{"id":101064,"date":"2016-08-02T09:33:43","date_gmt":"2016-08-02T13:33:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=101064"},"modified":"2016-08-02T10:11:02","modified_gmt":"2016-08-02T14:11:02","slug":"so-youre-adapting-a-philip-roth-novel-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/08\/02\/so-youre-adapting-a-philip-roth-novel-and-other-news\/","title":{"rendered":"So You\u2019re Adapting a Philip Roth Novel, and Other News"},"content":{"rendered":"<div id=\"attachment_101066\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1.jpg\" rel=\"attachment wp-att-101066\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-101066\" class=\"wp-image-101066\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1.jpg\" alt=\"\" width=\"600\" height=\"432\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1.jpg 2019w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1-300x216.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1-768x553.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/indignation_poster_goldposter_com_1-1024x738.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-101066\" class=\"wp-caption-text\">From the <i>Indignation<\/i> poster.<\/p><\/div>\n<ul>\n<li>Don\u2019t learn this the hard way: it\u2019s likely impossible to wrest a good screenplay from the pages of a Philip Roth novel. Many (okay, like, eight) have tried, the latest being James Schamus, with <em>Indignation<\/em>. All have struggled and gnashed their teeth. Leo Robson has some thoughts on why, and also some thoughts on the most singularly unfilmable Roth novels: \u201c<em><a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/philip-roth-versus-the-movies\" target=\"_blank\">Sabbath\u2019s Theater <\/a><\/em><a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/philip-roth-versus-the-movies\">might be read as Roth\u2019s ultimate piece of literary one-upmanship over the movies<\/a>. You can picture Roth at his desk in rural Connecticut, far from the fluorescent, multiplex-ridden metropolis, writing the scenes in which Mickey communes with his lover\u2019s ghost, yelling, \u2018You filthy, wonderful Drenka cunt! Marry me! Marry me!,\u2019 and ejaculating over her grave\u2014and then saying to himself, with a vindicated smile, \u2018Try filming\u00a0<em>that<\/em>.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>While Lily Gurton-Wachter was pregnant, she taught classes about war literature. \u201cWe have a rich, challenging, and complex canon of war literature,\u201d she began to realize, \u201cand an equally engaged and vibrant tradition of criticism and philosophy that deals with war, violence, and trauma \u2026 <a href=\"https:\/\/lareviewofbooks.org\/article\/stranger-guest-literature-pregnancy-new-motherhood\/\" target=\"_blank\">The same cannot be said about a literature of pregnancy or childbirth or parenting, though these are also extreme experiences that stretch our understanding and push us beyond comfort or even comprehension<\/a>. Yet we don\u2019t have a familiar canon of nuanced literary or philosophical texts about the experience of having a child, even though having a child, too, is a profound, frightening, exhilarating, transformative experience at the boundary of life, an experience from which one comes back a different person.<\/li>\n<\/ul>\n<ul>\n<li>Rarely do I use this space to bring you practical advice or instruction\u2014but you might want to know <a href=\"https:\/\/theawl.com\/how-to-read-a-book-and-walk-at-the-same-time-a9c9bee3b513#.1e7009sw7\" target=\"_blank\">how to read a book and walk at the same time<\/a>. It\u2019s a skill I\u2019ve tried to master for years, and I\u2019m sick of causing traffic accidents in my pathetic efforts at \u201clearning.\u201d Nell Beram tells us that \u201cit\u2019s actually easier than it looks\u201d: \u201c<a href=\"https:\/\/theawl.com\/how-to-read-a-book-and-walk-at-the-same-time-a9c9bee3b513#.1e7009sw7\" target=\"_blank\">First (and I really shouldn\u2019t have to tell you this), stop reading when you cross the street<\/a>. Second, forgo magazines. The columns are too narrow, forcing the eyes to skid to a stop at the end of a line as soon as they\u2019ve gotten going. Plus, magazines are floppy, and the wind gets grope-y with the broad pages. So go with a book, ideally a hardback that you can hold comfortably in one hand \u2026 Your book cannot exceed fourteen ounces or it will murder your wrist.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It\u2019s never been easier to take your self-portrait, which means you probably look uglier to yourself in other people\u2019s photographs than ever before. Elisa Gabbert writes, \u201c<a href=\"http:\/\/reallifemag.com\/vanity-project\/\" target=\"_blank\">In a popular Quora thread, the top answers to the question \u2018Why do I look good in the mirror but bad in photos?\u2019 all revolve around the \u2018mere exposure effect,\u2019 which states that we prefer things simply because we are more familiar with them<\/a>. Photos often capture unfamiliar angles, but even taken head-on, like a mug shot, they show us our true face, not the reversed face we see in the mirror. It\u2019s the reflection that\u2019s inaccurate, but to us, the unreversed face looks wrong \u2026 Some months ago, my friend A, then working on his dissertation, recorded me speaking about poetry on his expensive new DSLR camera and cut the footage into a short film \u2026 It was not just that I found the angle or lighting unflattering, not quite to my standards\u2014my reaction was vehement. I felt the person in this film was hideously ugly, much uglier than my idea of myself, but more so, uglier than anyone I know. Though I knew it to be irrational, deathlessly vain, I was shaken to the core.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In Brazil, the effects of the economic downturn can be seen even in those bastions of wealth, the museums: \u201c<a href=\"http:\/\/evenmagazine.com\/brasilia-at-midnight\/\" target=\"_blank\">The rapidly decaying situation of museums in Brazil, especially the public institutions battling for the leftovers of contracting state budgets, seems to confirm the troubling pertinence of an observation Claude L\u00e9vi-Strauss made in the 1930s<\/a>. When the French anthropologist visited S\u00e3o Paulo, he remarked that \u2018here everything looks like it is under construction, but it is already in ruins.\u2019 Indeed, even before Santiago Calatrava\u2019s Museu do Amanh\u00e3 opened in Rio, parts of its tortoise-like metallic shell had already rusted, like a corpse decomposing under the sun. Not far from there, in Copacabana, the Museu da Imagem e do Som\u2019s Rio outpost was said to be sinking into the soft ground near the beach before its top floors were even completed. The basement of the Museu de Arte Contempor\u00e2nea da Universidade de S\u00e3o Paulo, intended for the storage of artworks, showed signs of flooding and infiltration even while the white paint on its walls was still wet.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Don\u2019t learn this the hard way: it\u2019s likely impossible to wrest a good screenplay from the pages of a Philip Roth novel. Many (okay, like, eight) have tried, the latest being James Schamus, with Indignation. All have struggled and gnashed their teeth. Leo Robson has some thoughts on why, and also some thoughts on the [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[1084,192,79,857,1572,81,103,747,99,100,11597,53,23647,12707,17313,2629,183,23646],"class_list":["post-101064","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-adaptation","tag-brazil","tag-film","tag-indignation","tag-motherhood","tag-movies","tag-museums","tag-novels","tag-philip-roth","tag-photography","tag-pregnancy","tag-reading","tag-reading-while-walking","tag-selfies","tag-vanity","tag-walking","tag-war","tag-war-literature"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>It Is Very, Very, Very Hard to Adapt a Philip Roth Novel<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/08\/02\/so-youre-adapting-a-philip-roth-novel-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"So You\u2019re Adapting a Philip Roth Novel, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"August 2, 2016 \u2013 Don\u2019t learn this the hard way: it\u2019s likely impossible to wrest a good screenplay from the pages of a Philip Roth novel. 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