Things To Know About Miyazaki Films

Hayao Miyzaki Howl's Moving Castle

1. MIYAZAKI’S FILMS FEATURE A TECHNIQUE CALLED ‘PILLOW SHOTS’

A “pillow shot” is a cutaway, for no obvious narrative reason, to a visual element, often a landscape or an empty room, that is held for a significant time (five or six seconds). It can be at the start of a scene or during a scene.

Dangerous Minds

It comes from the famous director Yasujiro Ozu and is common in Japanese cinema. Why are they called pillow shots? It’s the cinematic equivalent of ‘pillow words’ used in Japanese poetry. A pillow word represents a sort of musical beat between what went before and what comes after. It functions as a kind of punctuation, signalling the end of something and a transition to something else.

Similarly, silence plays an important part in Japanese films, and Hayao Miyazaki doesn’t subscribe to the Dreamworks school of thought, in which kids need action from the get-go.

Although it looks as if nothing is happening in some of Miyzaki’s pillow shots, Japanese animators are more likely to use dynamic backgrounds and Western animators to use static ones. For instance, something in the Japanese background will be in motion and change. Even when there’s action going on in the foreground, Miyazaki will quite likely have something going on in the background. Continue reading “Things To Know About Miyazaki Films”

The Half-Skinned Steer by Annie Proulx

“The Half-Skinned Steer” by Annie Proulx is, as said by Mary Lee Settle “as real as a pickup truck, as ominous as a fairy tale.”

Animals make an appearance in a lot of the story submissions we receive. Bunnies are maimed and killed. Dogs behave mischievously. Alligators threaten to attack. The truth is, many short story writers include animals in their tales, for different reasons. Many times, in our contests for emerging writers, an author will use a mangled or dead animal as a (seemingly) direct symbol for the loss of innocence, a dysfunctional family dynamic, or the end of a relationship. In other cases, the animal is not a direct symbol but merely a story element that interacts in a pleasing way with the rest of the narrative structure. Animals can add a level of tension or mystery to a story, they can drive the plot, or they can simply add texture. Though they can (often) be cute, animals are powerful presences in a story, and it’s interesting to consider the many different ways that they add to tales by contemporary writers.

The Masters Review

Contains spoilers, as usual.

Actually this is a bull near our house in Australia.

Continue reading “The Half-Skinned Steer by Annie Proulx”

Carrie Storytelling Techniques

This is a remake of a 1976 movie based on Stephen King’s 1974 (breakout) novel, Carrie. Critics don’t like this new one much. The criticism is mostly that it was unnecessary because the first adaptation was so good. The original has a slower, more sinister pace and the main thing the reboot did was to add the social media dimension and some modern SFX. However, this is — unfortunately — a timeless story of high school exclusion and bullying.

Carrie movie poster

 

PREMISE OF CARRIE

A shy girl, outcasted by her peers and sheltered by her religious mother, unleashes telekinetic terror on her small town after being pushed too far at her senior prom. (In the book it’s called the Spring Ball — a lot of the slang/words have been updated.)

DESIGNING PRINCIPLE OF CARRIE

Your own powers can be the end of you. Continue reading “Carrie Storytelling Techniques”

What Is Magical Realism? Is It Fabulism?

This is the most succinct explanation of magical realism that I have seen lately:

magical realism definition

If you’re looking for a literary agent on Twitter you will find many agents and editors asking for magical realism in children’s books at the moment. They are also complaining that they’re not getting enough of it. When an author says, “Hey I’ve got some for you!” it’s not magical realism at all.

Agent Michelle Witte has a much more detailed series of blog posts defining exactly what magical realism is and is not.

Here is part one.

Essentially, magical realism is:

Real-world setting + fantastical elements = magical realism

In visual terms, think of it as a photo that’s blurred around the edges to give it an ethereal, almost otherworldly quality. It has the feel of magic—that anything is possible.

Magical realism focuses on ordinary people going about the humdrum activities of daily life. Everything is normal—except for one or two elements that go beyond the realm of possibility, whether it be magic or fate or a physical connection with the earth and the creatures that inhabit it, but always in a way that celebrates the mundane.

FABULISM OR MAGICAL REALISM?

Bear in mind that the definition of magical realism varies, depending on who you ask. Here is another point of view:

fabulism does not equal magical realism

Michelle Witte argues that in fact magical realism did not originate in South America:

Despite the common misconception, magical realism didn’t originate in South America. Instead, German art critic Franz Roch coined the term “magical realism” in 1925 to describe the New Objectivity style of painting. A few years later, the concept of magical realism crossed the ocean to South America, where it was adopted and popularized by Latin American authors throughout the twentieth century as lo real maravilloso, the marvelous real. Notable writers include Jorge Luis Borges, Gabriel Garcia Marquez, and Isabel Allende, among numerous others.

While Hispanic writers were—and still are—a major influence in modern magical realistic literature, the style is not limited to a specific time or place. In fact, writers from across the world have adopted and adapted magical realism to fit their own cultures and within their own frame of reference.

new objectivity painting magical realism
Agosta, the Pigeon-Chested Man, and Rasha, the Black Dove 1929 Christian Schad 1894-1982. An example of New Objectivity in painting

SEE ALSO

Fifty years on, One Hundred Years of Solitude is still providing profound insights into our evolving human tale where horrors co-exist with wonders, where absurdities don’t provoke a blink.

One Hundred Years of Solitude is 50. Its magic realism is immortal, from Scroll.in.

Here’s a list of magical realist children’s books, which I am calling ‘fabulism’ to be safe: Fabulism In Children’s Literature

And here’s a discussion which begins with the question: The genre magical realism came to be in the German language. Yet, Latin American has had a home for the genre. Why is this?

 

The Swimmer by John Cheever

PLOT OF THE SWIMMER

Neddy Merrill, half-cocked on gin and tonics during a restorative summer brunch at the house of some friends, decides to return home through several miles of Connecticut exurb by swimming the lengths of contiguous pools.  Thus begins a minor odyssey during which we watch as Neddy makes his way, first in drunken delight, but then through rainstorms, colder weather, and the hostility of former friends, gradually growing old and infirm, finally arriving home to find it deserted.

THE MILLIONS

In more detail:

The story begins with Neddy Merrill lounging at a friend’s pool on a mid-summer’s day. On a whim, Neddy decides to get home by swimming across all the pools in the county, which he names “The Lucinda River” in honor of his wife, and starts off enthusiastically and full of youthful energy. In the early stops on his journey, he is enthusiastically greeted by friends, who welcome him with drinks. It is readily apparent that he is well-regarded and from an upper-class or upper-middle-class social standing.

Midway through his journey, things gradually take on a darker and ultimately surreal tone. Despite everything taking place during just one afternoon, it becomes unclear how much time has passed. At the beginning of the story; it was clearly mid-summer, but by the end all natural signs point to the season’s being autumn. Different people Neddy encounters mention misfortune and money troubles he doesn’t remember, and he is outright unwelcome at several houses which should have been beneath him. His earlier, youthful energy leaves him, and it becomes increasingly painful and difficult for him to swim on. Finally, he staggers back home, only to find his house decrepit, empty, and abandoned.

Wikipedia

 

Is Neddy dead at the end of this story? That’s one interpretation, but is too literal for Anne Enright. There is a long tradition of stories with stings in the tail. This is another such story. It stings but we don’t know why, exactly. We don’t know how many years have elapsed between the beginning and the end of the story. In the end, the mood is the important thing about this story rather than the plot, which is a wrapper for the mood.


 

SETTING OF THE SWIMMER

Place

Cheever himself moved from New York to the suburbs of Westchester County, New York to bring up his family. Many of his stories are set in this kind of suburb, and he has been called ‘the Chekhov of the suburbs’. (He has also been called Dante of the cocktail hour.) He wrote a series of stories set in the fictional ‘Shady Hill’. This is a rich suburb, where everyone seems to have a pool and house staff. They throw big parties and employ bartenders. No two pools are alike — quite a feat of description.

Westchester County NY where The Swimmer is set

 

Time

The story is set on ‘one of those midsummer Sundays when everyone sits around saying, “I drank too much last night.” This is explained in the very first sentence. We don’t know exactly what year it is set, though the story was written in the 1960s. In fact, the lack of specific time is part of the story itself. By the end, we don’t know how many years have metaphorically passed between Neddy’s first and last swim. But we do know that this is the Cold-War era, when America is expanding.


 

CHARACTERS IN THE SWIMMER

Neddy has a kid’s name. A grown-man would more often be called ‘Ned’. His quest is childlike in its enthusiasm. He has the narcissism of youth, thinking of himself as a legendary figure, as little boys often imagine they’re superheroes. His ego level depletes as he swims forth.

Cheever’s mastery lies in the handling of Neddy’s gradual, devastating progress from boundless optimism to bottomless despair, from summer to fall, from swimming pool to swimming pool….as we read the story we feel time passing, before our eyes; feel Neddy losing heart, growing weary, getting old.

– Michael Chabon

The story opens with everybody’s hangovers, but Neddy is not complaining about his hangover. Probably because he’s still drunk from the previous night. By the end of the story he may have sobered up, and sees the reality of his life.


 

THEME IN THE SWIMMER

Neddy Merrill literally ‘floats’ over the reality of his life, which is that he’s drowning in his suburban life, and in his alcohol problem. Of course, this is the natural reading after knowing about the life of the author, but how would the story be interpreted if we knew nothing of Cheever’s alcoholism? This is a story about the denial of knowledge. Neddy is able to continue while his life crumbles beneath him. Theme: People can remain brittle and tenacious even as things fade and dissolve under them. Yet there’s no morality in Cheever. He doesn’t wag a finger, telling us we must face up to reality.

Cheever himself said this story is about ‘the irreversibility of human conduct’. It’s about grandiosity of any description. You don’t have to be rich with lots of swimming pools in order to understand this story. This story is about drinking, but ‘we’re all drinkers’ (in some fashion or other).

It’s also an allegory for getting older. Everything withers and crumbles in the end. We just keep on trucking. There’s no turning back. The birds he mentions at the highway scene are a type of heron that get netted while trying to swim upstream.

The story has mythic echoes — the passage of a divine swimmer across the calendar toward his doom — and yet is always only the story of one bewildered man, approaching the end of his life, journeying homeward, in a pair of bathing trunks, across the countryside where he lost everything that ever meant something to him.

– Michael Chabon


 

TECHNIQUES OF NOTE IN THE SWIMMER

This story is an example of how well Cheever is able to bring the reader into the story. The first paragraph offers a wonderful description of setting. He makes use of the second person, moving from the universal to the specific social group, ending/beginning with the priest. Drinking too much is juxtaposed with the church. Slate use the word ‘litany’ to describe the feeling evoked by the first paragraph. A litany is a ritual repetition of prayers when applied to the church, but is also used outside church settings to describe something which feels repetitious in a tedious sort of way.

At one point Cheever wanted to parallel the tale of Narcissus, a character in Greek mythology who died while staring at his own reflection in a pool of water, which Cheever dismissed as too restrictive. As published, the story is highly praised for its blend of realism and surrealism, the thematic exploration of suburban America, especially the relationship between wealth and happiness, as well as his use of myth and symbolism.

Wikipedia

The turning point is marked by the onset of the storm. Ned sees the first red and yellow leaves and starts to get signs that things are not all right. Yet Netty loves the storm. It’s a big drinker’s story. Along with the idea that nothing ever changes is another idea of let it all come down. Inviting destruction. In the opening paragraph everything is lovely. The cloud is like a city, but no ordinary cloud.

Cheever has written an intensely dark story, there are comic elements, such as when the drivers on the highway throw things at him. Even the epic journey itself is fake and therefore laughable. But there is both pleasure and misery in this story. It’s a very slow apocalypse. The beautiful people are moving on, no longer beautiful; Ned has lost everything he ever held dear. The comic elements make this darkness even darker.

Cheever has chosen the names of his characters with care. Neddy’s wife Lucinda, for example, is named after ‘light’, which is associated with time.

Cheever uses sound to create extraordinary atmospheres.

Metaphysical moments are scattered throughout: The constellations of the sky, for example. (Another story like this is Rabbit.) Metaphysics is a traditional branch of philosophy concerned with explaining the fundamental nature of being and the world that encompasses it.

Not Quite Magical Realism

In fiction, when unreal elements appear, usually one of two things is happening.  In the first case, the unreal actually is real.  This describes much of genre fiction, in which the reader expects vampires and aliens to appear — would, in fact, be disappointed if they didn’t.  In literary fiction, too, the unreal may be introduced with a straight face, for effect.  Magical realism depends on the introduction of a fantastic element into otherwise grim reality, for instance in Gabriel García Márquez’s “A Very Old Man with Enormous Wings.”  The appearance of an angel in a poor Colombian village creates a host of consequences, though a crucial difference between magical realism and, say, fantasy, is that in magical realism the narrative is primarily interested in the village, while in fantasy the author would focus primarily on the old man, his wings, how he got them, and what his home world is like.

More typically, in literary fiction, the fantastic occurs as a manifestation of the main character’s disordered psychology.  In close third person, the narrative is so intimately linked to a protagonist’s point of view that the world appears in subjective terms, and if the main character is sufficiently disoriented — drunk, delusional, or simply experiencing very heightened emotion — aspects of their immediate surroundings may become distorted in a way that reveals their mental state.  In William Kennedy’s Ironweed, Francis Phelan, an itinerant, guilt-wracked alcoholic sees the ghosts of dead people he’s known, some of whom he killed.  Although the narrative never states that they are apparitions deriving from his fear and shame, it doesn’t need to:  we are able to read them as having a kind of immediate corporeality, at least to Francis, while still being utterly unreal, figments.

So which of the two is happening in “The Swimmer?”  Well, neither, really.  On the one hand, it is impossible to read “The Swimmer” and think that the main events of the story are happening as described — that, in the course of a single afternoon, a man ages 30 years while becoming increasing destitute and reviled — unless we believe Neddy Merrill has entered some horrific parallel universe.  On the other hand, it is equally impossible to read the events of the story as merely a manifestation of Neddy’s mental state.  He’s been drinking as the story starts, but not that much.  He is happy, overwhelmingly content in his life, really.  Even if we were to read the story as a projection of Neddy’s subsumed life anxieties, it is impossible to imagine him projecting a vision of the world this entirely altered.

It is not magical realism because the strangeness is not intended to be taken literally — strangeness in magical realism is almost always encountered and acknowledged by multiple characters, and is, in fact, a device meant to comment on the interlaced relationships that form a society.  Strangeness in Cheever performs the opposite function:  it is personal, particular, atomizing.

THE MILLIONS


 

STORY SPECS OF THE SWIMMER

The Swimmer” a short story by American author John Cheever, was originally published in The New Yorker on July 18, 1964, and then in the 1964 short story collection, The Brigadier and the Golf Widow. Originally conceived as a novel and pared down from over 150 pages of notes, it is probably Cheever’s most famous and frequently anthologized story.

Wikipedia

The Swimmer is considered to be one of Cheever’s best short stories.

Anne Enright feels that this would never have worked as the novel (as Cheever had originally planned) and feels that it would work even better as a short story had he lost one or two pools. The naturist communists are amusing but we don’t want any more than that.

The Swimmer 1968 movie poster


COMPARE THE SWIMMER WITH

The New Zealand writer Keri Hulme writes stories with a blend of realism and surrealism. (Sometimes called ‘magic realism’.) See her collection Te Kaihau.

The surrealism is also a bit like the surrealism of The Graduate.

The Enormous Radio, also by Cheever, has the same sort of surrealism.


 

WRITE YOUR OWN

Where to start, if your intention is to practice writing a story of magic realism? I suppose we might first start with a theme and build a magical/surreal setting which makes the theme clear to the reader. In this type of story we write in a realistic way but we’re not obligated to write ‘the truth’. How does Neddy get into the public swimming pool? Does he carry spare change in his swimming trunks? I asked myself this question as I read, yet in this type of story it’s not important. When the details are specific and familiar enough, the reader will be drawn along for the ride.

If we’re to be inspired by “The Swimmer”:

  • Start with a character embarking on a slightly absurd quest
  • Decide what the quest stands for, thematically
  • Include comic details
  • Use the weather to help build atmosphere
  • End with a sting in the tail

 

RELATED LINKS

Read it here: The Swimmer PDF

Listen to it here: The New Yorker Fiction Podcast, read by Anne Enright. (The second part of Enright’s commentary starts at -9:30.)

Read Michael Chabon’s description of reading The Swimmer for the first time.

Spark Notes

Slate’s Audiobook Special