the Skin of a Lion and The English Patient. There is absolutely no doubt that this tryptic represents Ondaatje at the very height of his literary prowess, and his ability to churn out these three masterpieces one right after the other is something of a miracle. How many novelists or film auteurs have performed this hat trick, having produced their three greatest works sequentially? I scanned across my favorite authors and filmmakers to see if anyone matched Ondaatje (realizing of course this would be a highly subjective exercise based on my own opinions), and I would dare my fellow writers, readers, and film buffs to do the same and see what they come up with… Continue reading →
Don’t ever let them tell you life is short, Ty. Life is long and people do lots of things. Some of them good. Some of them bad. And sometimes these things catch up to people. And sometimes that takes a long time. – Evelyn Kydd, from Then Came Darkness
The arc of a writer’s life is long, too. You have to write a lot of bad stuff (and read a lot of good stuff) before you learn how to write well.
I’ve been writing since I was seven years-old (my first story was a melodrama about a jewel heist) and I’ve shoveled my fair share of crap, including countless twisted tales during middle and high school, and three highly questionable and amateur novels I rushed to market during the infancy of the self-publishing craze right after college before I finally wrote some good stuff, The Thief Maker. I’d like to think my latest, Then Came Darkness, is good stuff, too. It laid dormant for a number of years as my favorite unpublished work, and then on a delirious whim fueled by exhaustion and inspiration while on parental leave last year, I thought to myself, “What the heck, let’s dust this off and publish this thing!” It was equal parts a lark, and a test of the new waters.
A lot has changed in the twelve years since I self-published my first bit of good stuff, The Thief Maker. In the years between that and Then Came Darkness I’ve been busy with blogging and short stories (some which have been published), and big life stuff like advancing in my corporate career, multiple trips to Europe, getting married, buying a house, and having a baby. It’s easier now than ever before to self-publish thanks in large part to Amazon’s Kindle Direct Publishing program, but it’s probably ten times as hard to find an audience as it was twelve years ago (not that I was very successful then either, though the small audience I did find for The Thief Maker seemed to like it).
I was honestly lost this time around until I found the #WritingCommunity on Twitter and started making use of my neighborhood Little Free Libraries, which I have tirelessly stocked with autographed copies. The one at the end of my street has been restocked at least five times…so thanks, neighbors, or whoever you are out there reading Then Came Darkness!
All of this made me want to take a little trip up to my attic full of boxes which store much of my earlier writing, which as terrible as most of it is, was fun as hell as to write at the time. I fondly remember the days of middle school friends fighting over who got a character named after them, and furious scribblings in notebooks during torturously boring high school classes that got passed around like gossip. Many of the techniques used, character types birthed, and themes explored later were present there from the start: fractured non-linear timelines, unreliable narrators, feisty women, tortured men, and resourceful orphans all trying to survive personal tragedies amidst larger chaotic (often apocalyptic) events.
So here, for fun, are some delicious tidbits from all that crap I had to write then to get to where I am now. Continue reading →
Science fiction is a genre I have a love-hate relationship with. It so often has been co-opted by fantasy and rarely focuses on the science half anymore. Even my once beloved Star Trek, which used to explore alien lands and space exploration through the veil of politics and philosophy, has devolved into action-based space opera nonsense. Sometimes when co-opted by horror (see Alien) it can be fun as hell, but more often than not schlock. And when it’s just one of the flavors of something more satirical and speculative, ala the works of Kurt Vonnegut or Margaret Atwood in novel-form and Black Mirror in streaming serialized form, it reaches my preferred heights. Then, of course, there’s the guilty pleasure of something like Verhoeven’s film adaptation of Starship Troopers (action! satire! fascism! horror! gore!)
But it’s been a long, long time since we had something like 2001: A Space Odyssey – Kubrick’s seminal film which turned science-fiction into a religious experience. Let’s not forget though, it was based on a dry, very serious-minded short story by legendary science-fiction writer Arthur C. Clarke. Which brings us to First of Their Kind…a novel I discovered while promoting my own during #IndieApril. I was nervous to approach it, as it was science fiction, and the last science fiction novel I read (Artemis by Andy Weir) was a huge disappointment. Thankfully, I took the gamble…
C. D. Tavenor’s debut novel, First of Their Kind, harkens back to the best work of Arthur C. Clarke. This is serious science fiction that focuses on well thought-out and researched science and its potential future applications. Continue reading →
Above: the only picture of Buddy Bolden (top, second from the left)
Coming Through Slaughter, a piece of poetic historical fiction that attempts to channel the mysterious genius and insanity of jazz trumpeter Buddy Bolden, was Michael Ondaatje’s first novel (published in 1976) though one must use the term novel loosely. I had the pleasure of seeing Michael Ondaatje speak at the Free Library of Philadelphia this month, and he touched briefly on Coming Through Slaughter, and how it was a bridge between his earlier poetry and his later more refined (though still free flowing and organic) novels.
Along with Toni Morrison, Michael Ondaatje is probably my favorite living novelist. Coming Through Slaughter shares some stylistic and thematic traits with Morrison’s 1992 masterpiece Jazz (one of my favorite novels of all time). Both attempt to lyrically copy the cadence and spirit of the music in written form, but while Morrison’s work features many voices riffing on each other, Ondaatje’s is a singular voice that goes on a solo performance into madness. Morrison’s novel is slinkier, like forgotten notes from a dozen songs cat-pawing through a moonlit room whispering their spooky secrets. Ondaatje’s type of jazz is more gritty, virulent, like an unending trumpet blast ear-worming into the sweatiest, dirtiest, darkest spaces. Continue reading →
This is what director David Lynch told actor Russ Tamblyn while shooting a key scene for the original Twin Peaks in an attempt to get the right reaction. And it worked. I vividly recalled that scene, and man, Russ Tamblyn was all kinds of spooky looking, obviously thinking about ghosts.
It’s these great little tidbits that make Room to Dream such an enjoyable, and often weird, read for fans of surrealist extraordinaire David Lynch – a man who seems like he must have had a tragic, horrible upbringing to be able to tap into such pain and darkness, yet seemingly didn’t (by any account, his or another). Here is a man who had a Norman Rockwell upbringing only to obsess over the seamy underbelly of the white picket fence world he both loved and railed against.
The semi-autobiography has alternating mirrored chapters (it is eerily its own doppelgänger) about the same events – one from the point of view of David Lynch’s friends, family, and colleagues and then one from his point of view. It is long and rambling and very detailed. Though none of the back-stories on the productions of his films were previously unknown to me, someone who has studied and read about Lynch for decades, I especially enjoyed those walks down memory lane to Philadelphia and the Eraserhead days. The meat of the book is in those delicious little tidbits and the altered views of what happened…Lynch sometimes disagrees with (or doesn’t remember) what the others say happened. Continue reading →
“Souza’s novel follows many of the standard modern murder mystery tropes, but’s it’s all told from the point of view of a protagonist unlike any other…In Lucy Abbott, Souza has created an unforgettable character who is tortured, complex, and tough as nails.”
Next up is a stand alone short story from Jenna Moquin, Stone Storm, about a man who finds a dead body in a blizzard and then fears the killer may have snuck into his farmhouse for shelter.
“Edgar Allan Poe tales are often over-used for inspiration for far too many uninspired tales. Luckily, with Jenna Moquin’s Stone Storm we have one of the more effective uses of a classic Poe theme. I won’t mention which of his fabled short stories serves as inspiration here, as it would give too much away, but this is one of the better updates I’ve read.”
Lastly we have John Greco’s short story collection, Bitter Ends.
“John Greco’s short story collection, Bitter Ends, is jam-packed with quick, nasty little numbers full of cheating and murdering spouses and twisty turns of fate. If there’s a lesson to be found…it’s probably this: never agree to a prenup. While some of the stories seem more like sketches and aren’t as fleshed out as others, there are a few real stand-outs of the noir genre: Good for Nothing, We All Got What We Wanted (probably my favorite…with its Upstate New York setting), and A Marriage to Die For.“
Where does one even begin to review a book like Joseph Souza’s Pray for the Girl? And how can any in-depth analysis not reveal one of its major plot twists? And believe me, there are many jaw-droppers here. Souza’s novel follows many of the standard modern murder mystery tropes, but’s it’s all told from the point of view of a protagonist unlike any other.
Lucy Abbott is a veteran of the Afghan War, both emotionally and physically scarred by her experiences and haunted by the death of a young girl she couldn’t save while stationed there. After a stint in New York City where she honed her culinary skills as a way to avoid dealing with her PTSD and other issues, she returns home to Fawn Grove, Maine to help her ailing sister only to find the once proud mill town economically devastated and tensions rising between the townies and recent influx of Afghan refugees. When a young Afghan girl (like the girl Lucy couldn’t save in the war) is found buried up to her head and stoned to death, Lucy takes on the classic role of amateur detective as a way to wrestle her own demons and find redemption, she hopes for both herself and her town.
In Lucy Abbott, Souza has created an unforgettable character who is tortured, complex, and tough as nails. Her PTSD only scratches the surface of what she’s been through and amplifies the conflicts she’s had with her own identity all her life. Continue reading →