It’s reminding me so far of “Predestination”, the movie based on Robert Heinlein’s short story ‘All You Zombies’, although that was focused on time travel and the interweaving manipulations of timelines rather than exploring multiverse theory.
While I really enjoyed “Predestination” I’ve never read its source material, and after hating reading Heinlein’s “Stranger In a Strange Land” I’m a little hesitant to check it out. So I wonder if this might be a similar situation; that I might enjoy adaptations of Crouch’s work—‘Wayward Pines‘, ‘Good Behavior’ for tv and eventually “Dark Matter” itself as a film—more than I like his writing itself.
Or maybe I’ll enjoy this more as it gets going—like I said, there are probably some twists coming….
I never had to read Joseph Heller’s “Catch 22” in high school but chances are if it had been assigned I wouldn’t probably wouldn’t have finished reading it. The novel is a too-long absurdist, occasionally funny, often sickening accurate and poignant, novel set during the Second World War, of a bunch of men screaming louder and louder because no one is listening them, while sexually assaulting most of Italy.
Weaving throughout the narrative exploration of a myriad of damaged soldiers is the emotional and psychological cost of toxic masculinity, on those wallowing in it as well as to everyone they come in contact with.
The greatest expression here of this cultural malignancy is the bureaucracy of war; whereas war is wage to provide a hierarchy for men to exploit one another, and that bureaucracy is then maintained to continue to wage a futile and pointless war that creates victims as much in those who are bombed as those who are bombing. Perhaps those who order the bombings can be said to be immune to the effects of this culture and the war it wages in reality, but they most certainly have a form letter explaining to “Mrs., Mr., Miss, or Mr. and Mrs. —” that it is they who are the real victims in all of this.
But I also have to wonder how the new Hulu adaption of the book will address the cultural and sexual shortcomings of the book in today’s Me Too and Time’s Up movements. Or will that charming and wistful reminiscing of the good old days when a fraternity gang raped two underage girls be excised entirely from the retelling?
It’s certainly a difficult book to read, and one difficult to say was enjoyed, despite the humorous moments. But for its stark, absurd illustration of the power of communication, miscommunication and misdirection to corrupt and damn, and the effects of war, of unchecked and unrestrained aggression it is an important story to experience. And one that, despite being dated in some aspects, is just as relevant today in the lessons that still need to be learned and the warnings to be gleaned.
Howard’s End: Spent a Week There One Night
Yesterday Starz premiered a new miniseries adapting E.M. Forster’s eternal classic, “Howard’s End.” Eternal as a descriptor is not used here in a positive way. Don’t be fooled by the title, this book never actually ends.
To celebrate the premiere, Penguin Classics posted to Instagram, “Don’t mind us while we spend our Saturday re-reading Howards End for the millionth time before the new mini-series premieres on Starz tomorrow night 📖🌿 Raise your hand if you plan to watch! 🙋🏼♀️🙋🏻♀️🙋🏾♀️”
As a refresher, I just tried reading the plot synopsis on Wikipedia that could probably be published as a novella in itself. It alone felt longer than any of James Patterson’s BookShots™.
It’s the first time on Wikipedia that I haven’t gotten pulled down the rabbit’s hole, that was how needlessly boring and unending the plot of this book feels. For a novel that’s only around 340 pages, I can’t imagine it taking less time to read than “War and Peace”, which is four times the page count, give or take. I can’t imagine it taking less time to read than the Napoleonic Wars themselves, for that matter. Of course, I’ve been reading “Hell to Pay” for three months, so what do I know?
Here’s an actual short summary: nothing happens and continues to not happen in a mindnumbingly, Edwardian-dressed, ‘Groundhog Day’ sort of way, punctuated with the revelations that Henry Wilcox has ruined the lives of several women across a few decades, just so it seems like there’s a reason to keep reading.
There isn’t. And yet, if multiple adaptations are any indication, we do.
Once a year or so I wake up in the middle of the night in a cold sweat and ask myself if I ever actually finished that book.
I try to remember what it was about, or anything definitive about the plot, what was the last thing I remember, even just a character’s name; anything substantial at all about the story or characters to anchor my fragile midnight reality upon. Then I remind myself that no one ever has finished it.
EM Forester has defied the laws of time and space in writing this novel. ‘Howard’s End’ is a literary wormhole, a black hole of indecent and apathetic people that attempts to repackage itself in a redeeming bow when Henry finally does something not awful, and we’re all still reading it.
Somewhere, no doubt, despite claims it was completed in 1910, Forster is still writing it, his own picture of Dorian Gray on the printed page; stealing the souls of those naïve enough to believe the could ever find resolution in its story, and keeping him alive throughout the turning pages of history. But is a cursed existence worth experiencing? And aren’t we all cursed now, from the moment we laid eyes on that damned title page?
This isn’t the millionth time you’re reading it, poor Penguin, it’s the first. You’ve never finished reading it, and you never will. None of us will. We are all Henry Wilcoxes now, forever repeating the same mistakes, unable to learn, to change our attitude with time, or consider others as we push blindly forward in our righteous, vainglorious manner. We turn the page, believing we are nearing the end. But we never do. We will always be reading it. For us, “Howard’sEnd” never will.