‘The Girl on the Train’: Here’s What It’s Really About
I read Paula Hawkins’s novel The Girl on the Train eagerly because it was touted as a book for fans of Gillian Flynn’s Gone Girl, which I loved. But I was disappointed in Train, which I found nowhere near as suspenseful or as psychologically adept as Gone Girl. Nonetheless, I did intend to see the film of Girl on the Train; however, life intervened and I still haven’t seen it.
This article by Lisa Rosman is about the film, which Rosman calls “a wonderfully faithful adaptation” of the book. Here’s Rosman’s description of what the book/film is “really about”:
What fascinates me most about this “Girl on the Train” … is that it has the audacity to embrace unlikeable female protagonists who don’t even like themselves. What’s more, the film asks us to do the same. Rachel is a self-pitying, explosive drunk; Anna, an unrepentant Stepford mom; Megan, an unreflective viper whose self-esteem relies on male surrender. Yet because we are shown the fissures in their self-reflections and the strength lurking beneath their surfaces, we root for them while accepting their limitations.
I did not have this reaction to the book, which I found shallow and therefore not very engaging. Rosman also raises an issue that has gotten a lot of play recently, namely the question of whether we need to like characters in order to assess a book as “good.” I don’t need to like characters, but I do need to understand them in order to consider a book good.
At any rate, I still want to see this movie, even though I think I’ve missed its run in theaters. Perhaps I’ll find the film more compelling than the book.
What about you?
Have you read the book and/or seen the film? What was your reaction?
Undead on the brain: What we talk about when we talk about zombies
I’ve frequently written that I don’t read books about zombies, werewolves, or vampires. Even though I understand that such creatures often represent certain cultural issues, I just don’t like to read about them. To each his own, I guess.
Nonetheless, Seattle Times writer Brendan Kiley does a good job here of explaining what zombies are all about:
Spoiler alert: This article isn’t really about zombies, and neither is “The Walking Dead,” one of the most popular cable-TV series in U.S. history.
They’re both about people, our anxieties about catastrophe and what kinds of communities we might form if central authority collapses. No government, no Wall Street, no power grid — just you, the strangers you stumble across and a kaleidoscope of dangers roaming the landscape. As the show’s human characters bounce around the southern U.S., they run into a spectrum of mini-societies (dictatorships, democracies, theocracies, loosely organized bands of feral killers) and try to figure out what kind of world they want to live in.
JOYCE CAROL OATES ON GREAT EDITORS, BAD REVIEWS, AND… THE INTERNET
Catherine LaSota carries on an email interview with prolific author Joyce Carol Oates:
Oates’s latest book, Soul at the White Heat, is a collection of her essays on the writing life and her insightful reviews of the work of more than two dozen writers, including H.P. Lovecraft, Lorrie Moore, Paul Auster, and Zadie Smith. The title of the book is taken from its epigraph, an Emily Dickinson poem about the passions that burn brightly within us, and it serves as apt introduction to Oates’s close analysis of writing in the pages to follow. In her dissection of an author’s work, Oates searches for that which drives the artist to create. She is clearly engaged with the writing she consumes, making her essays hugely useful to writers and other students of literature.
© 2016 by Mary Daniels Brown