Feb 24, 2023·edited Feb 24, 2023Liked by Hanif Kureishi
A few years ago there was a TV show called 'Black Sails', that was billed as a prequel to 'Treasure Island'. It ran for four seasons. In addition to the characters created by Robert Louis Stevenson, it included a number of historical pirates, though the writers played fast and loose with what is known about these men and women.
Early on, I assumed that the point of including the likes of Blackbeard and Anne Bonny, in a narrative about fictional pirates, was to lend it an air of authenticity. Later, it became apparent that it was not history that was being dragged into the realm of fiction, but quite the opposite: The point that the show writers were making (or my interpretation of it) is that the history of the golden age of piracy is so riven with hearsay and myth-making, that who is to say that the likes of Long John Silver and Billy Bones weren't also real people? In a show that sometimes strained credibility and erred toward melodrama, it was an unusually subtle piece of meta-commentary.
The boldest example of scene-skipping I have encountered occurs in Cormac McCarthy's novel - 'No Country For Old Men' – which I am about to spoil. If you plan on reading the book, or watching the Coen brother's beautifully-shot adaptation – then you should stop reading.
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The supposed protagonist of the novel, Llewelyn Moss, is murdered off-page at the end of the second act. He is seen alive for the last time, in the company of a young hitch-hiker. The book picks up in the aftermath of his death, as the Sheriff Ed Tom Bell visits the crime scene and attempts to piece together what happened. The transition is even more jarring in the film.
Moss doesn't even die at the hands of the antagonist – an unstoppable force of nature named Anton Chigurh, portrayed on screen by Javier Bardem, who won an Oscar for the performance. Distracted by the girl he is travelling with, he is shot dead by anonymous cartel footsoldiers.
The upshot of this development is the realisation that the actual protagonist of the novel is the afore-mentioned Sheriff Bell – a man who is acutely aware of an escalation of evil in society, but who no longer has any answer for it. It is also the point where the title of the book begins to make sense.
I can't think of a contemporary writer who has explored the nuances of evil better than McCarthy. Chigurh isn't even his best antagonist – that accolade must go to Judge Holden from 'Blood Meridian' – an earthbound fusion of the devil and Prometheus, who builds men and societies up to a point where they bring about their own destruction.
Thank you Carlo, brilliantly written. Yes, good echoes to Moby Dick… the rage of Ahab against the white whale…the whale against Ahab. One could miss that scene with that dull midwesterner accent but the look in his eyes tells the horror. I hate Jaws.
I remember Quint's speech as it really sticks in your mind and you understand his motivation..not sure if I found it too long as the previous commenter said .Thank you, Carlo, as always for your helpful suggestions about writing !
Love to you and Dad x Thankyou for this today - it’s very timely as I’m writing short stories at the moment and I’m learning about how best to enter a scene. Starting after the main event seems to be incredibly powerful to me. Writing in the aftermath of an event can be fascinating for the reader, piecing together the smashed glass, wondering on the possibilities.
Jaws is a fabulous example of this - I prefer the before and after storytelling more than the shark attacks. I always felt sorry for the poor shark if truth be told.
I disagree. I find the speech much too long. It was an astonishing and harrowing event, but somehow my mind was wandering by the end of this 4-minute clip. I don't think a movie made today would do the scene that way. Also in your post: Great idea to enmesh the characters in historical events. I never have, but I plan to do it a little in my next novel. Ian McEwan does it brilliantly in Lessons.
Carlo thank you - that was so interesting - a sort of coming across someone half way through or as you say afterwards - and the rooting of the characters too. The more I read about writing the greater the skill revealed - Your other piece about the transfer of a story to film/drama gave me food for thought. My first thought has now been joined by another -
Feb 24, 2023·edited Feb 24, 2023Liked by Hanif Kureishi
Quint's speech is truly remarkable. But its also one of the most remarkably gripping scenes of cinema ever. Spielberg caught lightning in a jar with that speech and scene. I'd love to see if he's ever spoken of the moment he captured it, and his thoughts on the scene
This is great advice Carlo, thank you. Thinking of your Dad with steps I take. Wishing him the movement we forget we have. X
A few years ago there was a TV show called 'Black Sails', that was billed as a prequel to 'Treasure Island'. It ran for four seasons. In addition to the characters created by Robert Louis Stevenson, it included a number of historical pirates, though the writers played fast and loose with what is known about these men and women.
Early on, I assumed that the point of including the likes of Blackbeard and Anne Bonny, in a narrative about fictional pirates, was to lend it an air of authenticity. Later, it became apparent that it was not history that was being dragged into the realm of fiction, but quite the opposite: The point that the show writers were making (or my interpretation of it) is that the history of the golden age of piracy is so riven with hearsay and myth-making, that who is to say that the likes of Long John Silver and Billy Bones weren't also real people? In a show that sometimes strained credibility and erred toward melodrama, it was an unusually subtle piece of meta-commentary.
The boldest example of scene-skipping I have encountered occurs in Cormac McCarthy's novel - 'No Country For Old Men' – which I am about to spoil. If you plan on reading the book, or watching the Coen brother's beautifully-shot adaptation – then you should stop reading.
..........
........
…...
…..
….
...
..
.
The supposed protagonist of the novel, Llewelyn Moss, is murdered off-page at the end of the second act. He is seen alive for the last time, in the company of a young hitch-hiker. The book picks up in the aftermath of his death, as the Sheriff Ed Tom Bell visits the crime scene and attempts to piece together what happened. The transition is even more jarring in the film.
Moss doesn't even die at the hands of the antagonist – an unstoppable force of nature named Anton Chigurh, portrayed on screen by Javier Bardem, who won an Oscar for the performance. Distracted by the girl he is travelling with, he is shot dead by anonymous cartel footsoldiers.
The upshot of this development is the realisation that the actual protagonist of the novel is the afore-mentioned Sheriff Bell – a man who is acutely aware of an escalation of evil in society, but who no longer has any answer for it. It is also the point where the title of the book begins to make sense.
I can't think of a contemporary writer who has explored the nuances of evil better than McCarthy. Chigurh isn't even his best antagonist – that accolade must go to Judge Holden from 'Blood Meridian' – an earthbound fusion of the devil and Prometheus, who builds men and societies up to a point where they bring about their own destruction.
Thank you Carlo, brilliantly written. Yes, good echoes to Moby Dick… the rage of Ahab against the white whale…the whale against Ahab. One could miss that scene with that dull midwesterner accent but the look in his eyes tells the horror. I hate Jaws.
I hope your father is
Carlo, i loved your comments
You know, I’ve never actually paid close attention to that speech in Jaws. I’m always so nervous just waiting for the shark! But it is brilliant.
I remember Quint's speech as it really sticks in your mind and you understand his motivation..not sure if I found it too long as the previous commenter said .Thank you, Carlo, as always for your helpful suggestions about writing !
Hi Carlo,
Love to you and Dad x Thankyou for this today - it’s very timely as I’m writing short stories at the moment and I’m learning about how best to enter a scene. Starting after the main event seems to be incredibly powerful to me. Writing in the aftermath of an event can be fascinating for the reader, piecing together the smashed glass, wondering on the possibilities.
Jaws is a fabulous example of this - I prefer the before and after storytelling more than the shark attacks. I always felt sorry for the poor shark if truth be told.
Thanks again,
Kate x
I disagree. I find the speech much too long. It was an astonishing and harrowing event, but somehow my mind was wandering by the end of this 4-minute clip. I don't think a movie made today would do the scene that way. Also in your post: Great idea to enmesh the characters in historical events. I never have, but I plan to do it a little in my next novel. Ian McEwan does it brilliantly in Lessons.
Carlo thank you - that was so interesting - a sort of coming across someone half way through or as you say afterwards - and the rooting of the characters too. The more I read about writing the greater the skill revealed - Your other piece about the transfer of a story to film/drama gave me food for thought. My first thought has now been joined by another -
Quint's speech is truly remarkable. But its also one of the most remarkably gripping scenes of cinema ever. Spielberg caught lightning in a jar with that speech and scene. I'd love to see if he's ever spoken of the moment he captured it, and his thoughts on the scene