South on Screen

A scholarly examination of the scripts and fiction Faulkner created during his foray as a Hollywood screenwriter. During more than two decades (1932-1954), William Faulkner worked on approximately fifty screenplays for major Hollywood studios and was credited on such classics as The Big Sleep and To Have and Have Not. Faulkner's film scripts-and later television scripts-constitute an extensive and, until now, thoroughly underexplored archival source. Stefan Solomon analyzes the majority of these scripts and also compares them to the fiction Faulkner was writing concurrently. His aim: to reconcile two aspects of a career that were not as distinct as they first might seem: Faulkner the screenwriter and Faulkner the modernist, Nobel Prize—winning author. As Solomon shows Faulkner adjusting to the idiosyncrasies of the screenwriting process (a craft he never favored or admired), he offers insights into Faulkner's compositional practice, thematic preoccupations, and understanding of both cinema and television. In the midst of this complex exchange of media and genres, much of Faulkner's fiction of the 1930s and 1940s was directly influenced by his protracted engagement with the film industry. Solomon helps us to see a corpus integrating two vastly different modes of writing and a restless author. Faulkner was never only the southern novelist or the West Coast "hack writer" but always both at once. Solomon's study shows that Faulkner's screenplays are crucial in any consideration of his far more esteemed fiction-and that the two forms of writing are more porous and intertwined than the author himself would have us believe. Here is a major American writer seen in a remarkably new way.

Truman Capote's legacy is in many ways defined by his complex relationship with Hollywood. In Truman Capote: A Literary Life at the Movies, Tison Pugh explores the author and his literature through a cinematic lens, weaving elements of Capote's biography-including his flamboyant public persona and his friendships and feuds with notable stars-with critical analysis of the films, screenplays, and adaptations of his works. Capote's masterful prose made him an iconic twentieth century author, and his screenplays, including Beat the Devil, Indiscretion of an American Wife, and The Innocents, allowed him to collaborate with such Hollywood heavyweights as Humphrey Bogart, John Huston, and David O. Selznick. But the beloved and acclaimed adaptations of his literature, most notably Breakfast at Tiffany's and In Cold Blood, undercut his daring treatment of homosexuality in favor of heterosexual romance. Pugh demonstrates how Capote's gay southern identity influenced perceptions of his literature and its adaptations. Illuminating Capote's successes and disappointments in the film industry, Pugh delivers a revealing and nuanced portrait of the author's literary life.