{"id":1734,"date":"2020-08-04T16:50:51","date_gmt":"2020-08-04T14:50:51","guid":{"rendered":"https:\/\/blogs.uab.cat\/saramartinalegre\/?p=1734"},"modified":"2020-08-04T16:50:51","modified_gmt":"2020-08-04T14:50:51","slug":"misadventures-in-miscasting-visualising-characters","status":"publish","type":"post","link":"https:\/\/webs.uab.cat\/saramartinalegre\/2020\/08\/04\/misadventures-in-miscasting-visualising-characters\/","title":{"rendered":"(MIS)ADVENTURES IN (MIS)CASTING: VISUALISING CHARACTERS<\/strong>"},"content":{"rendered":"

\tI start reading Drive Your Plow Over the Bones of the Dead<\/em> (2009) by the recent Nobel Prize co-winner Polish novelist Olga Tokarczuk, and I am dismayed to realize that the first-person narrator I have visualized for about fifteen minutes as an old man is an old woman. Her name is mentioned at the very end of the first chapter when my neurons have already made the effort of seeing this person as a man, for I must \u2018see\u2019 who is speaking; for a few more pages \u2018she\u2019 is still \u2018he\u2019 in my mind until the wrong image is corrected, with an ugly jolt. <\/p>\n

\tTokarczuk, the author, has seemingly forgotten that she is writing a novel, not making a film, and has taken for granted that her readers will understand her first-person speaker is a woman. But, why should we? Because we have read the blurb on the back cover? Seen the trailer for the film adaptation by Agnieszka Holland? I grow quite annoyed and end up finding many other flaws that make me intensely dislike this totally overhyped novel by this totally overrated Nobel. [SPOILERS ALERT] If you want to narrate a crime story in which the first person speaker is the criminal you need to do it upfront in an American Psycho<\/em> in-your-face confessional style, not trying to build up any kind of suspenseful mystery, for God\u2019s sake! [END OF SPOILERS]<\/p>\n

\tMy other adventure is casting is more satisfying. My ex-student Laura Pallar\u00e9s sends me a copy of her first novel P\u00e1jaros en la piel<\/em>, the story of the very intriguing relationship between a young Catalan woman in her early twenties, J\u00falia, and her Swedish father, Joseph. He and J\u00falia\u2019s late mother had met when both were seventeen but Joseph ignores that their brief summer romance had resulted in a daughter. When he seeks J\u00falia out the scant age difference makes it hard for them to bond as father and daughter, as they seem to be more comfortable being friends although of an uncomfortably close kind. <\/p>\n

\tJ\u00falia, the author says, looks like Lily Collins, though this English actress is about ten years older. I imagine J\u00falia, rather, as Catalan actress Laia Costa, currently thirty-five, in a more youthful version (both Costa and Collins are pretty brunettes with interesting eyebrows and lively eyes). If I see her as Collins, then I\u2019ll need to think of J\u00falia as an English-speaking girl, which is confusing. Joseph, a cosmopolitan artist, is given a Spanish best friend which justifies why he speaks the language so well. Knowing that he is Swedish, blond and blue-eyed, he is easy to cast: he looks like Alexander Skarsg\u00e5rd who, aged forty-three, could really play Joseph in a possible Netflix adaptation (I wish there is one!). Here\u2019s the funny thing: Laura tells me she was not thinking of any specific actor for Joseph but it seems other readers have told her about casting Skarsg\u00e5rd in the role. Well, it was either him or Eurovision Song Contest winner M\u00e5ns Zelmerl\u00f6w (aged thirty-four) for I cannot think of other Swedish men\u2026<\/p>\n

\t\u2018Why cast actors in roles in fiction at all?\u2019, you may be wondering. And my reply is, \u2018why do you ask? Don\u2019t you do it as well?\u2019 I do not know when this habit of mine started but I assume it is widely shared, and made necessary by what I have often commented about here: the diminishing amount of description in contemporary fiction. Novels offer today less information about characters than screenplays with authors supposing, I insist, that readers have not a mental theatre in the sense of the stage theatre but a mental theatre in the American sense of the word, that is to say, a mental cinema. I don\u2019t have one and so I find myself increasingly struggling with visualization. <\/p>\n

\tIf failing to see space is bad enough, imagine what it is like not to see characters, either\u2026 Hence the constant casting (or even checking the IMDB.com credits before I start reading a novel in case there is already an adaptation). Not that you need a long description to present a character, mind you. This is for instance Long John Silver\u2019s presentation in R.L. Stevenson’s Treasure Island<\/em>: \u201cI remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow\u2014a tall, strong, heavy, nut-brown man, his tarry pigtail falling over the shoulder of his soiled blue coat, his hands ragged and scarred, with black, broken nails, and the sabre cut across one cheek, a dirty, livid white\u201d. That\u2019s him, no need to go fishing about for the perfect cast. Why, I wonder, is this gone?<\/p>\n

\tThis week I have put myself through another kind of trouble regarding the visualization of characters consisting of completely changing an image in a second reading. I am currently working on Iain M. Banks\u2019s non-Culture novel The Algebraist<\/em> for an article on masculinity in SF and, so, I needed to look again at the human protagonist Fassin Taak. When I say look I really mean look. When I first read the novel a few years ago I did it with no pencil in hand, just for fun, and I let myself go. Fassin is a sort of cultural anthropologist with an alien species known as the Dwellers, who live in gas giants like Jupiter. You might think that visualizing the Dwellers, who look \u201clike a pair of large, webbed, fringed cartwheels connected by a short, thick axle with particularly bulbous outer hubs onto each of which had been fastened a giant spider crab\u201d might have driven me crazy but no, I think I get the idea. Fassin has driven me crazy precisely because he is human and supposedly easier to visualize.<\/p>\n

\tThe name Fassin Taak gives no clues whatsoever: Fassin is a French surname, as far as Google tells me, and Taak appears to be a Dutch word for \u2018talk\u2019. I have found no men called \u2018Fassin\u2019 in real life as a first name so no help there. The only description Banks volunteers, and just in passing, is that Fassin has brown curly hair (no length or thickness noted) and light brown skin. He is two metres tall, looks a decade younger than his forty-five \u2018body years\u2019 and is handsome, though at the end of his rough adventure he looks older and somehow emaciated. For reasons unknown to me I saw Fassin as a colleague in another UAB Department initially, perhaps because this guy seems very keen on his scholarly pursuits and so does Fassin. This time, however, I decided to really focus and look at Fassin in the face. <\/p>\n

\tA comment by the narrator suggests that the human civilization to which Fassin belongs is the result of alien abductions of Central American, Middle East and Chinese individuals (or just of their DNA) around the fourth millennium before Christ. Together with the light brown skin this indicates that Fassin is NOT white though the curly hair suggested to me that he must be of Middle East descend. This led me to Antonio Banderas because I had been re-reading Michael Crichton\u2019s Eaters of the Dead<\/em> and Banderas played the Arab protagonist in the adaptation, The 13th Warrior<\/em>. However, I was a bit scandalized to see Banderas rather than a proper Arab actor play that role and I Googled the words \u2018handsome Arab man\u2019 to check other possibilities for Fassin. <\/p>\n

\tHere\u2019s the joke: all men appearing under that heading were as light-skinned as Banderas, who looks totally white to me. Not Alexander Skarsg\u00e5rd white but white enough (a bit darker than me but Spanish white nonetheless). Anyway, I found a photo of a gorgeous Arab man with a nice beard and lovely green eyes and he has become my new Fassin Taak. I have no idea who this Arab man is and I totally avoided checking him up in case he is a celebrity but he has done me a great service of being the perfect Fassin Taak. When I saw a couple of illustrations by Banks\u2019s readers I positively guffawed\u2026 MY Fassin Taak, with his love of hard partying and his ability to cry his green eyes out whenever he is struck by emotion is the real thing. At some points he looked a bit too much like green-eyed bullfighter Cayetano Rivera but I got rid of that and Fassin is now for good and for ever a Middle-East guy with shoulder length curly hair of soft locks, dark lips, bright green eyes and suitably light brown skin. Now the problem is that I have no idea what he is wearing, not what his cyborgian light gascraft looks like. Deep sigh\u2026<\/p>\n

\tBanks is no better and no worse than many other writers in describing characters. In fact, he is quite good if you consider how many alien species he describes in his books. The problem with him and any other writer coming after the Modernist revolution and the eruption of film is that they have stopped caring for physical description. In a world obsessed with racial issues like ours, this neglect of description is a real mess, for readers must be told which skin tone each character is but writers feel somehow embarrassed to go into that kind of detail. The result is that the first-person speaker may be a black woman but if we are not told we see by Pavlovian default a white man simply because we are used to that kind of character dominating fiction. I\u2019ll be very happy to be contradicted in this by any of you (if anyone is reading me). Funnily, 19th century writers, who were on the whole very fond of description, did use illustrations to accompany their work but in our extremely visual time using illustration for fiction is a total taboo, except of course for children\u2019s fiction.<\/p>\n

\tI know I am repeating arguments already presented here, and I hope I am not boring my reader but it\u2019s funny how in the middle of this tremendous crisis on identity politics and representation, character description occupies so little room. I don\u2019t think at all that describing character better infringes on readers\u2019 rights to imagine as they wish. I really think that writers are not fulfilling their part of the pact and helping us readers to share what they have imagined for their own sake as much as for ours. So, please, use more description!<\/p>\n

I publish a post once a week (follow @SaraMartinUAB). Comments are very welcome! Download the yearly volumes from http:\/\/ddd.uab.cat\/record\/116328. Visit my website http:\/\/gent.uab.cat\/saramartinalegre\/<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

I start reading Drive Your Plow Over the Bones of the Dead (2009) by the recent Nobel Prize co-winner Polish novelist Olga Tokarczuk, and I am dismayed to realize that the first-person narrator I have visualized for about fifteen minutes as an old man is an old woman. Her name is mentioned at the very […]<\/p>\n","protected":false},"author":98,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,15],"tags":[124,155,243,288,296,349],"class_list":["post-1734","post","type-post","status-publish","format-standard","hentry","category-fabulation","category-film-adaptations","tag-character","tag-description","tag-iain-m-banks","tag-laura-pallares","tag-literary-studies","tag-olga-tocarzuk"],"_links":{"self":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts\/1734","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/users\/98"}],"replies":[{"embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/comments?post=1734"}],"version-history":[{"count":0,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts\/1734\/revisions"}],"wp:attachment":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/media?parent=1734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/categories?post=1734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/tags?post=1734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}