Word: novelized
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Dates: during 1930-1939
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...Gilhooley. This play stands as proof that a novel can be successfully translated into the dramatic form. Frank B. Elser, longtime New York city-editor of the Associated Press, author of one worthy book called The Keen Desire, onetime (1904) co-editor with George Jean Nathan of the Cornell Widow, has made a play from Liam O'Flaherty's novel that has a beginning, a middle, an end. It is the story of how Mr. Gilhooley (Arthur Sinclair), a hearty, middle-aged Dubliner, came to live with a girl who was hopelessly in love with...
...Farewell to Arms. Laurence Stallings was a co-author of What Price Glory and of Rainbow. Best that can be said of his adaptation of Ernest Hemingway's bit ter, static War novel is that Mr. Stallings has attempted to interpolate little of his own material. Worst that can be said is that his editing of Hemingway's material is questionable. None of the close-knit Hemingway scenes were without importance: they were all inseparable and significant. By eliminating such memorable sequences as Lieut. Henry's wounding, his escape into Switzerland with Nurse Catherine Barkley (which would...
...Farewell to Arms is the story of their meeting, wooing, mating and her death in childbirth during the Caporetto retreat of 1917. There are numerous incidental characters who inhabit the play as they did the novel; but in the novel they were neat carvings on a walnut shell. In the play they are thinned and twisted into a helter-skelter, rag-rug pattern. Mr. Stallings is not to be censured for what he has done in all force and sincerity. But it takes more than force to expand a small frieze and keep it significant...
Somerset Maugham writes a workman-like novel; easy to read, witty, sardonic, realistic, far from the borderline of boredom. He does not believe in "great" books; has never written, will never write one. His habitual bitterness, whether natural or acquired, has become part of his stock-in-trade. He now uses it effectively, usually cloaks it in brusque but polite irony...
Cakes and Ale: or The Skeleton in the Clipboard is a novel without a hero. Narrator is William Ashenden, middle-aged bachelor writer, through whose disillusioned eyes you see unfolded the story of Edward Drimeld and the lovely Rosie. When Edward Drimeld died his late-won position as Grand Old Man of English Letters was secure. His shrewd second wife wanted an official, respectably-mum-mifying biography, asked the popular novelist Alroy Rear to write it. But Ashenden was one of the few who knew anything about Driffield's early life. When Kear tried to pump him, Ashenden had reason...