overgrown boys whose passions metastasize into lifestyles and prevent them from being functional adults. (You get the sense that Judd Apatow has read ever word Hornby has ever written and taken copious notes.) Fever Pitch (1992) is a winsome, wince-inducing memoir about how the author's obsessive fandom for the Arsenal football club; his first novel, High Fidelity (1995) follows a record-store owner whose greatest romance will always be with his vinyl. Hornby's heroes are so committed to certain parts of themselves that they can't fully commit to other people.
But now a 58-year-old family man, the writer can't help but try to tunnel out of his own head. And with Brooklyn, the stirring new film he's adapted from the Colm Tóibín novel of the same name, the bashful king of lad-lit flips the script on the story that he’s been writing his entire life. The story of a wide-eyed Irish girl named Eilis Lacey (Saoirse Ronan) who sails to America in the 1950s and finds herself in the middle of a love triangle, it's a moving, old-fashioned story that offsets the emotional heft of a lush historical drama with the watchability of a popcorn movie. It's also the perfect fit for a writer whose most resonant work is often derided for its readability.
On the eve of his Brooklyn's release, the novelist, screenwriter, and former music critic rang up Rolling Stone for an in-depth conversation about his evolution as a writer, the genius of Taylor Swift, and if he’s ever going to rethink the Radiohead review that sullied his reputation among the obsessive music fans that High Fidelity chronicled.rollingstone
No comments:
Post a Comment