Istanbul Literary Review - September 2011 Edition (#21)
Istanbul Literary Review - September 2011 Edition (#21)
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 AFeast 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
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 - September 2011 Edition (#21)