<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>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. </DIV>
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<DIV>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.</DIV>
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<DIV>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).</DIV>
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<DIV>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.<BR><BR>--- On <B>Tue, 1/4/11, Lee Berman <I><severiansola@hotmail.com></I></B> wrote:<BR></DIV>
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<DIV class=plainMail> So how do you convey the idea of immaterial or indeterminite elements like Neighbors or <BR>Yesod or Brook Madregot or Whorl Gods? I mean, c'mon, the Naviscaput would end up looking awfully silly <BR>no matter who drew him... <BR>_______________________________________________<BR>Urth Mailing List<BR>To post, write <A href="http://us.mc1618.mail.yahoo.com/mc/compose?to=urth@urth.net" ymailto="mailto:urth@urth.net">urth@urth.net</A><BR>Subscription/information: <A href="http://www.urth.net/" target=_blank>http://www.urth.net</A><BR></DIV></BLOCKQUOTE></td></tr></table><br>