When I was a kid, I looked forward to Fridays. Not just because it was the end of a school week, but because that’s when the TV Guide arrived with the morning newspaper. While I ate my cereal, I’d circle the movies I wanted to watch the following week. If they were late-late movies, I’d set my alarm and get up and watch them alone in the living room (with the sound turned way down). I was also an avid reader, and it wasn’t long before I started pairing my reading and my viewing. I still do that, with a special interest in short stories and their film adaptations.
I wrote...
Adaptations: From Short Story to Big Screen: 35 Great Stories That Have Inspired Great Films
Memento, All About Eve, Rear Window, Rashomon, and 2001: A Space Odyssey are all well-known and much-loved movies, but what is perhaps a lesser-known fact is that all of them began their lives as short stories. Adaptations gathers together 35 pieces that have been the basis for films, many from giants of American literature (Hemingway, Fitzgerald) and many that have not been in print for decades (the stories that inspired Meet John Doe and Bringing Up Baby).
Categorized by genre, and featuring movies by master directors as well as relative newcomers, Adaptations offers insight into the process of turning a short story into a screenplay, one that, when successful, doesn’t take drastic liberties with the text upon which it is based, but doesn’t mirror its source material too closely either.
What I find striking about this story is that Faulkner’s depiction of Abner Snopes—the barn burner—is so uncompromising. He’s an angry, disaffected man who, when he can’t find his footing in society, reacts with violence. The reader is given no reason to sympathize with him, just asked to understand that he has a code: Integrity through vengeance. If that’s hard to understand—(it is for me)—that is, I think, the point.For a story published in 1939 about Mississippi in the late 1800s, it feels dishearteningly relevant.
The 1958 film adaptation,The Long, Hot Summer, chops this story up and tosses it in with a few other Faulkner works. It’s far less edgy, but it stars Paul Newman.
Take Faulkner’s story, but move the action from post-Civil War Mississippi to modern-day Japan. Replace all the characters but a sociopathic barn burner. Add a mime. Roughly speaking, that’s the recipe for Murakami’s beautiful, baffling and disturbing meditation on the nature of evil. Each time I read it, I feel the metaphysical mystery is just beyond my ken—but I still love everything about it.
Burning, the 2018 film adaptation directed by Lee Chang-dong, is just as good. It takes Murakami’s story, transports the action to South Korea, sprinkles in a couple of Faulkner references, adds a nod to Schrödinger’s cat, and changes the ending. You needn’t have read the stories to enjoy it, but it adds to the pleasure.
A dizzying short story collection that displays Murakami's genius for uncovering the surreal in the everyday, the extraordinary within the ordinary
*Featuring the story 'Barn Burning', the inspiration behind the Palme d'Or nominated film Burning*
When a man's favourite elephant vanishes, the balance of his whole life is subtly upset. A couple's midnight hunger pangs drive them to hold up a McDonald's. A woman finds she is irresistible to a small green monster that burrows through her front garden. An insomniac wife wakes up in a twilight world of semi-consciousness in which anything seems possible - even death.
Lately I’ve been thinking a lot about this story. It’s set in Yalta, a resort town located on the Crimean Peninsula—territory that has been caught up in the Russian/Ukrainian war. Chekhov, who suffered from tuberculosis, had a home there, where he wrote much of his last and best work, including this—his most famous—story. It’s a simple tale about normal people—lovers who are married to others—and thus bucked the Russian trend of big societal themes. Chekhov’s political leanings changed so often, he said, that the “absence of lengthy verbiage of a political-social-economic nature” became the first of his six principles for a good story. (The others: objectivity, truthfulness, brevity, originality, and compassion.) Still, lately I’ve been wondering what this story would be like if Chekhov were writing it today.
If any writer can be said to have invented the modern short story, it is Anton Chekhov. It is not just that Chekhov democratized this art form; more than that, he changed the thrust of short fiction from relating to revealing. And what marvelous and unbearable things are revealed in these Forty Stories. The abashed happiness of a woman in the presence of the husband who abandoned her years before. The obsequious terror of the official who accidentally sneezes on a general. The poignant astonishment of an aging Don Juan overtaken by love. Spanning the entirety of Chekhov's career and…
Part of the allure of Chekhov’s story is the unanswered question, Will they, or won’t they? The answer, I think, may depend on where you are in your own life when you read it. Michelle Herman’s novella, “A New and Glorious Life,” reworks and expands the story, letting you linger a while longer with the lovers before they part. I think this gives them a better chance, but who knows? Joyce Carol Oates also reimagined this story in her collection Marriages and Infidelities. Vintage Oates, it reads like a fever dream.
The first film adaptation,The Lady with the Dog, made under the Soviet censor’s watchful eye, is an almost literal translation of the story. Dark Eyes, a later Soviet-Italian coproduction, stars Italian actor Marcello Mastroianni and strays pretty far from the source.
"Reading Michelle Herman's new collection is like eating Godiva chocolates, something so exquisitely enjoyable you can't get enough of it. How often,in this day and age, does one get to read a love story which is also a literary gem? These novellas are the stuff of classics." --Marly Swick
"These novellas have a psychological depth and acute worldliness one associates with continental fiction. Michelle Herman's sympathies bridge generations and genders; her intelligence conveys both the lovingness and coldness of the way we live now. Her work is a sophisticated pleasure." --Philip Lopate
The story is a classic, of course, but what I find poignant is that famed director John Huston, adventurer and rabblerouser, chose this quiet story to adapt as his final film (The Dead), and did so, while dying, with the help of his son (screenplay) and daughter (leading role). It’s an extraordinarily faithful adaptation, even, and especially, in its slowness. (Each time I read the story, I wonder—even though I know the answer—Where is this going?)
Joyce Carol Oates, less faithfully, reimagined the story in Marriages and Infidelities, keeping the title, but replacing Irish melancholy with American anxiety, while hewing—with Easter eggs along the way for careful readers—to its theme of intimacy and its limitations. All three versions are exquisitely sad and beautiful.
A shocking confession from his wife prompts Gabriel to reconsider what he knows and understands of his wife and their shared past, whether it is better to die young, and what will be remembered of him when he is gone.
Critically acclaimed author James Joyce’s Dubliners is a collection of short stories depicting middle class life in Dublin in the early twentieth century. First published in 1914, the stories draw on themes relevant to the time such as nationalism and Ireland’s national identity, and cement Joyce’s reputation for brutally honest and revealing depictions of everyday Irish life. At the heart…
Charley Byrne isn’t really living. She hunkers down in her apartment above the bookstore she manages, until quirky activist Xander Wallace lures her out of social exile with the prospect of friendship and romance. Charley joins Xander’s circle of diverse friends and thrives, even leaving her comfort zone to join protests in a city struggling with social justice ills.
But the new friendships bring back-to-back betrayals that threaten the bookstore—Charley’s haven—and propel her into a dangerous depression, in a stark reminder that friendship has the power to destroy as well as save lives. Can her friends save the store? And…
"A beautifully crafted story of friendship and self-discovery set amidst the harsh realities of today's world. Superb!" -Eileen O'Finlan, author of Erin's Children
Charley Byrne isn't really living. At age 29, she hunkers down in her apartment above the bookstore she manages, afraid of a 7-year curse. Then quirky activist Xander Wallace lures her out of social exile with the prospect of friendship and romance. Charley joins Xander's circle of friends diverse in their heritage, race, gender and sexual orientation. She thrives, even leaving her comfort zone to join protests in a city struggling with social justice ills.
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