Istanbul Literary Review - January 2009 Edition (#13)
Istanbul Literary Review - January 2009 Edition (#13)
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Ten Southern Novels
That Should Be Feature Films
by
William Walsh

Each year, typically around summer time, critics lament the lack of quality films being released by Hollywood, bellowing about the poor selection and that there’s no money being made in the industry as consumers are spending their discretionary income elsewhere.  It seems as if they are waiting for the real films of fall and winter to be released when moviegoers are more apt to drop ten dollars for a ticket.  However, if it’s quality of the story that’s the culprit in this malaise, I propose that Hollywood look to the south.

When moviegoers and avid readers think of southern novels that have graced the silver screen what comes to mind is Gone with the Wind, To Kill a Mockingbird, The Color Purple, The Price of Tides, Deliverance, Forest Gump, and Sweet Home Alabama (based on a story). However, often regarded only as a hot bed of racial unrest, a stereotype that is mystifying to those residing here, there is much to find below the Mason-Dixon line of significant importance.  To those with their nose buried in the throes southern fiction, there is an ample supply of books that should have the attention of Hollywood producers and directors.

There are easily 100 novels by southern writers that could compete for space in any multiplex or art house, but I have compiled a list of what I believe are the ten novels that Hollywood should take another look at and think about producing.

A Cry of Absence by Madison Jones.  This is by far the most over looked novel by academia, critics and scholars a like, not to mention Hollywood and the American public.  Considered the greatest living American writer, Jones’ fifth novel, An Exile was made into the 1970 John Frankenheimer film, I Walk the Line, starring Gregory Peck and Tuesday Weld. Ironically, it may be Jones’ least successful novel; whereas, A Cry of Absence (1971) is Jones’ masterpiece.  Filled with racial tension and social attitudes in a small Tennessee town, it’s been called “the last pure tragedy written by a Southerner.”  When a young black man is chained to a tree and stoned to death, Hester Glenn discovers the murderer to me her son, Cam.  And, if you found Cold Mountain to be a wonderful Civil War story, try Jones’ Nashville 1864: The Dying of the Light (1997).

Darrell by Marion Montgomery.  Originally titled Pink Flamingos, in 1964 this novel was slated to be published in its entirety in the Saturday Evening Post as the editors attempted to rekindle the glory days of publishing when they printed the likes of William Faulkner, Rudyard Kipling, Theodore Dreiser, and Sinclair Lewis.  When Darrell was dropped for Robert Penn Warren’s The Cave, (because Warren was more notable than Montgomery) Doubleday held up the release of Darrell then cut the initial printing to less than 3000 copies.  Essentially, the novel was out of print before the reviews hit the news stand.  Critically acclaimed, Darrell is a satirical comedy with the filaments of a good tragedy traversing throughout the misadventures of a country boy as he and his grandmother adjust to the changes in small town Athens.  Montgomery’s other novels are also worthy of the silver screen: Fugitive and The Wandering of Desire.

Easter Weekend by David Bottoms.  This 1987 novel by the renowned poet has been very close to production several times but it just keeps missing the final stamp of approval by the Hollywood moguls. This plot driven novel begins with an amateurish kidnapping by Connie, an ex-boxer and a small-time loser.  He’s a sympathetic character throughout this thriller as he yearns to escape his life in Georgia for the wide-open expanse of Montana and what a new life with miles of land might hold for him. With characters often as quirky as those in Fargo, don’t be fooled. It’s not the southern version of this movie.The novel is well-written and a page turner by one of the finest poets in the country, one with literary ties to James Dickey and Robert Penn Warren.

All the Western Stars by Philip Lee Williams.  This novel was about as close to production as it gets before M-G-M dropped the project even after Jack Lemmon and James Garner were scheduled to play two loveable nursing home escapees that head out on the lamb to become cowboys.  While delays held things up, Lemmon moved on to another project, but then upon his death, all movie prospects fizzled.  These characters contrast and contradict each other in this 1988 novel that is fast-paced and funny but not at all sentimental, reminding one of Tough Guys with Kirk Douglas and Burt Lancaster.  Williams, who has twelve novels to his credit, should also be looked to for his debut novel, The Heart of a Distant Forest.

Appalachee Red by Raymond Andrews. You cannot discuss Appalachee Red without mentioning the other books in Andrews’ Muskhogean trilogy: Baby Sweets and Rosiebelle Lee Wildcat Tennessee.  All three novels should be on the production list of a studio as they are some of the finest writing about turn of the century black culture. Andrews, who died in 1991, created a world of immense tension as racism is leveled against blacks by others in the black and white community.  “Red” is not 100% black (half black/half Indian) and this causes trouble, and as Ray once told me, plot is simply getting people into trouble then getting them out of trouble. Appalachee Red won the James Baldwin Prize for fiction in 1979.  All three novels are plot driven with precise dialogue, incredibly well-written, and worthy of celluloid.

Alnilam by James Dickey.   A technical nightmare for the screen with the split page and duality of the light and dark speakers (sight and blindness) but this is a brilliant rite of passage World War II novel.  It was Dickey’s first novel since he wrote Deliverance and it is simply BRILLIANT.  Frank Cahill, a blind man, attempts to learn the truth of his son’s disappearance.  Bordering on a biblical parallel, there is a transcendence regarding what is truth and whether there was a resurrection of Cahill’s son and whether he reappeared or will appear again.  This is Dickey at his mythical best.  Published in 1987, Alnilam is often overshadowed by Deliverance starring Burt Reynolds, Jon Voight, and Ned Beatty.

Anything by Harry Crews.  Who else could you say this about?  While only seven of Crews’ fourteen novels are still in print, all of them are worthy of Hollywood.  Edgy is the best description for his genius.  Crews makes you feel uncomfortable with yourself as he pulls you into a world you’ve never experienced.  I should narrow the scope and choose one novel (All We Need of Hell or A Feast of Snakes—if I must), but with Crews you cannot be satisfied by choosing.  The film comparison for Harry’s mindset is Pulp Fiction and only Quentin Taranatino or David Mamet could direct a Crews novel—this from the man who wrote Where Does One Go When There’s No Place Left to Go? which is about a writer named Harry Crews being kidnapped by some of the characters in his own novel.

Dark Thirty by Terry Kay.  What happens when an entire family is murdered?  In 1973 in Georgia, six members of the Alday family were murdered—Dark Thirty explores the effects of such a tragedy on an entire community and examines the difference between justice and revenge.  Kay, whose novels have been produced as Hallmark Hall of Fame movies, including To Dance with the white Dog, starring Hume Cronyn and Jessica Tandy, handles the issue of murder and revenge with solid plot and character motivations until a final gruesome resolution distinguishes that justice and revenge may be one in the same.  But as Terry once said, “Justice is what I do; revenge is what you do.”  Well-written and loaded with tension, Dark Thirty is a thriller.

The Night of the Weeping Women by Lawrence Naumoff. When Kirkus first reviewed this novel they said, “Avoid this mean, vicious book at all costs.”  That warning may be true, but The Night of the Weeping Women is hilarious and fraught with such nasty family squabbling that it makes the Anna Nicole Smith saga look like The Waltons.  At a time when the dysfunctional families on television’s Sons and Daughters make us feel good about our own troubles at home, The Night of the Weeping Women will do the same for the big screen.  Optioned more times than Paris Hilton’s virginity, this is a precise examination of everyone’s rotten relatives.  How much family garbage can your in-laws dump in your driveway?  Naumoff makes it clear the level of tolerance most people must endure.  A great read!

Absolom, Absolom!, Light in August, and As I Lay Dying by William Faulkner.  Any Faulkner scholar will have their favorites by this Nobel Laureate from Mississippi, and several of Faulkner’s books have been put to the screen, but none too successfully with the exception of The Reivers, starring Steve McQueen.  I suspect the director who undertakes any of these projects will need a vision of what can occur when literature and the cinema dove-tail together to create an epic.  It will have to be on the scale of the Godfather films—three hours or more—or likes of Sense and Sensibility, Pride and Prejudice, or even Polanski’s Tess.  Faulkner’s not a walk in the park to read, and the film will likely be as complex as Chinese algebra, but if produced and directed correctly, any of these three will be classics.  If you film it, the public will come.  Remember, Faulkner was awarded the Nobel Prize for a reason.

Other novels that warrant consideration are : Walker Percy, The Moviegoer; Thomas Wolfe, Look Homeward Angel; Anthony Grooms, Bomingham; John Williams, Lake Moon; Clyde Edgerton, Raney; and  Fred Chappell, (the Jess trilogy) I am One of You Forever, Brighten the Corner Where You Are, and Farewell, I’m Bound to Leave You.  All of the novels I have mentioned are by men—the next article will be devoted to female southern novelists that should have their work on the big screen.  It’s a cornucopia of talent that will surprise and delight any appreciator of good fiction.

With the remake and release of All the King’s Men by Robert Penn Warren, with a cast of all-stars including Sean Penn, Jude Law, Kate Winslet, James Gandolfini, and Anthony Hopkins, as well as the immense success of The Chronicles of Narnia (although not a southern story) and Walden optioning the seven-part book series for film development, perhaps the powers to be are open to developing projects with a little more bite than Fast and the Furious: Tokyo Drift.  If Hollywood does, they need look southward, angel.

 

In The Midst Of Life In The Midst Of Life
Chares Rose
NewSouth Press

Let me be perfectly honest regarding Charles Rose's memoir, In the Midst of Life: A Hospice Volunteer’s Story  (an account of his two-year experience as a hospice volunteer). . . it is not the type of book I would ever in my wildest dreams want to read and most certainly would have avoided it to the millionth degree.  It is everything I try to avoid in my life—death, funeral homes, the homebound, and dealing with all issues surrounding these subjects.  However, it is exactly the book I needed to read, and I suspect, most people not only should read In the Midst of Life, but they absolutely need to.

Great literature has many qualities that define for humanity those elevated notions that we are distinguished by our ideas and the clarity we bring to the very complex, the dilemmas surrounding our most anguished fears (primarily death), and in the final analysis great literature is great because it changes us, forces us (individually, then culturally) to look deep within ourselves to evaluate who we are, where we are going, and what we want to be remembered for. I'm not about to stamp Rose's memoir with the sobriquet of great literature but he is well on his way to changing every reader, albeit one at a time, who touches this non-fiction sojourn.  Even if one's life is not drastically changed, one cannot read his memoir without being affected by its tenderheartedness, compassion, and perceptivity as he quietly steps into the lives of people who are dying.

Charles Rose, who was honored in 1998 as the Hospice Volunteer of the Year, is now into his mid-seventies.  He is a retired Auburn University English professor, who admits that in his lifetime he never did much in the way of activism or helping mankind to be a better place.  He wasn’t about to turn down a person when help was needed, but what had he really done in his life to help others?  According to Rose, not too much.  But after his retirement, Rose had pockets of time to think about his life during his drives and his daily meditations and writing sessions in a local Burger King, and it’s during these meditative entr’actes when he began to ponder all that he had not done in his life and how he felt the desire to help others in some manner.  He describes his crossroads:

I crossed a narrow bridge over the railroad about five miles away from Waverly.  The road leveled out, the ruts giving way to tar-speckled asphalt.  For a moment, I felt I was in the middle of nowhere, on my way from one place to another without knowing why.  It came over me—what was I doing for others, apart from those who were close to me? I wasn’t likely to turn a beggar away, but did that make me a good Samaritan?

 

Part of Rose’s motivation for helping others stems from his lament that he had not participated in the Civil Rights Movement, although he supported it in a fledgling way from a distance while a young professor, but certainly he never took to the streets, and although he opposed the Viet Nam War, he did so from a safe distance with a “bourbon and water close at hand.”  The only thing Rose could muster up from his past that had any sense of good samaritainship was signing a bail bond, thus mortgaging his house, for two seventeen-year-old girls accused of drug possession.  This act of kindness allowed them to be released from the Opelika jail.  In the end, neither girl absconded authority and Rose retained his mortgage.  Hardly a hardcore activist, but none the less, a beginning for Rose.  However, it would be almost thirty-five years before Rose began the apprenticeship as a hospice volunteer.  This is where Rose’s life changes, and with it, the reader is absorbed into the world of ordinary people who have become sick and in great need of another person’s care, but I think, most of all, these patients were much in need of another person’s fellowship as they spent their finals days homebound and in many case, bedridden.

I first read Rose’s memoir a little more than a year ago, and I knew I wanted to write a review about how a man in his seventies can made dramatic changes in his life, but much like Rose in his younger days, I procrastinated, to make the effort, if any.  Perhaps it is ironic that I began, for the first time, reading In the Midst of Life the same week the Terry Schiavo story garnered full press coverage in the United States and abroad.  I approached the Schiavo story, at best, as a disinterested spectator, and thought of it more or less as an unfortunate circumstance for all involved.  But what occurred is a transformation regarding the entire idea of life—through Schiavo’s life and the lives of the four patients Rose visited on a weekly basis—Lonnie Simmons, a 76-year-old black man; Howard Carr, a 74-year-old white World War II veteran; Larry Beckwith, a 54-year-old white chemistry professor at the Tuskegee Institute; and, Cassie Binton, a 93-year-old black woman—all with terminal cancer.

Each of these folks was holding on to this life as best he or she could.  But it was inevitable, the outcome, and while you as the reader knew what was to come, you were hoping that some miracle who appear.  And where Terry Schiavo debacle was played out on a national stage, these patients all passed quietly.  Yet, what this book did was elevate one to think a little more about what is going on, take into consideration the frailty of life, and appreciate one’s current circumstances, for like any of Rose’s patients, it can change very quickly. 

Rose utilizes a very detailed narrative as he captures the lives of the people he visits, taking notice of the minute—knickknacks, the dog in the yard, the 100 watt window air-conditioner, specific photographs, a fire hydrant in someone’s yard, and on the wall the crocheted letters spelling out PROMISE LITTLE, DO MUCH and GOOD DEEDS LIVE LONG—all little mementos showing that each house (without being sentimental here) is where a life was lived and people were loved, and although someone here may be dying, they are among friends and loved ones.

Rose begins his journey simply as a man who wants to help out in some way then sits in a Burger King every day and writes about his experiences without being preachy or self-serving.  I do not believe that Rose set out to change the world or himself—he simply wanted to help, but what occurs is a transcendence of the narrator, very quickly mind you, from a man of sheltered distance to a man who truly cared and felt grief after coming to know these people during his weekly visits where he read Bible passages, The Hobbit, drew sketches or talked to them about things they found important.  As a reader you do not fall in love with the characters as you would in a novel but you come to respect their lives and what they were going through.  For instance, Howard Carr was a World War II veteran in the 102nd Cavalry Command under General Patton.  Rose’s conversations with Carr reveal the pride Carr felt as a solider—one of the first things he told Rose was that he was under the command of General Eisenhower, the Supreme Commander, referencing the importance of his duty.  Rose read to him the Bible andHuck Finn, and there was the genuine concern from Rose for the use of the word “nigger” and how it may have bothered Carr, a white man.  Rose chose to use the term “N-word” when he came to it in the text.  Rose’s sensibilities for all people he encounters play out this way—a true respect for their lives.  Then after many visits to Howard Carr, Rose wrote:

Before I left I said I’d have a look at Howard.  I went back to the bedroom by myself.  Howard lay with his head to one side, the black hole of his mouth cranked open, his eyes glued shut.  I stayed close to the door, listening to his heavy breathing, waving my left hand back and forth a few times, before I left him there, asleep in his bed.

Howard Carr died the following Sunday, at the age of seventy-four. On Monday morning, I received a telephone call from Lee Merritt. Howard had had a seizure, she said, and had been in considerable pain.

 

Rose’s recollections are very observant about what people thought and said about their life, and  there is the true tenor of the pain associated with the patients.  When “Cassie Binton died on October 29, 1999” Rose recalls the last time her saw her in late September:

The first thing Eileen did when we got to the bedroom was drain mucus out of Cassie’s esophagus.  Eileen forced Cassie’s head back and inserted a plastic tube into Cassie’s mouth.  The squat machine on the floor hummed, slurped a tobacco brown liquid into a Tupperware-like container. . . .  Finally, Eileen worked the tube out of Cassie’s mouth.  Cassie’s lower lip sagged, her eyes showed relief.

“Mister Rose brought you a pretty flower, sug.”

. . . I said something—I brought you a camellia—inadequate, not enough.  Cassie’s fingers closed on the vase.  We both held it, fingertips touching, our eyes on the red camellia.

"Thank you," Casiise whispered. Those were the last words I heard her utter.

 

In the end, Rose asked himself over and over what all of this meant.  He concludes with one possibility that “. . . the feeling has persisted—one keeps plodding on, unable to break out of existence, its multilayered contradictions, its crooked roads that seem to lead nowhere.”  But it’s not as dreary as this and the road does lead us onward as Rose demonstrates.  He understands that someone will be there to help us through the journey as “the cottony sky memorialized the fleeting moments.”

It was Larry Beckwith who told Charles Rose that he read very well, like an actor, and wondered if Rose had ever been an actor.  No, he had not.  But Rose’s narration reads with the fluidity of a seasoned orator.  It took a second reading and a distance of about eighteen months for me to think about Charles Rose’s memoir the way I needed, to give it enough time to gestate in my mind, to find the words I knew I wanted to say about it—it’s really about life and death, and in the end how we avoid it, pretend it doesn’t really exist, and if we are convincing enough, we might be able to pretend, fool ourselves, in to believing it won’t happen to us.  Do yourself a favor—read this book because somewhere down the road we will all face any number of similar circumstances.

Istanbul Literary Review - January 2009 Edition (#13)
William Walsh
William Walsh
wwalsh@mindspring.com
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Istanbul Literary Review - January 2009 Edition (#13)