Wolfe and Gaiman

Marc Aramini · 04 Jan 2011, 19:14 · from 2011-January.txt.gz

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From: marcaramini at yahoo.com (Marc Aramini)
Date: Tue, 4 Jan 2011 11:14:23 -0800 (PST)
Subject: (urth) Wolfe and Gaiman
In-Reply-To: <SNT123-W36375D367312960A838B11CF080 at phx.gbl>
Message-ID: <93009.7015.qm at web161805.mail.bf1.yahoo.com>

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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