How Ian Saw James
Originally published in Litro Magazine www.litro.co.uk/2013/05/my-word-is-my-bond-when-writers-see-their-creations-on-screen/
We’ve all had the sensation of seeing a film adaptation of a favourite book and thinking that the characters aren’t being portrayed as we’ve always imagined them; that the story isn’t being told properly. For the authors who first wrote the words the sensation must be much stronger and stranger, and there have been adaptations both loved and loathed by their original creators. The difference for writers is that they get the chance to respond in their own writing.
I started to think about this again recently as I came to the end of my sequential read-through – interspersed with plenty of other more nutritious reading – of the original Ian Fleming Bond books. I’d read a couple before out of sequence, but it’s fun watching Bond change and yet stay the same across a decade of stories. He never stops being a snob, a sadomasochist, a misogynist, a xenophobe, a homophobe: as Blofeld calls him, “common thug, a blunt instrument wielded by dolts in high places”. And until things start to fall apart for him towards the end of the series, he rarely displays the levels of character complexity that he does in his debut Casino Royale.
I was interested in the most recent revelations (perhaps too strong a word) about Truman Capote’s In Cold Blood and this piece by Robert McCrum as I’d been thinking a bit recently about the importance of being able to identify what’s ‘true’ in stories and, as McCrum puts it, our “profound, unconscious need to know what genre we’re in.”
I’ve written before about how weird the process of making things up is – that as a novelist it’s not enough to lie convincingly, but rather you have to create interesting semi-patterned fabrications like the delusions of a conspiracy theorist. And if you get it right, the reader will join you in the conspiracy. As Dom Grelsch says to Luisa Rey in Cloud Atlas: “Anything is true if enough people believe it is.”
If any book tests the boundaries of genre it’s Cloud Atlas, but even so we have developed tacit cultural agreements about what is and isn’t considered plausible within our stories. At one extreme, in Don’t Sleep, There are Snakes, Daniel Everett writes about the Pirahã people who never tell stories about subjects beyond their direct knowledge, and always demand evidence based on personal experience. (Everett, a former missionary, has all sorts of trouble explaining Jesus to them.) But at the same time, forest spirits can literally take the form of people and animals, and be present even if unseen. Continue reading
Last week I saw inside my brain.
I’d signed up for a research study on aging which involves various questionnaires, tests and scans. My replies, actions, charts and images become anonymised data; points for the researchers to plot and analyse so that what they see might perhaps become a tiny percentage of the beginning of an idea about how the brain ages and changes.
My data will become anonymous, but with this MRI scan you can still tell that this is me, even to the stubble of my beard and the shadows under my eyes. Great, even on an MRI l look tired. And I appear to be suppressing a smile – in fact just a squeeze of my cheeks caused by the plastic frame I wore to keep my head still. And then that strange wood-effect on my skin, as if by slicing me in half like that you could count the rings to tell my age. Continue reading