(urth) Wolfe and Gaiman

[Marc Aramini]

And every work of Wolfe brings its own different form of ambiguity - in New Sun, ambiguous descriptions like "he was the smallest of those dead" just can't be captured in film without taking a firm interpretive side without some really questionable filming techniques.  
 
In Long Sun, the ambiguity about who and what is being addressed in dialogue might be offputting in a screen play.  Cassie's changing house number and inconsistencies in description of her apartment - does this imply changes in reality and in where she lives or what?  You would have to make a firm overt choice to depict the changes in film or to ignore them.  Still waiting for this Death of Doctor Island movie.
 
Descriptive contradictions are particularly troubling in Wolfe - does it mean anything? Did he just write it quickly or is it intentional? (Crime and Punishment, the police building changes from a four story one to a smaller one - no big deal in Dostoevsky, but possibly the seat of a disjunction in reality allowing murderous possession in a Wolfe novel).
 
That's why when I write Short Sun word for word Piere Menard/Don Quixote style, none of the words will change, but Green will be Urth.

--- On Tue, 1/4/11, Lee Berman <severiansola at hotmail.com> wrote:


 So how do you convey the idea of immaterial or indeterminite elements like Neighbors or 
Yesod or Brook Madregot or Whorl Gods? I mean, c'mon, the Naviscaput would end up looking awfully silly 
no matter who drew him...                           
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