One is tempted to attach the pop-cultural sobriquet “overnight sensation” to writer Edith Pearlman’s current moment in the sun. (She quotes comedian Danny Kaye when I used the phrase). As it is, Ann Patchett’s introduction to Binocular Vision (Lookout Books), Pearlman’s award-winning story collection and any number of reviews ask the question, “Why have I not heard of this fine writer before?” Why indeed? Pearlman has published over 250 short fictions and works of non-fiction in all the usual (and some unusual) places, and has been anthologized in Best American Short Stories, New Stories from the South, The Pushcart Prize Collection,and The O. Henry Prize Stories Collection. My own take on Ms. Pearlman’s fair-weather fame has something to do with the limited attention paid to the practitioners of short fiction -- when I grouped her in the company of much heralded short story maestros Alice Munro and William Trevor, Edith blushed (though she did not demur, false modesty is not an attribute she has). As is the case with my author colloquium, Edith Pearlman and I talked about many things – Tales From Shakespeare, Hermes typewriters, Penelope Fitzgerald, reading Dickens, the task of literature, Aunt Jemima cookie jars, and more. Okay then. Robert Birnbaum: What was the first book you remember reading? Edith Pearlman: Interesting question. I think it was Lamb’s Tales From Shakespeare. RB: How old were you? EP: I don’t know – eight. You asked about the first book I remember reading -- I am sure there were books I read before then. My aunt taught me to read at four. I think we read [Lamb] together. RB: How did she teach you? EP: Some kids are ready to read. I don’t think they need much teaching and I was one of those. My grandson is the same way. RB: Your reading career started in earnest when, at age six? EP: I suppose so. There were plenty of children’s books around -- maybe I read Five Little Peppers and How They Grew or-- RB: After reading Lamb were you a fully engaged reader? EP: Then I read the plays in order. (Both laugh). No, I think I went back to Mary Poppins. I read Lamb with my aunt. RB: And when did your writing career start? EP: It started even earlier. I started a book, I think, at the age of three. And it was called All About Jews. RB: I have recently come across three writers who began writing really young – Gary Shteyngart wrote a novel when he was six or seven. And Ben Katchor, he started early. EP: I started to write the book at three, but I didn’t get any further than the title. RB: Really – writer’s block? (Both laugh). EP: I think so. RB: Will you ever revisit that story? EP: I have revisited it often in interviews. RB: I mean All About Jews. EP: Probably not. RB: Are there generalizations with which one can describe short form fiction writers? For instance, many novelists write short fiction, but it seems that short fiction practitioners don’t often write novels. EP: It is something that clings to you and that you fall in love with. And though I love to read novels and so do my colleagues, I have no wish to write in the long form. It’s my destiny. RB: Have you ever tried? EP: I started to write -- actually I finished writing a mystery story with a friend but it wasn’t very good. And no -- I don’t think I ever have. RB: How do you know it wasn’t any good? EP: Well, nobody took it. RB: (Laughs). Alright. Writing came to you as an avocation, hobby, and obsession-- EP: It came to me as an occupation. I was making my living as computer programmer, so writing was in those days confined to letters. But my letters were rather long. RB: Do you still write letters? EP: I do still. RB: Hand write? EP: No, but a typewriter. I write my stories on a typewriter too. RB: It seems there is a renaissance of interest in typewriters EP: Yes, somebody told me that. RB: Well, at least if you pay attention to The New York Times. I have a few -- one is a [portable] Hermes 3000, which reportedly was the typewriter of choice for journalists. EP: I used to use a Hermes. I don’t remember what model it was. It was pretty old. RB: For some reason, the 3200 comes up in a few stories. EP: It was a very good typewriter. I used it for years. RB: Did you study writing anywhere? EP: I took a course in college and a course or two in my 30s. I did not get an MFA -- I took a total of three courses. RB: In the course of your writing career I read that you had written over 250 stories. EP: I have written 250 short pieces, not all fiction. RB: Is there a group of people you talk with about writing? EP: I have particular friend and colleague whom I meet with every month who is also a writer and we exchange manuscripts. That’s been going on for 25 years. RB: Any fights? EP: We have had and we are ruthless with each other. I also have a non-fiction group of four and we meet once a month too. RB: Which writers do you like to read? EP: Well, I like best to read Dickens and I read him over and over again. I have been doing that for a long time. So I have probably read each book five or seven times. RB: Rereading is a great thing. I feel compelled to keep digging in to the newly published. Although I reread 100 Years of Solitude three or four times. The last time I didn’t feel I got anything new and it made me wonder about past judgments about the book. EP: Well, in Dickens, each time I find something, some turn of phrase, a manipulation of plot or a character I hadn’t appreciated. I read them in order to live in them. My purpose is not to find new things. My purpose is to sink into them. RB: Dickens makes appearances in a number of contemporary novels -- Peter Carey's Jack Maggs. EP: That was a riff on Magwitch in Great Expectations. I don’t think Dickens appears. RB: Right. But he is in Richard Flanagan’s Wanting and in Joseph O'Connor’s Star of the Sea. EP: There is a story by Evelyn Waugh, a novel I can’t remember which one it is. The end of it is a about young people and explorers and takes place in Africa -- Black Mischief? The hero alone is captured by a crazy, fanatic ex-preacher who lives alone. And is held captive in order that the young man can read over and over and over the novels of Dickens until the old man dies. It’s supposed to be a tragic ending. To me it sounded like a wonderful life. RB: Is that the extent of your reading, you just read Dickens? (Both laugh). EP: I thought you asked who I read most or my favorite -- at any rate. RB: You gave me the impression that you aren’t required to read any particular writer. EP: Right. I don’t feel I have to read anybody. At this point I feel like I’ve probably read enough. Not enough to educate myself -- if I stopped reading, which would be a horror, I would probably not be a different person. People are made by the books they read and I think I am finished. That is to say, my making is finished. RB: Do you think the task of literature is to instruct and entertain? EP: Exactly. How did you know? RB: (Laughs). EP: I would put entertain first. RB: Richard Russo introduced the volume of Best American Stories he guest edited with an amusing anecdote about Isaac Bashevis Singer visiting the campus where Russo was teaching and answering a graduate student’s inquiry with the “task of literature is to instruct and entertain.” Apparently the gathering wanted a more elaborate answer. I think that view is actually taken from Horace. EP: Oh really? RB: Is writing short fiction important? EP: Yes. RB: Because? EP: Because literature is important. The project is important. RB: Do you have any sense that it’s being drowned out? EP: It is being attacked so to speak. Drowned out isn’t the word I would use. It’s being narrowed by all sorts of things. But it probably always was. We notice the Internet, television, and all these electronic things, but 100 years ago it was affected by farm work. Only the very rich could read. RB: That was probably the case for most of history -- that only a small fraction could benefit from reading and writing. EP: I don’t know that the percentage is any different now. RB: The percentage may not be the different but the cause may be and thus the hold it has on our civilization may be different -- more tenuous. I work with people who don’t read -- 35 year olds who play video games. EP: Well some time ago they might have been plowing the fields. RB: There is this meme of the educated working class guy who finishes his shift on the assembly line and goes home and picks up William Faulkner. In fact, that is the story of Southern writers like Larry Brown and William Gay. I don’t think that obtains any more -- especially because I don’t think one can be poor with dignity in the 21st century. EP: People do come home and read no matter what their occupation is. RB: Working class people have to work hard -- frequently taking on second jobs EP: Why don’t they have that luxury in their off hours? RB: Besides fatigue, there aren’t a lot of cultural prompts. EP: Where did people get it before? RB: This belabors the obvious, but this a world that is far different than what we were raised in. EP: My husband plays early music -- he plays the viola de gamba as an amateur. The early music crowd is eccentric and a world unto itself. And passionate and they don’t write early music -- it’s already been written, but they play it and adapt it. It is their overwhelming hobby. I think that’s what reading may become. A small group of people who love it and don’t care if they are thought of as crazy. RB: Ray Bradbury’s Fahrenheit 451 has seemed prescient to me. EP: It is. It is. RB: People who collect guns or Aunt Jemima cookie jars are passionate also. Today it would seem passion -- people who like reading and literature passionately began to champion the independent bookstore. That’s okay. I mean, who likes cookie cutter retailers? On the other hand, booksellers were beatified as if they weren’t merchants and capitalists. C’mon! Maybe a few were/are heroic -- Truman Metzel of the late Great Expectations in Evanston Ill., or Sylvia Beach in Paris, Vincent McCaffrey in Boston. EP: And now they have readings. Those of us who want to sell books are delighted. RB: I understand. Do you go to the annual BEA? EP: Tell me what it stands for? RB: It’s a big booksellers trade show. EP: In Frankfurt? RB: That’s the Frankfurt Book Fair. This is the big American convocation of the book industry. EP: Obviously, I don’t go to it since I don’t know what it is. RB: So, do you go to book related events? EP: I go to literary events -- mostly at colleges. I go to bookstores. I go to festivals. I go where I am asked. If the BEA invited me, I would go. RB: That does speak to the assumption that writers should help their publishers promote and sell their books. EP: Yes, right. I do it for my publisher. RB: Your publisher is blessed to be located in a civilized place like North Carolina (laughs). Wilmington? Chapel Hill? EP: Wilmington. Do you know him? RB: Ben? No. EP: I thought he introduced us. RB: Oh yeah, by email. EP: He knows you, knows of you. RB: I don’t remember the chain of events that brought us together -- it must be because you are an overnight sensation (laughs). I must have read about you in Variety. EP: No you didn’t. I am an overnight sensation of a sort. I have been writing for 40 years and this is my fourth book. And I always had a small following. And I never expected to have any bigger following. I would go to my grave with a small collection, happy. So this somehow happened. RB: You knew about Ann Patchett’s intro to [Binocular Vision]? [She writes:“My only challenge was to keep from interrupting myself as I read. So often I wanted to stop and say to the audience, 'Did you hear that? Do you understand how good this is?'”] EP: That certainly helped. RB: And there was a review in the LA Times that took the same tone. As did Roxana Robinson. I am happy for you, but that’s a bit of journalistic gimmickry. There are many artists that one can say that about. EP: Absolutely. I had the luck to be plucked. It was luck. There are writers absolutely as good as I am or better who write their books and don’t get noticed. RB: I am disturbed by that -- I am reluctantly drawn into thinking about the business part of book publishing. Success frequently is serendipitous. I am certain you know the stories of writers who have submitted their books to many publishers and were rejected. EP: Absolutely. Or 30 rejection letters for a story. RB: Tibor Fischer’s story is particularly amazing. Of the almost 50 publishers in Britain he was rejected by all except the last one he approached. How do these decisions get made? EP: By human beings. By fallible human beings. RB: It would be okay if there were some humility attached to the gate keeping of publishing. Don’t you think? EP: Yes. And the prize givers ought to be more humble and certainly the writers. In general the writers are -- they know how lucky they are. RB: You start out with a sense that there is a civilizing effect of thinking and writing and telling stories. It made life somehow better. And looking around today, it may be true but the contemplative life seems to be losing the battle. EP: It improves the individual life, I think. People who read, people who write-- RB: Wouldn’t it be nice if they were to be salvation for all of us? (Laughs). EP: I would, but I am not a proselytizer. RB: All right, I scratch that line of thought. I have three favorite stories in Binocular Vision. “The Ministry of Restraint,” in part because I didn’t know what was going to happen -- how well do you remember your stories -- pretty well? EP: I think so. RB: A guy takes a trip to some backwater town, and takes a train back to the capitol and meets a woman. The train is blocked at a tunnel and the passengers have to get off and return to the starting point -- as man and the woman walk side by side, their hands come close to touching but do not. And then over the years they meet. In final pages, you learn explicitly that they were lovers once. I was charmed by their initial close proximity which was brought to some fruition much later. EP: I’m glad you liked it. RB: And then the heart wrenching tale of a damaged infant. Why did you name her Tess? EP: I don’t remember. I don’t remember. It has a slightly angelic appeal to me. RB: Any connection to Thomas Hardy? EP: No. She wasn’t named after Tess of the D’Ubervilles. RB: How many Tesses do you know? EP: Probably none. RB: It’s an unusual name EP: Yes, it’s taken from the nickname for Theresa. RB: Was it a hard story to write? EP: Yes. I wrote it in pieces. And, of course, it’s told in pieces. And I didn’t write it in the order of its final form. RB: You chose to have a number of people tell the story. EP: Only one person speaks in her own voice -- that’s the mother. There are probably a half of dozen people who see the child -- each of them has a thought that you know about. But it’s the mother who speaks in the first person. RB: And it was hard to write because? EP: It dealt with such sad things. RB: Do you have enough time to emotionally identify with the characters? EP: Yes, I think I do. I have enough intensity to get involved. RB: I wonder about the aftermath of writing a novel, which requires a writer to inhabit lives for a period of time. How long does it take to write a story -- a year? EP: No, no. A few months. I suppose in a hardhearted way I forget the sadness of the story I have written. Life goes on and I write the next story. RB: Are you tempted to write what seems to be a current trend-- EP: Linked stories? Well I have several stories that take place in the same place -- in soup kitchen. The stories about the woman who works for the joint distribution committee -- there are four about her. It’s not a temptation so much as I am not through with that character, so I want to write another story about them. RB: Is there one thing that moves you in taking up or developing a story -- a name, an image, feeling, a memory? EP: All of those things. It’s not one -- something I dream-- RB: When you begin, do you know what is going to happen? EP: When I start out, it’s a lot of improvising and I write many pages of improvisation and then I begin to see what story I want to write. I start all over again with the knowledge that I have gotten from the improvisation. RB: Do you think the piece is finished when the story is written? EP: Well, I take them to my friend, whom I meet every month, who is ruthless with me and I with her. RB: Does she use any instruments in her ruthlessness (laughs)? EP: No, no. It’s all an abuse of the mind. And she either says, “This is almost done” or “Go back.” And I do. RB: One writer told me that she submits the draft -- her editor sends a back a few notes, which enrage her. She writes back to her editor expressing her anger. The editor doesn’t respond. And a few weeks later, the writer decides the editor was right (laughs). EP: She had to get over her rage and humiliation first. RB: Really! Where was I? EP: You were going to tell me the third story you liked. RB: Right. It was the one entitled “Chance.” It had a Torah study group card game. I enjoyed the Hassidic slant, but I really like that it went somewhere I didn’t see coming. I lost track of why the card game devolved to the temple and presentation ceremony. EP: It begins with the Torah being delivered, and so I had hoped that the Torah would always be somewhere in the back of the reader’s mind. RB: Yes, it’s mentioned in the middle of the story. I was distracted by the card game interlude. EP: Well, the title of the story is “Chance.” That’s what poker is about-- RB: And what the Torah is about (laughs)? EP: No, that’s what the destruction of Jewry was about. That is to say it was chance that some Jews lived and some died. RB: The story’s last two lines were quite powerful. Story collections are a delight because despite what is usually a deliberate sequence you can go through and begin with titles that you find appealing. I would never skip around in a novel. EP: My daughter used to read novels that way. A piece here and a piece there. And I read somewhere that Nabokov wrote his novels that way on 5x8 cards. There is a writer who found or could have found his ideal reader. RB: Movies are made that way -- out of narrative sequence. EP: When I was a girl, I‘d go to a double feature in the middle and go around for the part I missed. They don’t let you do that now. I tried and was told that the director did mean for you to see it that way. RB: In the last few years, I have relaxed my personal rule about finishing books that I begin-- EP: Many of my friends have said that [same] thing to me: “Now, if I don’t like it out it goes.” RB: It means I have shifted more responsibility to the writer. It’s always an issue, the immediacy of our reaction -- you may hate a book one day and find it quite readable the next. EP: Yes. And the things we believe today, we can expect not to believe tomorrow. RB: (Laughs) If we can remember them. EP: (Laughs). RB: Do you go back to your work? EP: Well, I do when I make a collection. Because it’s a chance to improve them. So I go back -- when a story is accepted by a magazine, it’s an opportunity to correct things. RB: You see that as a correction? EP: Improve? If it then goes into an anthology like Best American, I take an opportunity to correct or revise there -- but not much. Not wholesale revision. And then, for a collection of my own, I certainly have an opportunity to change or review. RB: Where does that impulse come from? At one point you felt the story was finished. Not perfect but done. EP: I thought it was done to the best of my ability at the time. RB: And then you got better since you wrote it? (Laughs). EP: I don’t know that I got better -- I got different. I was in an event in which three short stories were read by three actresses which was a lot of fun. I was watching one writer listening to her own story -- she said later all she could hear were the infelicities. So I am sure if that story gets re-collected she’ll change some things. RB: There is also the matter that the creator has expectations of the audience to grasp their creation in a certain way. EP: No, I don’t feel that way. I agree with the statement, "Trust the tale, not the teller.” My attitude about a story I have written may well be different from a reader’s. And I don’t mind that. RB: Would you say it should be different? EP: No, I don’t say that. It can be appreciated in many ways. Or not appreciated. RB: This recent collection was a collection of stories that already existed? EP: Thirteen new stories that had not been in a book. They had previously been published in magazines. There were 16 stories that had never been collected. RB: They had all been previously published somewhere? EP: Except for one. I can’t remember which one. RB: Some writers say they will write stories specifically for a book. EP: No, I don’t do that. I write hoping that a magazine will take it. And I don’t think about a collection until I have quite a few stories. RB: Why are writers like Alice Munro, William Trevor, and yourself admired in a way that seems different than many writers? EP: Thank you very much for putting me in that threesome. I was so dazzled by that that I didn’t hear the rest of the question. RB: (Laughs) I took your breath away. Does it strike you that there’s a craftsmanship assigned to the writers I mentioned. That short fiction writers are looked as artisans? EP: Yes, we have to have our end not only in mind, but pointed towards, within the story. Like the ones you mentioned. RB: You seem to travel a lot. EP: I'm traveling now because-- RB: You’re an overnight sensation? EP: Did you ever hear Danny Kaye’s comment when he became a success and somebody said he was an overnight sensation? He responded, “Yes, after 20 years in the Borscht Belt.” I’m not an overnight sensation, but at the moment I’m in demand. It won’t last forever, so I am responding to it. RB: How do you know? Mostly there is a six-week window of attention for books and then goodbye. Your “15 minutes” has lasted since the Spring. EP: It’s been three months. RB: That’s a long time. EP: Yes, yes. It received these very good reviews. But other books are coming along with good reviews. RB: What’s come out that has really excited reviewers? EP: The Tiger Wife. I’m trying to think of fiction -- I am sure there are others. RB: I think not. Except for David Foster Wallace’s The Pale King. EP: What about David Mitchell’s book? RB: That was a while ago -- it just came out in paper. EP: I bought it in hardcover. RB: Did you like it? EP: I haven’t read it. RB: (Chuckles) You bought the book and haven’t read it. EP: I have a lot of books I haven’t read. RB: What are you reading now? EP: The Worst Journey in the World, which is about Scott’s last expedition. It’s a nice alternative to fiction. RB: Do you know Andrea Barrett’s The Voyage of the Narwhal? It’s about an Arctic expedition. EP: I’ll bet its good -- I like her short stories. Anthony Doerr got very good reviews. RB: Sure, but within the usual window of attention. And not a widespread choice. So what’s next? Any polar expeditions? EP: No, no. I have a grandchild I walk every day. I have lots of friends whom I meet for coffee. Love to go to the movies. RB: What was the last movie you saw you liked? EP: I liked The King’s Speech. I usually like movies when I see them. There are very few movies I don’t like. RB: Meaning you choose carefully? EP: No, I have a general love of movies. I love the experience. RB: Do you watch TV? EP: (Shakes her head). RB: None? EP: I don’t have one. RB: Wow. Isn’t there a whole bunch of culture you are missing? EP: I am. Yes there is. I do lead a somewhat insulated life without television. RB: Well, you have missed one of the great TV series -- The Wire. EP: Oh yeah? What’s that about? RB: Big city life in Baltimore -- drugs, unions, corruption, public schools, politics, media. There were five seasons and every season had a different focus. It was a Tolstoyan tale. EP: I am sure I am missing things that are good. I have a feeling that I'd become addicted if I started watching. And I also have a very good radio. RB: What do you listen to? EP: Music mostly. I listen to interesting interviews RB: What’s it like to be on book tour? Especially when a small amount of people show up for an event -- has that happened to you? EP: It certainly has. This [current] book seems to get a crowd. I read for my other three books a lot and seven people would be there. You do as well as you can for those seven people. I once was on a lineup that included David Sedaris and I was the first reader and he was the second. I had the experience of standing before 500 people reading my story -- all of 499 had come for him. It was fun. RB: That’s show business. EP: Thank you.
The trilogy currently sitting atop the New York Times bestseller list is in many ways a fascinating one, the sort of Cinderella story that gives journalists a chance to make wild guesses about the future of publishing. E L James’ Fifty Shades of Grey and its sequels began on the Internet, evolved into e-books, were printed by a small Australian press, and, just a few weeks ago, were finally picked up by a traditional big publisher, Vintage, which paid seven figures at auction for the North American rights. It wasn’t a risky bet; the biggest trouble has reportedly been keeping physical copies on the shelves. The book is notable, too, because to some degree, it’s forced erotica into the mainstream conversation. Much of the coverage of Fifty Shades of Grey has focused on sex: women are passing around the novels at spin classes and telling the Times how nice it is to be able to read porn and talk about it with friends. (“It’s relighting a fire under a lot of marriages,” one woman said.) But then there are the books’ origins: the trilogy started on FanFiction.net, as a story entitled “Master of the Universe,” in which James’ main characters, Anastasia Steele and Christian Grey, were called Bella Swan and Edward Cullen. It was Twilight AU, or Alternate Universe fan fiction, wherein Stephenie Meyer’s innocent girl and vampire were re-imagined as innocent girl and manipulative billionaire. The story eventually morphed into something more original — and “Masters of the Universe” was removed from the web — but the threads remained. “The book emerged from the steamy land of fan fiction,” said Jason Boog, discussing the legal and ethical questions for NPR. “Fifty Shades of Grey has opened the box underneath Pandora's bed, and we need to decide what to do with the sexy publishing trend hidden inside.” Why, when discussing fan fiction, do journalists often sound like anthropologists discovering some long-lost tribe — and a somewhat unsavory and oversexed one at that? To be fair, Fifty Shades of Grey is an erotic novel, but it represents a mere fraction of this “steamy land.” Let me take a crack at it: fan fiction is original work with largely unoriginal foundations, in which writers take established fictional worlds and spin them into something else entirely. Outside of all of the various fandoms, and even occasionally within them, a few assumptions seem to prevail: that there is something inherently embarrassing about fan fiction, that it’s cause for anonymity and secrecy, and that it is overwhelmingly pornographic — and often seriously, creepily pornographic. There’s plenty of that stuff, sure, but then, there’s plenty of original erotica out there, too. It’s all a sliver of something much larger. For every story that puts Harry, Ron, and Hermione in some kind of BDSM threesome, there are a thousand stories in which they manage to save the world without having any sex at all. The literary establishment seems divided on the subject — those who even notice fan fiction, at least. (It’s here that we can part ways with Fifty Shades of Grey, which, as a romance novel, doesn’t really fall under the purview of the “literary establishment” — and the blurry dividers between genres are a wholly different discussion.) Writing for TIME last year, Lev Grossman mercifully skipped the baffled anthropologist shtick: the piece was clearly the work of a super-fan, and he laid out the basics with a great deal of affection. Fan fiction is “still the cultural equivalent of dark matter,” he writes. “It’s largely invisible to the mainstream, but at the same time, it’s unbelievably massive.” (FanFiction.net, the largest fanfic site in the world, has more than two million users and nearly 600,000 Harry Potter stories.) Grossman continues: Fan fiction is what literature might look like if it were reinvented from scratch after a nuclear apocalypse by a band of brilliant pop-culture junkies trapped in a sealed bunker. They don’t do it for money. That’s not what it’s about. The writers write it and put it up online just for the satisfaction. They’re fans, but they’re not silent, couchbound consumers of media. The culture talks to them, and they talk back to the culture in its own language. Some authors seem to love the conversation, but some, for legal or creative reasons, seriously hate it. Grossman highlights a few of its vehement detractors, like Orson Scott Card, Anne Rice, and George R. R. Martin, who says on his website that, “Every writer needs to learn to create his own characters, worlds, and settings. Using someone else’s world is the lazy way out.” But writers have been lifting and borrowing and refashioning characters, worlds, and settings since people began putting stories down on the page. Grossman draws a line between literary influences, allusions, and homage and the world of fan fiction: he highlights 1966, the year in which Star Trek premiered and Trekkies were, in turn, born, and in which two great literary heists were published: Jean Rhys’ Wide Sargasso Sea and Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. The latter pair were “written for profit, and they’re adorned with the trappings of cultural prestige; true fan fiction has naught to do with either one.” I’m just not sure we need the distinction — and I’m not sure that it helps. Nearly every work of fan fiction on the Internet is accompanied by a disclaimer, some variation on “This story was not written for profit, and these characters are not my own.” But it’s copyright law at the heart of that, and to suggest that these writers have no interest in “the trappings of cultural prestige” creates a stark division between fan fiction and its literary counterparts. I have a deep respect for the devotion of fans, and I can certainly understand why one would write a story for love rather than for money. But it’s a multi-faceted world: many of these writers just want a different — and sometimes, a better — way into a story. Hasn’t literature has been doing that for centuries? There’s fan fiction lore surrounding King Arthur and Don Quixote, but we find easier analogies with modern-day fan culture say, a few hundred years ago, when the novel as we know it was born. Copyright laws had been on the books since the seventeenth century, but the most successful eighteenth and nineteenth century writers watched helplessly as their characters were baldly lifted and reworked into sequels or just plain rewrites — and then sold to the public at a fraction of the price. Charles Dickens, already a victim of intellectual pirating across the Atlantic, watched domestic copycats put out seriously poor imitations of his books with dismay: “I have not the least doubt that these Vagabonds can be stopped,” he wrote. “They must be.” This was pure plagiarism, meant to harm and to generate profit, not to elevate Dickens’s words. But a century earlier, Samuel Richardson found Clarissa, which he was publishing in installments, to be the subject of positive and somewhat extraordinary fannish speculation. Two sisters, Lady Bradshaigh and Lady Echlin, exchanged dozens of letters with Richardson, urging him to change the course of the novel (basically, they wanted to cut out the rape and death). In The Oxford Encyclopedia of British Literature, Carol Houlihan Flynn writes of Bradshaigh contacting Richardson: “Assiduously scribbling over the margins of all the volumes of the novel, she first writes him after finishing volume 4, cajoling, flirting, excoriating, loving, hating, but always admiring her torturer.” Her sister took things further: “Lady Echlin...seems more professional in her investment into the passions of Clarissa, and literally rewrites the novel...Richardson received and of course rejected her alternative ending, but they debated the critical differences in at least forty letters.” The nineteenth century saw fans skipping correspondence with recalcitrant authors and writing their own endings for books that they loved, including the novels of Jane Austen, Lewis Carroll, and, most notably, Arthur Conan Doyle, who made the mistake of killing off Sherlock Holmes and whipping the detective’s admirers into a frenzy. The practice continued through the first half of the twentieth century, until the 1960s, when the term “fan fiction” was coined and the literary tradition merged with our current ideas of fandom — science fiction, “cult” television shows, terms like “continuity” and “canon” gaining significance in the process. As the Internet became pervasive, fan fiction communities grew and spread exponentially. But the past half-century also played host to a lot of self-conscious borrowing and refashioning across literature: authors began to look for silences in the canon and probed the neglected perspectives they found there. Some post-colonial literature could easily be categorized as fan fiction. The most famous of these is Wide Sargasso Sea by Jean Rhys, which follows Jane Eyre’s “madwoman in the attic” all the way back to the Caribbean. Aimé Césaire’s Une Tempête draws the colonial themes out of The Tempest with an essentially direct re-writing of the play. J. M. Coetzee’s Foe exists within the confines of Robinson Crusoe, placing another character on the island with Crusoe and Friday, and explores ideas of authorial voice in the colonial narrative. Outside post-colonialism, dozens of books fall within the realm of “parallel novels,” many of which take minor characters and expand their worlds. Peter Carey’s Jack Maggs emerges from Great Expectations; Geraldine Brooks looks for the absent father of Little Women in March. Michael Cunningham’s The Hours offers us two subgenres of fan fiction: the AU of the modern-day Clarissa, Richard, and Sally, and the RPF — that’s Real Person Fic — of the Virginia Woolf passages. With RPF, you’re not writing about Aragorn and Legolas’ lost adventures anymore — it’s Viggo and Orlando on the set, and who knew they might be an item? Every biopic that takes factual liberties could be classified as such, and the same could be said for plenty of books, from Colm Tóibín’s The Master (Henry James) to Ron Hansen’s Exiles (Gerard Manley Hopkins) to Julian Barnes’ Arthur & George (our old favorite, Arthur Conan Doyle). So what’s the difference? Isn’t all of this just a bunch of variations on the same theme? Why does fan fiction’s stigma persist — and why are remixes and mash-ups, analogs in the art and music worlds, accepted, even celebrated? There’s something about the written word that limits all this unfettered refashioning, something that makes people more protective of their work. It’s the fear of plagiarism, perhaps, or the way that for many people, a character can feel so much dearer than a beat or an image ever could. But fan fiction — and all of its literary counterparts, however you classify them — comes from a place of love and admiration. Some people see a corner of a fictional world waiting to be explored; others just want to exist in the world past the last page of their favorite novel. After all, who among us hasn’t felt that way, closing the back cover of an amazing book and wishing that the author had given us a little bit more? Image: PopCultureGeek.com/Flickr
Kathy wrote in with this question:Our book club is focusing on books made into movies. We read fiction, no murder mysteries. I would like to keep either the book or the movie fairly current. Beloved is as far back as I would like to go. I thought about Wonder Boys and then heard The Mysteries of Pittsburgh is now a movie. We read Homecoming so we will probably do The Reader. My idea about books to movies is to compare the two mediums so I suppose the movie adaptation would not have to be topnotch.Three of our contributors had some recommendations for Cathy. We'll start with Emily, who covers both fiction and memoir:The Diving Bell and the Butterfly: This beautiful, lyrical movie, directed by American painter and filmmaker Julian Schnabel, was based on a 1995 memoir written by the French journalist Jean-Dominique Bauby. Bauby was 43 and the editor-in-chief of Elle magazine when he suffered a massive stroke and fell into a coma. When Bauby awoke from the coma, he could only move was his left eyelid. His memoir, from which Schnabel's movie takes its name, was written using the French language frequency-ordered alphabet. An assistant slowly recited the special alphabet (the letters ordered by frequency of use in French) over and over again, and Bauby blinked when the assistant reached the correct letter. He wrote his book letter by letter, blink by blink, composing the whole in his head. The memoir recounts both the anguish of being locked inside a corpse (the diving bell of the title), and the liberating pleasures of the imagination (the butterfly) that allowed Bauby to escape the confines of his prison-like body. Schnabel's movie is breathtaking - one of the most visually lush, visceral film experiences I've had in a long time. It is also a testament to the power of the imagination.Oscar and Lucinda (1988 novel by the Australian novelist Peter Carey, also the winner of the Booker Prize for that year; 1997 film adaptation by Gillian Armstrong with Ralph Fiennes and Cate Blanchette): This is another beautiful movie, and though I haven't read this novel of Carey's, I loved Jack Maggs and The True History of the Kelly Gang. Oscar and Lucinda is the story of Oscar Hopkins (Fiennes), a young Anglican priest, and Lucinda Leplastrier (Blanchette), a young Australian heiress who buys a glass factory. These two lonely eccentrics meet sailing to Australia and discover that they are both obsessive and gifted gamblers. The crux of the story concerns the transportation of a glass church made in Lucinda's factory in Sydney to a remote settlement in New South Wales. Carey's novel was influenced by the 1907 memoir Father and Son by the literary critic and poet Edmund Gosse. Gosse's book recounts his painful relationship with his father, the self-taught naturalist and fundamentalist minister, Philip Henry Gosse. Gosse Sr. is the model for Oscar's father.This Boy's Life (1989 novel/autobiography by Tobias Wolff; 1993 movie starring Leonardo DiCaprio, Ellen Barkin, and Robert De Niro). Wolff's memoir of his growing up is by turns funny and horrifying and very much in the tradition of Gatsby-esque self-reinvention. The book follows the wanderings of adolescent narrator and main character, Toby Wolff (who, inspired by Jack London, changes his name to Jack) and his hapless mother (who has a thing for abusive, damaged men). After an itinerant existence driving around the country (usually fleeing or in search of one of his mother's bad-news boyfriends), Jack and his mother settle in Chinook, Washington where Jack's mother marries Dwight. Dwight (De Niro in the film) turns out to be a vicious, tyrannical bastard once Jack and his mother are settled into his household. Wolff's prose is strong, lean, and unsparing and De Niro, Barkin, and DiCaprio all give impressive performances in the adaptation.For another excellent film/novel pair also in the dysfunctional family vein (and also starring Leonardo DiCaprio), check out Peter Hedges' 1991 novel What's Eating Gilbert Grape? Hedges wrote a screenplay version of the novel for Lasse Hallstrom's 1993 adaptation, starring Johnny Depp and Juliette Lewis. The cinematography by the legendary Sven Nykvist is spectacular, as is Leonardo DiCaprio's performance as the mentally challenged Arnie (he earned an Oscar nod for it). For a third paring in this vein, consider Augusten Burroughs' memoir Running With Scissors, and the excellent film version of the same name (with Brian Cox, Annette Bening, Alec Baldwin, Gwenyth Paltrow, and Evan Rachel Wood). Finally, for an English book/movie take on the eccentric/dysfunctional family, there's Dodie Smith's novel I Capture the Castle and the film version of the same name (with Bill Nighy and the lovely Romola Garai, who is also in the film version of Atonement).If you're in the mood for American Beauty-esque lambasting of the American dream, consider Revolutionary Road (movie) or Little Children (movie). Both film versions star the gifted Kate Winslet, and both tell the tales of the sadness and frustration hidden away in grand colonial homes surrounded by green lawns and picket fences. Little Children also features a smashing book group discussion scene. The book under discussion is Madame Bovary and if one wanted a primary and a secondary text to read alongside the movie, Flaubert's novel might make a nice complement. For a third slightly different take on the deceptions of American family life, consider David Cronenberg's deeply disturbing and violent (but masterful) A History of Violence (2005), based on the 1997 graphic novel of the same name by John Wagner and Vince Locke. The movie stars Maria Bello, Viggo Mortensen, and Ed Harris.Possibly my favorite adaptation of a novel is the late Anthony Mingella's 1999 The Talented Mr. Ripley, based on Patricia Highsmith's 1955 novel. Its ensemble cast - Cate Blanchette, Jude Law, Gwenyth Paltrow, Philip Seymour Hoffman, and Matt Damon - is one of the finest ever assembled, and the tale is a darker version of Gatsby myth: Tom Ripley, played by Matt Damon in the movie, decides that he wants the leisured life of his rich friend Dickie Greenleaf, no matter what the cost. Tom's worshipful longing for well-made clothes and objects, travel, culture - a charmed, leisured life - is a kind of strange love story, and one of the most affecting and infectious depictions of desire I know. You want Tom to win even as he reveals himself to be utterly amoral and self-interested. Mingella's reading of his source text gives Highsmith's book a more tragic cast than I found the novel to have, and it also draws out homosexual undercurrents that I think Highsmith was more subtle about, but his version is just as captivating as the original. The movie is also a gorgeous period piece - necessary for a story about the irresistible power of material beauty and comfort.Don't be put off by the title of this last one: Wristcutters: A Love Story. This 2007 movie directed by Goran Dukic is based on a short story called "Kneller's Happy Campers" by the Israeli writer Etgar Keret (available in translation in the collection The Bus Driver Who Wanted To Be God and Other Stories). Basically, it's about where you go after you commit suicide. But it's not gothic or heavy-handed or overdone. The place that you go is pretty much like our world, only slightly cruddier and more run down - kinda how I imagine things were in Soviet states (scarcity, disrepair). After committing suicide, Zia (Patrick Fugit) finds himself in this world and befriends fellow suicide and former Russian punk band member Eugene (played by Shea Whigham), whose character is modeled on Gogol Bordello front man Eugene Hutz. Zia hears a rumor that his former girlfriend has also committed suicide and so is now in their alternate world, and Zia sets out to find her, accompanied by Eugene. Their adventures include an encounter with a self-proclaimed messiah (played by Will Arnett, GOB from "Arrested Development") and another with a quasi-magical camp leader (played by Tom Waits). There's a touch of Beckett about this movie, but there's also something quietly humane and understated about it. It's refreshing to see the afterlife imagined in such mundane terms.Lydia offers three movies she prefers over the books they were based on and two books she believes were done disservice by the movies made about them: The English Patient - It is not Michael Ondaatje's fault that Ralph Fiennes and Kristin Scott Thomas are basically the dreamiest couple possible. Maybe it's because I saw the movie first, but I wasn't as thrilled about the book. I know a number of people who completely freak out over Michael Ondaatje, but I completely freak out over tans and taciturnity.I have read that people take issue with the movie version of Schindler's List because it, in its Spielberg way, glamorizes The Holocaust. I get this, because I think he made, in a weird way, such an intensely watchable film; it does follow a traditional Hollywood arc, and sometimes I find myself thinking, "Oh hey, I'd like to watch Schindler's List," just as I might think, "It's been a while since I watched High Fidelity." That's kind of weird. But it is an incredible story, and I think that the performances of Liam Neeson, Ralph Fiennes, and Ben Kingsley (if you want to see range, by the way, watch this, then Gandhi, then Sexy Beast), are absolutely magnificent. The book is not particularly well-written, but it got the job done.Speaking of poorly written books that make great films, did you read The Godfather? Remember the tasteful subplot wherein the lady is always on the hunt for well-endowed gentleman because of a rather startling aspect of her physiology? How surprising that Francis Ford Coppola chose not to include that pivotal plot point. Jesus.Possession - This movie is a joke, which was disappointing because the novel is so wonderful. Whatever it is that is between Gwyneth Paltrow and Aaron Eckhart is the opposite of chemistry. It's like giblets removed from a chicken, sitting coldly in their bag.Brideshead Revisited - Why someone would think it necessary to improve upon Waugh, and then Jeremy Irons, is beyond me. Everyone is very pretty in this movie. That is all that can be said on the matter.And Edan rounds things out with a pair of picks:Jesus' Son by Denis Johnson - I love this collection of loosely-linked short stories because it manages to be simultaneously masterful and raw, and because the drug use in the book doesn't feel cliched, but instead weird and terrible and sometimes wonderful. The narrator of these stories is known as Fuckhead (played in the film by Billy Crudup), and all of these stories pay witness to moments of lucidity and beauty in a world that is otherwise incoherent and uncaring. The movie, I think, does the same. It also highlights the humor of the book: for instance, Jack Black takes Georgie, the pill-popping hospital orderly from "Emergency," to a whole other level. Other cast members include Samantha Morton, Helen Hunt, Dennis Hopper, and even a cameo by Miranda July! It would be fun to discuss how the film takes on the adaptation of an entire collection, rather than a single story, which is a more common practice.Notes on a Scandal by Zoe Heller - This novel is darkly funny and disturbing, and the story is told in a series of diary entries by dowdy high school teacher Barbara Covett (played in the film by Dame Judi Dench), who befriends colleague Sheba Hart (played by Cate Blanchett), and becomes privy to Sheba's extramarital affair with one of her students. I absolutely loved this novel, but felt ambivalent about the movie, which has a much more serious tone - probably because it loses Barbara's wicked commentary on the world around her. It also focuses heavily on Barbara's lesbian obsession with Sheba - in a way that screams obvious, even campy. Still, the film has been lauded by many, and the upsetting aspects of the book are even more so when watched on screen rather than imagined. (And, plus, Cate Blanchett's cheekbones alone are worth watching for 2 hours.)If you have any suggestions, let us know in the comments. Thanks for the question Kathy!