“Cortes Island” is a short story by Alice Munro, included in the 2013 collection The Love Of A Good Woman, which won the Nobel Prize in Literature. Like another story in this collection, “Jakarta”, the title of this story is set in a place away from where the action takes place. Writers often say that the characters who exist off the page are as important as the character who exist on the page (engaged in the action). The same is true of places, especially for a writer like Alice Munro. This is yet another way in which a setting can be considered a character.
In this case, Cortes Island is the place where the first person narrator’s landlady used to live as a young woman. The real Cortes Island lies off the coast of British Columbia. In 2016 it had only 1,035 permanent residents. Its school has since been closed. You get there by plane or ferry.
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“Deep Holes” is a short story by Alice Munro. You can find it in the June 30 2008 edition of The New Yorker. I’m very much reminded of Into The Wild by Jon Krakauer and the real life of Christopher McCandless.
But “Deep Holes” is not the story of the son — it’s the story of the mother, left behind to deal with the loss of a child in this way. How does a mother cope with that?
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The Sailor Dog by Margaret Wise Brown is a Little Golden Book classic, first published 1953. After the success of Mister Dog, Wise Brown and Garth Williams were paired by the publisher the following year.
The Sailor Dog is basically a Robinsonnade for the preschool set. The Robinsonnade is an adventure story which takes place in a static place, like an island. For more on that, see this post. And for more about the role of islands in storytelling see this one.
ILLUSTRATIONS OF THE SAILOR DOG
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I’m a big fan of Anne Of Green Gables, the 1980s TV miniseries and also of Breaking Bad, so I anticipated Moira Walley-Beckett’s 2017 re-visioning of Anne Of Green Gables with great enthusiasm. I’m not disappointed. ‘Anne With An E’ is great. (It seems I’m not in good company by saying that.)
There’s much to learn from Moira Walley-Beckett. How did she manage to not only update L.M. Montgomery’s classic for a 2017 audience, but add to the original story?
First a few notes:
- Walley-Beckett doesn’t agree that her version is ‘dark’ so I’m going to avoid that word. I also don’t think it’s particularly dark. (She calls it a deep and honest take.)
- This miniseries breaks from the book. Walley-Beckett felt that the novel was ‘too fast’ for her. She wanted to go back and fill in some gaps. She describes herself as an ‘incremental’ storyteller. I guess by that she means she introduces a concept but likes to build on it, digging deeper before moving on. Anne Of Green Gables has a main narrative but is a highly episodic novel. ‘Incremental’ is a word that better describes what a modern audience will enjoy.
- Every article mentions that Moira Walley-Beckett wrote for Breaking Bad and expresses surprise that one writer would work on two such different stories. But at the deeper level, these stories are not all that different. I think the surprise lies in the idea that Anne Of Green Gables is some melodramatic, sappy crap only enjoyed by girls and nostalgic women. I think there’s a bit of that. Breaking Bad is about a white man, and is allowed to join the ranks of prestige TV.
Anne’s transformations are easy to see as part of a trend in TV and film, one in which suffering has become indistinguishable from gravitas and even the most cheerful superheroes come complete with psychological baggage. In a world where Superman no longer smiles, Archie Andrews is an ennui-filled singer-songwriter and Belle’s mother in “Beauty and the Beast” tragically dies of the plague, of course Anne has PTSD. But this new interpretation of Anne also treats a young, female character with the attention and focus often reserved for difficult men and the perversions of their machismo. In emphasizing Anne’s past, Walley-Beckett may be roughing up a sunny tale, but she is also insisting that a plucky 13-year-old girl is as worthy a subject as anyone.
- I had assumed Walley-Beckett used a writers’ room for this show but she wrote all seven scripts herself.
- In the book Anne is 11 but here she is 13.
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