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Thirteen (2003) Film Study

Thirteen is a 2003 feature length indie film which punches above its low-budget weight thanks to expert storytelling and characterisation. Director Catherine Hardwicke co-wrote the script with her erstwhile step-daughter Nikki Reed, who also stars as Evie Zamora. Hardwicke has known Nikki since Nikki was five.

At the time this film came out I was teaching at a girls’ high school and this film impressed me for its realism. The realism is terrifying, in fact. I taught girls who idolised the young heroes in this story, and one who had been burning herself with cigarettes hoping to ‘be just like’ Tracy. This is definitely a film that needs to be watched with parental commentary, but it should be watched anyhow. This is realism for many adolescent girls. The intense relationship between Evie and Tracy, one built on dominance as much as it is built on love, is highly recognisable. Not all teenage girls get into one of these relationships, but many do. As Rachel Simmons writes in her book Odd Girl Out (published around the time this film came out), a relationship dynamic like Tracy and Evie’s is grooming Tracy up for relationship abuse later, when she gets into a romantic relationship. Better she learn some basic lessons now, while her mother is there to protect her somewhat.

This is why young women should see this film. Better they process it from the other side of a screen.

LOGLINE OF THIRTEEN

Sometimes I wonder if thirteen is considered unlucky because being thirteen-years-old is so hard.

A thirteen-year-old girl’s relationship with her mother is put to the test as she discovers drugs, sex, and petty crime in the company of her cool but troubled best friend.

 

GENRE OF THIRTEEN

Hardwicke first intended to write comedy, but soon realised after talking with Nikki that she couldn’t make a single thing up more interesting than what was going on in teenage girls’ real lives, so the film turned into a harrowing drama. So there’s an interesting insight into how much a story can change between conception and final draft. Stories can leap from one genre to another.

The actors say that in the theatre at the Sundance screening they heard uncomfortable giggles throughout the film, especially at times of high intensity. They possibly got as many ‘giggles’ as they would have had they produced an actual comedy. Audiences are weird like that.

Thirteen is not a thriller — it is a straight drama. But the structure involves the coming off of a mask, which makes the structure similar to transgression comedies and also noir thrillers. For much of the movie, Tracy Freeland is acting as a pseudo-adult, ditching her mother who she still needs very much in favour of a girl who has not been so well protected from the world. How does Hardwicke wrap up this story? It’s a story chock full of conflict — arguments with Tracy’s mother, father, brother, teacher and former best friends. Therefore the ‘battle sequence’ needs something extra. In this case it’s the coming off of the mask. After rejection from Tracy’s mother, Evie Zamora outs Tracy to everyone as a thief, self-harmer, drug abuser and all-round evil person. While this portrait of her is not quite right either, it is in this scene that Tracy’s mother finally gets the full picture regarding what’s been going on with her daughter. The mask is finally off. In the outtake scene we see Tracy on a roundabout (a regression to childhood), emitting a primal scream. The torment of keeping up this facade of rebel has passed. 

STORYWORLD OF THIRTEEN

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Missing May by Cynthia Rylant

Missing May is a 1992 American middle grade novel by Cynthia Rylant. This is one of Rylant’s best-loved works, and won the Newbery in 1993. It is about grief and pulling oneself out, realising that life goes on even after great loss.

After the death of the beloved aunt who has raised her, twelve-year-old Summer and her Uncle Ob leave their West Virginia trailer in search of the strength to go on living.

Missing May is short, at 89 pages. Part one details the state of grieving, and part two is the journey out.

Missing May Part One: Still As Night

CHAPTER ONE

The first person narrator seems a lot older as she writes about the time her mother died and she went to live with her aunt and uncle. She can’t be all that much older though, because she talks about growing up with Garfield. Garfield is only 40 years old this year, and Missing May was published in 1992. In fact, the narrator is not a lot older — she is a lot wiser.

Uncle Ob makes whirligigs, and these whirligigs represent all sorts of things, like storms or heaven. This marks him out as a bit of an eccentric. I read him as an adult autistic man. He may get sensory pleasure from looking at the whirligigs.

Another story (film) in which a motherly figure dies suddenly, leaving the young newcomer alone with an eccentric man is the New Zealand production Hunt For The Wilderpeople, itself based on a classic novel. This particular character duo allows both to undergo a character arc, and the eccentric, bereft man will learn to come out of his own grief with the assistance of the young person. The young person will in turn learn some profound life lessons from the older eccentric man.

That’s what I’m expecting from this novel after two pages. After reading the whole story, I feel Summer is more of a viewpoint character than the star of her own story. She seems more in tune with her uncle’s feelings than she is with her own.

Summer has come from Ohio to a trailer house located in Deep Water, Fayette County, which is in West Virginia. Cynthia Rylant herself grew up in a small town in West Virginia. In her Newbery acceptance speech Rylant says that she was brought up by her grandparents for several years at a place called Cool Ridge, not in a trailer house but in a small house, with a garden much like Aunt May’s.

We don’t learn until the end of the chapter that she is six years old when she moves. This immediately puts me in mind of Lois Lowry’s The Woods At The End Of Autumn Street. Similarities so far:

  • A six year old girl who has moved from one place in America to another
  • To live with distant relatives
  • Death
  • An opening chapter which is written in a nostalgic tone, looking back on a time long, long ago (though this must have been the 1980s).
  • We don’t yet know her name, giving this character a universal feel.

Food is important to the narrator, and in children’s stories generally. At the age of six, Summer is impressed at the groceries in her aunt and uncle’s trailer house. As an adult I recognise this as cheap processed food with little nutritional value, but I also recognise the honey inside the plastic bear, which was popular in the late eighties, early nineties. This noticing marks her out as a neglected child who wasn’t fed properly.

Children are often compared to mice, who are equally small and at the mercy of larger creatures:

Every house I had ever lived in was so particular about its food, and especially when the food involved me. I felt like one of those little mice who has to figure out the right button to push before its food will drop down into the cup. Caged and begging. That’s how I felt sometimes.

This is Summer’s weakness. In other respects, Summer is ‘The Every Child’. Like any child, she needs to learn to move on after great loss.

CHAPTER TWO

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The Woods At The End of Autumn Street by Lois Lowry

Lois Lowry is an American children’s author, best known for The Giver. The Woods At The End Of Autumn is an upper middle grade novel set in WW2 America.

The following biographical information feels relevant to The Woods At The End of Autumn Street:

  • Born in 1937, that makes Lois Lowry the same era/age as Liz in Autumn Street. The details of the era therefore ring true, from the racial and playground gender segregation to the freedom afforded young children, allowed to enter the woods.
  • Lois’s sister Helen, three years older than her, died in 1963 at the age of 28 of cancer. A number of Lois Lowry’s books feature death, e.g. A Summer To Die, Number The Stars and this one.
  • Lowry’s father was a career military officer – an Army dentist – whose work moved the family all over the United States and to many parts of the world. Autumn Street is set during WW2, and the children have been moved to a new place. Moving to a new place is something Lois Lowry herself would be highly familiar with.
CHAPTER ONE

The book opens with a self-contained first chapter, meaning it could almost stand alone as a short story or vignette. The characters are ghosts and float above Autumn Street in Pennsylvania, bordering woods as if from a fairytale.

The reader wonders, why are all these people dead? Why is the narrator, and only the narrator, alive? We already know the narrator is an old woman. Continue reading

Hud Film Study

Hud is a 1962 black and white film based on Larry McMurtry’s first novel, Horseman, Pass By. There is a connection to children’s literature here — Patricia Neal who plays the housekeeper was Roald Dahl’s wife. Neal had a severe stroke not long after this film was made. Her recovery meant she had problems with language. The made-up vocabulary of The BFG was inspired by Patricia Neal’s strange communication style after her stroke.

 Hud is in many ways similar to Deliverance, appearing in American cinemas ten years later. 

  • Both are films based on novels
  • Written by white American men concerned with themes of masculinity
  • They both feature a stereotypical macho man whose bravado is also his downfall
  • Both feature a small group of men in a terrible situation, wrestling verbally with each other to make a moral decision
  • Each man of the group falls on a continuum from ruthless to morally upstanding
  • The morally upstanding character is destroyed by his compassion and ends up in the grave
  • While the macho man continues to ‘live’ but he has lost a part of himself, and his victory in getting his way is a pyrrhic one.
  • Both are anti-Redemption Stories: “Hud was certainly a unique picture in many ways, but, most significantly, it dared to portray a central character who was a “pure bastard”—and who remained totally unredeemed and unrepentant at the end of the picture.” (William Baer)

Stories of this type continue to intrigue writers and readers.

Jeffrey Eugenide’s first book of short stories, published 2017, is also about men struggling with how to behave:

It’s sort of, you’re caught in the middle of this thing, you want to redefine what it means to be a man in our time, and then going along with that has to involve a lot of self-exposure, and a lot of recrimination and regret for your behavior. At the same time, there’s maybe some resistance to being told how you’re supposed to behave. So the characters are caught between being good and being bad. That makes for more energetic fiction, when you have someone of two minds trying to figure out a problem, as opposed to being really sure about his way and his conduct.

Vulture

Genre Blend

Hud is not really a blend at all. Hud is a straight drama. You don’t find many of those on IMDb these days — most big films are a mixture of thriller/action/adventure and often with drama thrown in because of the character development.

At the time of release, Hud was said to be a contemporary Western. But here’s what the screenwriter’s response is to that:

BAER: Although Hud is clearly set in contemporary Texas, it’s often cited as one of the films that began the “demystification” of the American Western. It came out a year after The Man Who Shot Liberty Valance, in which John Ford began to re-examine the Western hero, and it predated the so-called “revisionist” Westerns of the later sixties, like The Good, the Bad, and the Ugly (1966) and The Wild Bunch (1969). I wonder how you feel about that?

RAVETCH: To be perfectly honest, I never thought of Hud as a Western. Never. I always thought of it as a domestic drama. Whenever I see Hud listed with Westerns, I wince. Not because I don’t admire Westerns—I wrote a number of them in my earlier days—but because I don’t feel the film is appropriate to that category.

Michigan Quarterly Review

The screenwriter, of course, is absolutely right. Hud is not a Western, nor is it even an anti-Western:

  • It doesn’t use the metaphorical symbol web of a Western and nor does it subvert those symbols to make an anti-Western.
  • It’s not about the taming of wilderness in order to build a home.
  • It’s not about expansion of a nation, or the destruction wreaked under said expansion.

On the other hand, I can see where people might get to thinking this is an anti-Western.

  • A Western has a lone warrior hero, leading a group of people to build a new village, and Hud seems like the ironic opposite of that guy.
  • It’s set in cowboy country, where death is all around them
  • There’s a category of Westerns set on a ranch, and the ranch comes under siege from outside forces.
  • There’s a life and death struggle and a pyrrhic victory.
  • Paul Newman starred in a bunch of Westerns and came to be associated with the genre. Larry McMurtry, too, also wrote anti-Westerns (later), as well as comical Western parodies, so was obviously influenced by the Western he grew up with when writing Horseman, Pass By.

Storyworld Of Hud

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Deliverance Film Study

Deliverance is a 1972 movie based on the 1970 novel by James Dickey. Watch it in 2017 and it could have been made this year. The river setting, the timeless costuming, the themes and the film-making techniques have not dated. In fact, Deliverance continues to influence film to this day, including an homage in Carrie (the image of the floating hand), and the obvious influence on the 2017 film Jungle, starring Daniel Radcliffe. Deliverance is impressive when considering this was shot before CGI. Actors put their lives at risk on this river, and didn’t come away unscathed. When playing dead, actors were either drunk or trained themselves to hold their breath and not blink for two minutes. Jon Voight really did scale that cliff, but with a harness that had to be kept out of the shot. When the boat breaks in two, that was thanks to a complex pulley system set up under the water.

The author of the novel played the police sheriff in the film. Because he is not an actor, the director basically had him playing himself.

The author of the novel played the police sheriff in the film. Because he is not an actor, the director basically had him playing himself. Jim Dickey was such a dickwaving macho tool he had to be told to leave for most of the shooting so the actors could do their jobs in peace.

The budget for Deliverance was very tight. Director John Boorman dropped the composer and went instead with the same banjo music utilised across the entire movie, functioning as a very simple soundtrack. Budget constraints lead to a very pared down movie, but this simplicity is what makes the film so good in the end.

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Pax by Sara Pennypacker Novel Study

Pax is a middle grade novel by Sara Pennypacker about a boy and a fox who embark upon a mythic journey to reunite after Pax is abandoned in the woods. Structurally, Pax is the middle grade equivalent of Cold Mountain by Charles Frazier. Though this story is classic mythical structure, there are shades of the Female Mythic Form, as the main character Peter (who happens to be male), thinks and feels his way through his journey rather than engaging in battle after swashbuckling battle.

MORE ON THE STORY STRUCTURE OF PAX

Pax was only a kit when his family was killed, and “his boy” Peter rescued him from abandonment and certain death. Now the war front approaches, and when Peter’s father enlists, Peter has to move in with his grandpa. Far worse than being forced to leave home is the fact that Pax can’t go. Peter listens to his stern father—as he usually does—and throws Pax’s favorite toy soldier into the woods. When the fox runs to retrieve it, Peter and his dad get back in the car and leave him there—alone. But before Peter makes it through even one night under his grandfather’s roof, regret and duty spur him to action; he packs for a trek to get his best friend back and sneaks into the night. This is the story of Peter, Pax, and their independent struggles to return to one another against all odds. Told from the alternating viewpoints of Peter and Pax.

— publisher’s advertising copy

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The River Between Us by Richard Peck

THE RIVER BETWEEN US STORYWORLD

The River Between Us cover

This cover gives no indication of the intended audience. Nor does it show that this is the story of a family. Anyone would think Noah were the star, and the faceless woman in the background the stereotypical love interest. This is one of my least favourite children’s book covers.

There are historical notes in the back of The River Between Us but unless you’ve been through the American education system and already know quite a bit about the Civil War and the history of New Orleans, I’d recommend flipping to that first.

  • July 1916 is the wrapper time
  • Summer
  • North America
  • Starts in St Louis, South Illinois. The family lives on Maryland Avenue in the West End. See: Maryland Avenue today. (Peck tends to center his stories in Illinois, and most often in Southern Illinois.)
  • Cars are a big deal to a young boy because unlike today you don’t see them any old where. “It was a big thing to drive a car out of town.” They’re not yet very reliable so preparation for a long trip is important. For example, cracking a raw egg into the radiator so it would hard-boil and seal any leaks. Fuel is to be strapped onto the car itself because there aren’t many fuel stations around yet. Only the upper middle class can afford them (hence the narrator is the son of a doctor). You have to crank it up and the windshield isn’t up for city driving. There are a lot of flat tyres — four in one day is not unusual.
  • This is the story of a journey. Stories with rivers are generally about journeys. See: The Symbolism Of The River In Storytelling.
  • Baseball is important. The local team is called The Browns (and was only later the Baltimore Orioles).
  • World War I is raging across Europe. Americans know it’s just a matter of time before they get caught up in it. They anticipate restrictions on travel once that happens.
  • ‘The War’ just as often refers to the Civil War
  • Grand Tower is a ghost town. There never was much to it but showed some progress after the Civil War, with a saddle factor, cigar plant, gun shops, brick works. There’s a hill called Devil’s Backbone. (These days it’s a park.)
  • The grandparents’ house is like going back in time, with the metonym of a black iron range standing for the earlier era.

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Annie Proulx’s The Governors Of Wyoming

“The Governors Of Wyoming” by Annie Proulx is a short novella — one of her concise sagas — divided into parts.

the governors of wyoming is set in a place like this

WADE WALLS

Our characters are introduced, as well as the dynamics between them. From the title we know to pay close attention to Wade Walls.

Renti – female, chews fruity gum, a small grubby woman in black tights and construction worker boots, ingrained dirt on the backs of her arms, her face handsome and impatient. Hasn’t met Wade before. Renti is from Taos, staying with Roany and her husband . Lives on a ranch 22 miles south of Slope in mima mount country. “Biscuit land”. (Low domes of earth cast up on the plain by ancient rodents or frost action, no one was sure. She’s been a highway construction flagger, run a candle-wrapping machine, sold art in the lesser galleries etc. She lived with a man (Pan) and an Alsatian wolfhound for a year but has now left him after a disturbing dream about a Chihuahua. Has a kitchen that looks like a home decorating magazine, ranch style. Continue reading

Strays Like Us by Richard Peck Storytelling Tips

Strays Like Us is a 1998 middle grade novel by American author Richard Peck. (155 pages)

Peck not only understands the fragile emotions of adolescents, he also knows what kind of characters will pique their interest. In this tender novel, he paints a richly detailed portrait of Molly, a drug-addict’s daughter sent at the age of 12 to live with a great-aunt she has never met. Molly soon discovers others like her in this small town full of secrets.

Publisher’s Weekly starred review

STORY WORLD OF STRAYS LIKE US

Strays Like Us is set in The (American) South but is not a Southern Novel as such. This is one of those American stories which could easily be set elsewhere — like lots of ‘midwestern’ stories set in suburbia or small towns. Molly’s story could belong to many kids all over.

This one happens to take place in small town Missouri. The ‘small’ town is significant because of the way gossip works:

“How did the guys find out anyway?”

“Becasue they don’t let you keep a secret in a town like this.”

Although this is like a 1950s utopia in some ways, there is a lot of poverty in this town and turns out to be an apparent utopia. Richard Peck is making a statement about income inequality when he writes:

“There’s things they can do now for what Fred had,” [Aunt Fay] said finally. “But he didn’t have insurance.”

The story opens with Molly up a tree. She is in semi-hiding up here, melding with nature, and although in reality trees are reliant on each other via their root system, the common understanding of tree symbolism is that they stand ‘tall, proud and alone’, like Molly at the beginning of her character arc.

Strays Like Us tree cover

Molly Moberly in the foreground with neighbour Will in the background.

The exact year of this story is unclear — there is mention of computers and microwaves so I believe it is set in the late 1990s, at time of publication. Still, there is a 1950s feel about it. Locals are starting to feel suspicious of strangers, because until this period everyone has known everyone here. Continue reading

Annie Proulx’s “A Pair A Spurs”

A Pair A Spurs by Annie Proulx is set on a couple of Wyoming Ranches in the late 1990s

A Pair A Spurs by Annie Proulx is set on a couple of Wyoming Ranches in the late 1990s

STORY WORLD

SURROUNDING CULTURE

Rather than open with landscape, sky-scape and weather, this time Annie Proulx opens with a political era. I remember it well, with lots about mad cow disease on the news in the late 1990s:

The coffeepot southeast of Signal had been an o.k. little ranch but it passed down to Car Scrope in bad times — the present time and its near past. The beef-buying states, crying brucellosis which they fancied cattle contracted from Yellowstone bison and elk on the roam, had worked up a fear of Wyoming animals that punched the bottom out of the market. It showed a difference of philosophies, the outsiders ignorant that the state’s unwritten motto, take care a your own damn slef, extended to fauna and livestock and to them. There was a deeper malaise: all over the country men who once ate blood-rare prime, women who once cooked pot roast for Sunday dinner turned to soy curd and greens, warding off hardened arteries, E. coli-tainted hamburger, and cold shakes of undulant fever. They shied from overseas reports of “mad cow” disease. And who would display evidence of gross carnivorous appetite in times of heightened vegetarian sensibility?

This time seems so bleak to people living in this farming area that it is possible to think the end of the world is nigh.

Landmarks, like people, are allegorically named. Continue reading

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