The Women of Jane Austen

Do you need a summary of Jane Austen’s novels and heroes? Then this month’s It’s Lit! has you covered.

Elizabeth Bennet. Emma Woodhouse. Marianne Dashwood. Jane Austen has been responsible for creating some of the most frequently adapted and analyzed women in the English literary language. Along with Buzzfeed quizzes asking “which SATC or Little Women” character you are, there is always a lot of fanfare about which Jane Austen heroine you are.

But beyond the big three. Well mostly … big two. Who are the women of Jane Austen’s completed novels? How do they reveal to us, her modern audience, any insight into her growth as an author, her politics, and just how she feels about what makes a girlboss and #girlboss.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Why We Keep Retelling the Classics

This month’s It’d Lit! is all about stealing your story ideas from others.

I’ve previously discussed how few plots there are and how certain archetypes trace their origins back as far as we have records for. One example of this is the wandering hero, or knight errant, arriving in town to take on the bad guys before moving off for the next adventure. This is a popular genre – think Jack Reacher – and has its origins at least as far back as the Greek myths and East Asian folklore.

So is this recycling or is it about the formula storytellers use as the basic backbone to hang their narrative off of?

I’d argue the latter. This is especially true of the examples of “inspired by” or “fan-fic” from the video (and elsewhere). The storyteller will have been thinking about that awesome story and what they’d have liked to do differently, or set it in a different location.

For example, the best Die Hard sequels haven’t been in the Die Hard franchise. Instead, they have been Die Hard On a Bus, or Die Hard On a Plane, or Die Hard In the Whitehouse. The fact you probably know exactly which movies those refer to shows how the basic premise being adapted doesn’t cut down on the creativity. Well, mostly.

And even if the recycling isn’t quite as overt as Die Hard On a Boat, all stories are inspired by or are a combination of the stories that came before. The storyteller has to start somewhere. Preferably not with Die Hard On a Train, the sequel to Die Hard On a Boat.

From James Joyce’s Ulysses to Bridget Jones’s Diary, you’ve probably read a book that was just a modern retelling of a well-established story. Which is to say nothing of other forms of media and their own obsessions with retellings.

And despite what your Writing 101 instincts might tell you, this is neither bad nor lazy writing—or even a new concept. Because let’s be honest: sometimes a story is just so dang good, it bears repeating. Sometimes more than once. Sometimes multiple times. I’m looking at you, Jane Austen.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs Movie: Dune – What’s the Difference?

With the new Dune movie coming soon, it’s time to look at the 80s adaptation’s differences from the classic novel.

On the train to work the other day I noticed that in my carriage half the people reading books were reading Dune – mostly the first novel but some were reading other parts of the series. It was somewhat surprising.

Then about a week later I was in a book store and saw that they had an entire shelf of Dune novels and a new edition of the first novel in piles at the front of the store. It was then that I remembered Denis Villeneuve’s adaptation was coming out soon.

Now of course, I’m so ahead of the game that I read Dune *checks notes* 3 years ago. I even discussed the Dune series’ importance just last year.

For me the main thing about the David Lynch adaptation was that it needed to be a political thriller. Instead it was a drama.

Not that the film isn’t without tension and thrills, like the running across the desert without the thumpers and trying to avoid the worms. But the book needed to be stripped back to that political thriller plot to hang the conflict and civil war on.

I’m not sure what Villeneuve plans to do, but he is a very accomplished storyteller. It will be interesting to see if he succeeds where Lynch managed to find himself crying in the corner he’d painted himself into.

Dune is coming back to the big screen while Denis Villenueve and Timothee Chalamet crashing a sandworm into your HBO Max as well, so it’s time to take a look back at the adaptation from David Lynch back in 1984. Based on the Frank Herbert epic, Dune is considered to be one of the greatest science fiction novels of all time. So how did an indie auteur make a big budget Hollywood adaptation out of a dense fantasy epic? It’s time to remember, fear is the mind killer as we ask, What’s the Difference?

Starring Kyle MacLachlan as Paul Atreides, Sting as the space-underwear clad Feyd-Rautha and the soon-to-be Captain Picard Patrick Stewart, Lynch brought together a fascinating group of 80s character actors like Dean Stockwell, Linda Hunt and Jurgen Prochnow to fill out the cast. A critical and commercial failure when it came out, and in light of prior failed attempts to adapt the sci fi fantasy all-timer, which included Jodorowsky’s Dune, the book was long thought to be unfilmable. With the Atreides and Harkonnen rekindling their big screen rivalry in the form of Oscar Isaac, Josh Brolin, Zendaya and a cast as stellar as the one Lynch assembled, we’ll see how 2021’s adaptation fares.

Book vs Movie: Doctor No – What’s the Difference?

With a new Bond movie set for theaters, it’s time to look back at the first James Bond adventure and ask, What’s the Difference?

I still haven’t picked up any of the Bond books. Previously I’ve mentioned having vague memories of reading a couple when I was younger. But honestly, they could have been Biggles books.

Side note: as a kid I always thought that Biggles and his friends were gay. I didn’t really know what that was exactly, but they were definitely it. Monty Python agreed. Pity it wasn’t championed a bit more.

Seeing the differences outlined between the Dr No book and film does highlight an issue with plot vs character adaptation. Especially for a series. Change one and you have to change the other.

Although, it would be interesting to see how a cardboard thin character could be slotted into any plot without change. Like say the majority of Jason Statham’s roles.

No Time to Die finds James Bond, Her Majesty’s most infamous double-oh, retired in Jamaica. But we’re going all the way back to the first time Sean Connery as 007 found his way to the Caribbean Island in 1962’s Doctor No. But while it was the first Bond adventure in the film franchise, it was the sixth book author Ian Fleming published. So how did the filmmakers set about adapting the middle of Bond’s novel career for the beginning of his film escapade? Dust off your license to kill because it’s time to ask, “Difference… What’s the Difference?”

Why Do People Think Huck Finn Is Racist?

This month’s It’s Lit is going to talk about one of the most controversial classics of literature.

I read Tom Sawyer and Huckleberry Finn when I was very young. The former was an easy and entertaining read, but the latter I remember being a slog to get through. When I revisited Huck Finn as an adult I came across some history of the book which suggested Twain had battled to write the book over many years. This was certainly how the novel felt in reading.

Both times I read Huck Finn, I was struck by just how infantalised Jim’s character was. It felt wrong. And giving it any level of thought leads you to conclude that this was the way white people viewed African Americans at the time the book was written.

You could argue that this is to draw the reader in and have them empathise with the plight of African Americans. But then wouldn’t you also have Jim grow to become an adult equal to other people by the end of the novel? Or was that something Twain struggled with, as it may have not being judged “realistic” to his audience?

Previously, I’ve discussed banned books and Huckleberry Finn. Something this video raised is what I had said about schools teaching Huck Finn, and that is the idea of complex discussions. It’s hard to teach an older text, provide the context, provide the complex subject matter, and do it all justice. Especially when that subject and context is something like racism.

People might say they are no longer teaching or will attempt to ban Huck Finn because of the N-word. But realistically, it’s because they aren’t willing to put the effort into teaching a complex topic and text. Double that unwillingness if they are someone who wants to pretend racism doesn’t exist.

I’m still a fan of old Samuel Clemens. But as noted in the video, this book isn’t without flaws and there are plenty of other authors and books who probably need highlighting more than Twain and Huck Finn.

The Adventures of Huckleberry Finn by American author Mark Twain is both considered one of the great American novels and one of the most frequently banned and contested novels due to its use of the N-word and racial stereotypes. This has launched many debates as to if the work should even be taught in schools.

Today we are going to attempt to crack the case: is Huckleberry Finn an anti-racist work? Or is it just plain ol’ racist?

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

To Kill, To Kill a Mockingbird?

So this month’s It’s Lit! talks about the famous anti-racist novel To Kill A Mockingbird.

If you need a quick summary of To Kill A Mockingbird and Go Set A Watchman, I highly recommend these videos from Dr Sparky Sweets:

One of the trademark texts of the American school system is Harper Lee’s 1960 novel To Kill a Mockingbird. For decades it has been widely read in high schools and middle schools as a key anti-racist text. But how did this novel, with its Southern Gothic and Bildungsroman elements become a book that in 2006 the British said “every adult should read before they die” ahead of the Bible.

To Kill a Mockingbird was written by Harper Lee and was loosely based on Lee’s real-life experiences, the book tells the story of Jean Louise Finch, better known as Scout, a young girl growing up during the Great Depression in the fictional town of Maycomb, Alabama with her older brother Jeremy aka Jem, and her widowed lawyer father, Atticus Finch. A name, that will be imprinted on the world … forever.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs Movie: Once Upon a Time in Hollywood – What’s the Difference?

Did you know that Quentin Tarantino had novelised his ninth film? Neither did I. Let’s take a look and What’s the Difference?

As a Tarantino fan since the early 90s – geez, that makes me sound even older than I am – I have to come clean on Once Upon A Time In Hollywood. I didn’t like it.

I’ll even go a step further and say that his previous film, Hateful Eight, wasn’t good either.

Unlike Hateful Eight, which had a decisive moment when the film fell apart (Tarantino’s voice over setting up the third act just ruined everything for me), Once Upon A Time In Hollywood was entirely pedestrian. It always felt like a film avoiding being anything other than a love letter to Hollywood films of the 60s.

In fairness to the movie, Tarantino was clearly trying to subvert many of the usual movie moments and be more about actors making great films. For example, the scene at the ranch was setup for a fight for Pitt’s character (Cliff Booth) and the Manson acolytes. Instead, Tarantino subverts that moment and there is no fight, allowing us plenty more time for DiCaprio’s character to learn about method acting from his child co-star.

That the novelisation is quite different from the film isn’t particularly surprising. It’s pretty difficult to make Brad Pitt into a thoroughly unlikable character in a movie. Something to do with charisma and production credits. But the book is unconstrained by actor charisma, which makes it a good opportunity to throw the character under the bus.

Regardless of Tarantino’s future literary aspirations, I hope his tenth/final film is able to cement his career as one of the greats.

Once Upon a Time in Hollywood: Who is Cliff Booth anyway?

Once Upon a Time in Hollywood is a celebrated installment in writer/director Quentin Tarantino’s oeuvre. So when he came out with a book adaptation of the story, we were first in line to read it. But was the book markedly different from the film, and do those differences mean something big? We think so and we’ll explain in this Book vs. Film on Once Upon a Time in Hollywood – The New Ending.

Popular Words Invented by Authors

Words are helpful in expressing ideas. So it is no surprise that authors, who sometimes try to express ideas, need to make a few words up. This video from PBS Other Words goes through a few examples.

I’m currently reading The Patterning Instinct by Jeremy Lent. A topic discussed in the book was on how language and culture shape how we think and express ourselves. So the ability to craft out language is an important skill to advance not only language, but also culture and society and potentially the way we think.

Personally, I’m trying to make the word beveragement catch on.

The Unappreciated Female Writers Who Invented the Novel

This month’s It’s Lit covers Amatory Fiction.

This is an interesting video for several reasons. I’m always amused when the topic of rethinking “great authors” comes up and people without pearls start clutching them.

The literary canon excluding certain types of authors and books shouldn’t be news to people. But there always seems to be plenty of reactionary debate making excuses for why, for example, Grapes of Wrath got published while Sanora Babb’s Whose Names Are Unknown (written the same year on the same topic, both using Babb’s notes) took 65 years to be released. Yeah, that was a thing.

I’ve covered this before when calls have been made to increase the diversity of the literary lists for students in the hopes that more diversity of texts will be taught. Getting people who don’t read much to acknowledge that “literary greats” are less about talent than luck (timing, contacts, $$, etc) is a hard task. Trying to get those same people to acknowledge that women, people of colour, and non-Americans might have written books throughout history is often a hurdle they are unwilling to even attempt jumping.

Which brings me around to one of my favourite topics here: snobbery and guilty pleasures. The It’s Lit video shows how snobbery essentially relegated an important part of literature to the unknown and unappreciated baskets of history. Combine that snobbery with a bit of the old bigotry of the pants and you will have people trying to ignore a segment of literature that broke boundaries (e.g. Behn wrote one of the earliest anti-slavery novels).

For more on Sanora Babb’s novel, it is worth watching this video:

The guy typically credited with inventing what we know as the modern novel was Miguel de Cervantes with his cumbersome 800+ page book, Don Quixote. But what if I told you that the real antecedent for the modern novel was created by… ladies.

Before the rise of what would become the modern novel, there was Amatory fiction. Amatory fiction was a genre of fiction that became popular in Britain in the late 17th century and early 18th century. As its name implies, amatory fiction is preoccupied with sexual love and romance. Most of its works were short stories, it was dominated by women, and women were the ones responsible for sharing and promoting their own work.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Octavia Butler, The Grand Dame of Science Fiction

This month’s It’s Lit! covers Octavia E Butler.

The most interesting part of this particular video for me isn’t about Octavia Butler. It’s about what I did after watching it.

Let’s face it, her novels sound really interesting. It feels wrong to use the term “fresh voice” for an author who went pro before I was born. But that’s what I thought when her work was being described.

So I logged onto my library e-reading app. Nothing.

I logged onto my local library catalogue. Nothing.

Okay. Don’t panic. Check the state library catalogue and get the local library to request it… Nothing.

Wait, let’s revise that search for all libraries in the state, not just the main library. Ah, success!

Literally. We have a suburb named Success and their library has a copy of Parable of the Sower. That ordering it from Success probably also means the pages have been dipped in meth and I’ll be able to read it in an hour is probably a bonus.

The point I’m making is one I’ve made about several non-cis-het-white-guy authors. It seems common for them to be less available to read. This is annoying. How can we discover new and exciting authors if they aren’t in libraries and stores?

But sure, keep plenty of Dan Brown books on the shelves.

If you are a fan of science fiction a name you should be familiar with is Octavia E. Butler (cough especially if you watched our telly award-winning Afro-Futurism video cough) One of the most prolific and important Black authors in the genre, Butler’s storytelling pushed the boundaries of what Black people were allowed to be in science fiction. Today we will be highlighting the Grand Dame herself, how her novels were important, and sometimes, oddly predictive.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs movie: Invincible – What’s the Difference?

This instalment of What’s the Difference? comes from Wisecrack and looks at Invincible.

I have to admit to having given the Invincible TV show a miss. Firstly because it is on Amazon, whose billing practices and worker treatment are terrible. Secondly because I read Irredeemable first and kinda felt I’d been down this path already.

It is interesting that several recent superhero adaptations have looked for material that explores the idea of “What would superheroes really be like?” Probably not surprising given the fact that comic book movie fatigue has started to hit.

Invincible: Does it have an attitude problem?

In a year full of comic adaptations, Invincible stands out as one of the best. But how do its 8 episodes compare to the 144 issues of the original comic? And what does attitude have to do with it? Let’s find out in this Book vs. Film: Invincible.

Jane Eyre: Why We Keep Reading It

This month’s It’s Lit! is all about Jane Eyre, even some of the fan-fic it inspired.

Having not read Jane Eyre, after watching this video I’m even less motivated to do so.

I’m fickle I guess.

Jane Eyre by Charlotte Bronte was there for the weird girls, the quiet ones who watched and listened, the ones who pined away for someone to accept them in all of their weird, dark glory.

But in the nearly 175 years since its publication, the collective definition of what it means to be “a woman on the outside of society” has changed and expanded dramatically—and yet here we are, still dissecting Charlotte Bronte’s words and gravitating towards Jane as a protagonist.

For those of you who have never read Jane Eyre or enjoyed one of the 8000 films, television, stage, or radio adaptations not to mention countless literary retelling here we go.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs Movie: Coraline – What’s the Difference?

This month’s What’s the Difference? is on Coraline.

This is another in the long line of books and movies I haven’t yet gotten to. The best I have on Coraline is that one of my writers’ group friends is a big fan of the book.

Okay, tenuous link.

Look, if you want me to read and watch everything, you’re going to have to invent more hours in the day.

In 2009, artisanal stop motion animation house Laika released their first feature film, Coraline. Based on Neil Gaman’s book of the same name, the film follows a young girl stumbling into a fantastic ‘other’ world to become a sneak-up scary kids movie classic. But how did the film adapt the realistic elements of the book into the visual whimsy of a creative juggernaut making its mark in Hollywood? It’s time to ask, What’s the Difference?

Written for the screen and directed by Henry Selick, of The Nightmare Before Christmas fame, both the book and the movie draw lines between Coraline’s worlds of fantasy and reality. The book is able to make it more distinct thanks while the movie is all stop motion whimsy, all the time. So what changes need to be made to the story to account for that Laika trademark look?

How Manga Took Over American Bookshelves

Who likes Manga? And more importantly for the smoking jacket wearing class, is it literature? This month’s It’s Lit! discusses.

Okay, let’s just ignore the American-centric aspect of PBS videos. I’m sure one of their bylaws is about having to do cultural imperialism.

It’s quite interesting how Manga and Anime have percolated out into the mainstream. Most people will have been exposed to at least some of the Anime of various Manga. For myself, I can remember watching Astro Boy as a kid and discovering comics of it at the library. This lead to questions about why they would make a comic of a perfectly watchable TV show? Wouldn’t it make more sense to write something new that could be made into a TV show? Is there some reference in this card index that will help 9 year old me understand this issue better?

At the same time, Manga still has a fringe quality to it. This is partly due to it being (scare quotes) FOREIGN (/scare quotes). But it is also related to the comic format.

You see, comics are made for kids – puffs on pipe whilst leaning against mantle next to log fire, monocle helping me peer down my nose at those Lesser Works.

This tide is slowly turning. People are now able to recognise the merits of comics and Manga. And at some stage we might even get a decent live-action movie based on a Manga.

Astro Boy, Dragon Ball, Akira, Sailor Moon, Demon Slayer, Death Note all these interesting, iconic anime have something very much in common they started off as: manga.

Manga, by its most simplistic definition, are comics or graphic novels originating from Japan, which became extremely popular in the United States starting in the 80s and 90s. We’ve already touched on Western Graphic Novels and Comics, but you know we couldn’t just leave it at that (not with this t-shirt). So today we’re discussing manga as its own rich literature, reflecting the complicated political history of Japan.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs Movie: Shadow & Bone – What’s the Difference?

Screen Rant have broken down the differences between book and Netflix show for Shadow & Bone.

I’m about half-way through the series on Netflix. It didn’t exactly wow me out of the gate, but I did think it had potential. A few episodes in and I’m entertained.

I really appreciate the differences between the book and the show. It elevates the show about generic YA and gives us Inej Ghafa earlier in the series.

Although, still generic enough to have me laugh at the super obvious love triangle.

Book vs Movie: The Queen’s Gambit – What’s the Difference?

This month’s What’s the Difference? looks at The Queen’s Gambit.

On my Netflix profile there are a couple of types of recommendation categories that keep popping up. One is “Because you watched John Wick shoot 400 people in the head” and the other is “Movies based on books”. Both are obviously bound to have good recommendations in them.

Needless to say, I became aware of The Queen’s Gambit because of the fact it was based upon a book. That I’d never heard of the book is probably telling you a lot about how many chess thrillers I read.

The changes mentioned in the video above were intriguing. The one that stuck out to me was the mother being turned into a rich woman with a PhD. In the 1950s. This really feels like some lazy shorthand by the screenwriters.

Often in movies you’ll have super-smart characters described as having a number of PhDs. Because smart people obviously feel the need to have multiple PhDs rather than doing postdocs, climbing the corporate or academic hierarchy, and becoming world renowned. It used to be that these smart characters would have a large IQ, but that is falling out of favour. I’m hoping it is because authors realise that IQ has limited utility, but realistically it will be because it has become a cliche.

The idea that the mother had to be rich is something I’ve noted with a lot of films and TV shows of late. There appears to be a fetishisation of wealth happening in our media. Sure, Snowpiercer, Parasite, etc., have all been popular of late. But look at how many protagonists are billionaires (or millionaires). Think about the revision of characters like Spiderman from working class to being wealthy or having wealthy benefactors.

Maybe I’m just having selective memory. There is a noted phenomenon of movie and TV show productions displaying an utter failure to understand what things cost or what poverty looks like. Like having the Friends cast living in apartments that none of them could afford. Maybe I’m just hung-up on the Spiderman example – since a big part of his character was struggling financially whilst being a hero. Or maybe having poor characters makes product placement – like a lime green Alpha Romeo in Michael Bay’s 6 Underground – really hard.

Netflix made chess sexy again with its limited series The Queen’s Gambit. With Anya Taylor-Joy as orphan turned chess prodigy Beth Harmon, writer director Scott Frank created a cinematic portrayal of the mind of a chess genius through substance abuse, struggles with mental health and even the Cold War. But Walter Tevis wrote the novel in a simple, unadorned style that’s a far cry from the stylish and sexy version of the story that wound up in your Netflix queue. So with no restraint on spoilers, it’s time to ask, what’s the difference?

While Anya Taylor-Joy is a more glamorous version of Beth Harmon in the Golden Globe winning awards season darling, the story follows a lot of the same beats. Following her from orphan and prodigy to eventual chess master and world champion, Thomas Brodie-Sangster of Game of Thrones and Harry Melling from the Harry Potter franchise play more complicated versions of their book counterparts. But many of the changes, while seemingly small, have sneaky wide-ranging implications on the Beth’s journey from learning the game from the janitor at an orphanage, to developing an addiction to pills and ultimately her victory over a Russian Grand Master. It’s an interesting and sometimes frustrating collection of changes!

Misunderstanding George Orwell and 1984

Have you heard people refer to us as currently living in 1984? Has someone said to you that data tracking is very Big Brother? Then you might enjoy this video from Dr Tom Nicholas.

I am routinely amazed at the vacuous, superficial, and cherry picked references people make to George Orwell’s novels, particularly 1984.

In some respects, I understand. 1984 is quite a lugubrious read. It and Animal Farm are often read during high school as compulsory texts, a time people are noted for being at the peak of the intellectual prowess. So it is understandable that people remember little, if anything, about Orwell’s books.

But it is frustrating to run across many “appeals to Orwell” by commentators (like Jordan Peterson). These people will present themselves as having read and internalised Orwell’s writing, and are now helping us understand its significance. Yet even just reading the SparkNotes should have people seeing through these commentators.

If there is any one line from Orwell that can dispel the misunderstandings more thoroughly than any other, it is this one from the essay Why I Write:

In this month’s video, we’re looking at the work of both Jordan B. Peterson (author of Maps of Meaning, 12 Rules for Life and Beyond Order) and George Orwell (author of 1984, Animal Farm and Homage to Catalonia).

Professor Peterson has a video on his YouTube channel titled “On Free Thought and Speech in London” in which, inspired by seeing a statue of Orwell, he suggests that one of the aspects which separated the capitalist west from the communist east during the Cold War was an ability for journalists to “say what they think”.

Taking this as a starting point, I seek to dig into uses (and abuses) of George Orwell’s work by Peterson and the political right more broadly. Through contextualising Nineteen Eighty-Four and Animal Farm within Orwell’s own life, I seek to draw out the deep critiques of Peterson’s beloved “Western culture” which are contained within those books.

Towards the end, I also consider whether 1984 might provide an interesting lens for unpacking Peterson’s own work and the Cold War view of the world which underlies it.

What’s in a (Pen) Name?

This month’s It’s Lit! discusses author names and why they are often pseudonyms.

One of the things not discussed in the video is just how ancient the idea of pen names are and how they are/have been used to denote multiple authors.

Homer’s works were probably written by many people, making Homer a pen name. Lao Tzu was also likely to be an attribution for the Taoist collection Tao Te Ching, based upon a semi-mythical founder of the philosophy and religion. The author favoured by business and military leaders, and people with aspirations to being serial killers, Sun Tzu, is believed to have never existed. Instead, decades or centuries of knowledge was collected under the name.

More recently, we see pen names being taken for collaborations. James SA Corey of The Expanse fame is the pen name of Daniel Abraham and Ty Franck. Grant Naylor of Red Dwarf fame is actually Rob Grant and Doug Naylor. Ilona Gordon and Andrew Gordon write under the name Ilona Andrews for their adventures in urban fantasy. And Tom Clancy is famously half-a-dozen homicidal monkeys taped together.

In all these instances, you can see why a pen name was utilised. Having two authors on the cover of a book is reserved for franchises, like James Paterson and Clive Cussler. The name that will sell the book is at the top in bold, and the flunky who actually wrote it is attributed somewhere they’ll be missed. So writing teams need a pen name. The more historical examples appear to be about attribution to a progenitor or (semi) mythical figure, either to honour the inspiration for later works (particularly from more oral traditions), or to collect work under one banner.

This makes pen names very interesting. Particularly as knowledge of the author/s fades into history. The art outlives the artist. Yet we still try to figure out who they were and how they came to entertain and influence us long after their passing.

Maybe one day our descendants will be arguing whether James Paterson was a real author or just a marketing brand for blooding new authors. Maybe by then the Clancy monkeys might have mellowed out a bit.

To some people, the idea of a pen name seems kind of weird. If I, a writer, am going to put countless hours of hard work and thought into my masterpiece, why wouldn’t I want to put my own name underneath the title?

But from Stephen King to Ben Franklin to …., who had their own secret aliases, to Mark Twain and Dr. Seuss, whose pseudonyms became so famous that they are remembered by their pen names and not their actual names, the nom de plume has a long and proud history in the literary world.

Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.

Book vs Movie: How Themes Changed in Lord of the Rings

It’s been 4 years since the last post about Lord of the Rings. Let’s do this!

This is a slightly different take on the differences between the book and the film. Wisecrack have looked at the major themes rather than diving into all of the changes made in the adaptation.

When I last discussed the Lord of the Rings series (see here, here, and here), I heaped praise upon the adaptations. They were able to trim down the waffle and create possibly one of the best trilogies in film history.

I hadn’t previously given a lot of thought to the changes in the themes between the book and the films. Now that it has been mentioned, the character arcs in the film should have been more obvious to me. I also find the idea that the movies were (accidentally??) made to be more secular is interesting. Perhaps that change is as much to do with when the book was written versus when the films were made.

Given the desire to reboot and remake every intellectual property in the cupboard these days, maybe the next LOTR movies will be given an Avengers style makeover. Lots of quippy dialogue, everyone has lots of money, several of the lead characters spend time with their shirts off and arms bulging, and somehow there will be product placement everywhere.

Unraveling the Myth of Ernest Hemingway

This month It’s Lit! discusses the (mythical) life of literary icon Ernest Hemingway.

I have to admit… Yes, you know what’s coming. I write that line whenever one of these interesting videos covers an author or book I haven’t read.

Anyway, my exposure to Hemingway is decidedly limited. The very helpful Hemingway App is supposedly named for his love of clarity and precise sentence structure, creating simpler, clearer writing. Yet the short stories I have read of his have decidedly complex sentences that are often pushing that clarity level to its limits.

Or to say it another way, similar to what was discussed in the video, there is a myth around Hemingway’s style of writing.

Maybe it’s time to give one of his novels a read.

Here’s the problem with tackling Ernest Hemingway—Ernest Hemingway himself. While the iconic author is mostly known for his feats of literary prowess, from The Sun Also Rises to For Whom the Bell Tolls, to countless short stories—perhaps his greatest fiction of all is his own self-mythologizing. As his brand grew in the 1920s and 30s, so too grew his celebrity and, well, his ego.

So, with Ernie all the while throwing so much self-mythologizing in the mix that it became nearly impossible to separate the Man from the Myth.

But gosh darn it, we’re going to try.