I've just read the Booker winner, Milkman, by Anna Burns, an Irish writer who has produced a clever and absorbing book about 'the troubles'. Set, perhaps, in the 1990s, and located, perhaps in a Northern Irish town locked in sectarian dispute, it's about an 18-year-old girl who is pursued…stalked, almost… by a member of the IRA looking for a bit of eye candy for his arm. There's hardly any violence described, and yet the atmosphere is heavy with the idea of violence and death. I loved it, and fully recommend it, but it would be an easy book to skim read, being rather dense and there are only six chapter over its 350 pages). None of the characters are referred to by their real names...our protagonist is 'middle sister', a previously rejected boy as 'Somebody MacSomebody, and her lover as 'almost boyfriend' But it deserves to be read slowly, with thought. It's subtle, but under its skin there is clarity.. What it tells you about the troubles, are the things no news report could tell you. Don't take my word for this, though. Here's Claire Kilroy in The Guardian… Milkman calls to mind several seminal works of Irish literature. In its digressive, batty narrative voice, it resembles a novel cited by the narrator: Tristram Shandy. It is Beckettian in its ability to trace the logical within the absurd.
Arrival (2016 screenplay by Eric Heissere) is a film that had its genesis in short story Story of Your Life by Ted Chiang 2002, Tor Books) I saw the film, watched the ‘extras’ on the DVD and bought the book of short stories, I was so enamoured with the film. Having read the story on the page, I asked myself about the way the adapting writer approached the challenge of taking a long short story into a movie. For instance, there is a massive, esoteric plot twist at the end of the film, which in the book, is known by the reader almost from the start. The theme of both is linguistics and precognition, which is slowly revealed in the film, but fully apparent from the start of the story. The filmmaker reimagined the sci-fi element so that it was far more pleasing, visually. The poster does not give away any of the subtle of story, the theme or even that there will be a mystery within it, revealed at the end. It is focused on its stars, in the hope they will sell the movie. The ET spaceship, which is visible to the left, is not clarified, except as an UFO which is being threatened, or attacked, by the US helicopters. The film is a complex emotional drama, and very beautiful in both script, structure, and art work, but it’s almost as if the poster wants to hide this, instead giving the wrong impression that this will be like most sci-fi movies. Which it is not.
Everything we read isn’t story, however. I noted down everything I’d read (and written and heard) in a 24 hour period, from 6.30 am to 10.30
If you'd like some help with reading more widely, deeply and passionately try these books;