Word: fictionizing
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AWARDED. HA JIN, 49, Chinese-American novelist; the PEN/Faulkner fiction prize, given to the best novel or short story by an American author, for War Trash, the tale of a Chinese soldier captured by Americans during the Korean War; in Washington, D.C. Ha Jin previously won the award for his 2000 novel Waiting, and becomes only the third writer after Philip Roth and John Edgar Wideman to win the prize twice in its 25-year history...
Inspired by the finest 1950s junk fiction--Mickey Spillane's gun-crazy P.I. Mike Hammer and Al Feldstein's EC SuspenStories comics--Miller tells tales of misfit heroes seeking redemption by rescuing damsels in distress. Hartigan (Bruce Willis, untoppable at slipping into the skin of doomed tough guys) is a cop on a mission to save sweet Nancy (Jessica Alba) from a serial killer. Marv (Mickey Rourke, whose fallen-angel smile peeks through pounds of makeup) is an ex-con avenging the death of the one beautiful woman who ever did him a favor. Dwight (sturdy, haunted Clive Owen...
...will be reminded of Pulp Fiction, with its three overlapping stories, its code of honor among thugs, even a grisly-comic car ride with a corpse. Aptly, that scene was "guest-directed" by Quentin Tarantino. It's just one rule that Sin City flouts. The film has no script credit, and Rodriguez resigned from the Directors Guild so Miller could co-direct. But the film follows one rule explicitly: it is the comic book. Same dialogue, points of view, settings, same black-and-white look dabbed with splashes of blood--except the movie moves and makes noise. Lots of noise...
...writes Willig’s friend Elizabeth W. Mellyn in an e-mail. Mellyn, a fifth-year doctoral student in history—who, as it happens, is working on The Relic Thieves, a young-adult novel set in fifteenth-century Italy—knows something about balancing fiction with graduate-level history...
...spite of Mondovino’s esoteric and reputedly snobbish subject matter, even an audience who can’t tell Chianti from Kool-Aid can follow this portrait of an ancient, often bizarre international subculture. Like its distant cousin in fiction, Oscar contender Sideways, the film holds up for its entire 135 minutes by tempering a little wine geekery with far more interesting (and frequently unflattering) character studies...