Tag Archives: bestsellers

‘Five People You Meet In Heaven’ Sequel On the Way

books-mitch-albom-976d33d9510ba5c0Acclaimed bestseller and heavenly writer Mitch Albom is set to release his first sequel this October, a follow-up to his bestselling novel The Five People You Meet in Heaven.

According to Entertainment Weekly, Albom’s new book The Next Person You Meet in Heaven will tell the story of Annie, the little girl who Eddie saved in Five People. The story will follow her life until she dies, goes to heaven and finds that Eddie is one of her five people.

Five People was released in 2003, but Albom says since then readers have constantly asked him what happens next for the two characters, Eddie and Annie. He finally decided it was time to explore that.

While Albom is also well known for his other books including Tuesdays with Morrie, The Five People You Meet in Heaven has gone on to be one of his most successful and memorable.

The Next Person You Meet in Heaven is due to be released in October.

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‘Big Little Lies’ Author Adapting More Books to Film

what-other-liane-moriarty-books-being-made-moviesIf you loved the HBO adaptation of Big Little Lies by Liane Moriarty, you’re in luck; more are coming.

Moriarty has had a string of bestsellers over the years, and according to Entertainment Weekly, four of them are on their way to some sort of adaptation. 

Here’s the breakdown:

*Nicole Kidman and Reese Witherspoon, who produced Big Little Lies for HBO, have the rights to turn Truly Madly Guilty into a movie.

*Jennifer Aniston is supposedly in talks to start in a (I assume?) movie adaptation of What Alice Forgot.

*CBS Films optioned The Husband’s Secret five years ago, but not many details have been released.

*The film rights to Three Wishes were also sold years ago, but not much has come of it since.

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Movie vs. Book: Wonder

Auggie Pullman is a wonder. The fact that he’s made it to his tenth birthday is a wonder. The fact that he agrees to go school starting in fifth grade is a wonder. That’s because Auggie was born with a number of different medical conditions, resulting in severe deformities in his face. Countless surgeries have helped improve the way he hears, sees, eats and looks, but his face still looks unlike most other 10-year-olds. Until now, he’s been homeschooled by his mom, and he is brilliant. But ultimately his parents decide it’s time to acclimate him to other kids his age, so they enroll him in private school.

The transition is anything but easy. The children claim he has “The Plague” and avoid touching him. They compare him to movie characters who have had their faces badly burned in fires. He is bullied and frankly, psychologically tormented. But because of an orientation that introduces him to a few kids, he finds a friend in Jack Will. Jack Will and a girl named Summer become his two friends in a sea of bullies, until he overhears something one day that makes him think it’s all been a lie.

The book varies in narrators, going back and forth between Auggie, Auggie’s older sister Via, Jack Will, Summer and several others. Each of them are going through a tough time, mostly because of the drama that comes with being close to Auggie. But they love him despite it all. That loves forces them to stand up for him to everyone else.

Wonder is a beautiful young adult novel about friendship, love, kindness, and character over looks, and the movie follows the story closely bringing along with it the emotional impact that book left on my heart. Yes, both the book and movie are tearjerkers. And yes, as per usual, the movie eliminates some things. It cuts out one of Via’s friends entirely. It also decreases the number of narrators (the book has a few sections narrated by some tertiary characters as well) and removes the book’s epilogue. But none of these changes affect the story in any way or the intention behind any of the characters and their actions.

While reading the book, I wondered (see what I did there??) how the movie would pull it off. After all, the book revolves around mostly 10-year-old boys and girls. Would casting agents be able to find as many young actors as was needed for this story? But they did! Jacob Tremblay plays the perfect Auggie and with Julie Roberts and Owen Wilson playing his parents, there’s a good balance of emotion and humor.

It’s also fair to say both the book and movie should not be read and seen by just children or young adults, but by adults too. After all, we could also use a good lesson in how wondrous kindness can be.

Get Wonder in hardcover for $10.19. 

Or get it on your Kindle for $9.99.

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Show vs. Book: The Handmaid’s Tale

Margaret Atwood’s The Handmaid’s Tale has gone down in history as one of the most feminist novels of all time, earning the author several literary awards in the 1980’s when it was first published. But its debut this summer as a streaming series on Hulu has made the story shockingly relative in Trump’s America. Its themes about a male-dominated misogynist society are eye-opening as every other week it seems more Harvey Weinstein’s and Kevin Spacey’s are coming out of the woodwork.

The book tells the story of Offred, a handmaid who, in a dystopian future, has been forced to serve a family as little more than a mechanism for reproduction after widespread sterility has caused the world population to drop. Essentially raped monthly in the hopes of becoming pregnant, Offred does all she can to not only stay alive but stay sane as she wonders whatever happened to her husband and daughter. The story takes us through flashbacks of her former life as she works to find a way out of this chilling world.

Haunting is the best way to describe Offred’s tale, and that is upheld in the television series. Everything from its cold lighting and cinematography to the many close-ups of Offred’s (Elizabeth Moss’s) face as she is raped, locked in her room, or given opportunities to leave her Commander’s home exemplify the bitterness of this lonely, foreign world.

Turning the 300+ page novel into ten episodes of television allows for more detail and more story, and that’s exactly what the series offers. We learn Offred’s name “from before,” which is a detail never revealed in the novel. We learn exactly what happens to some of Offred’s other handmaid friends, including Ofglen, which — because the book is written strictly from Offred’s perspective is — is also not part of the book. The series also added meetings the Offred’s Commander has with Mexican government officials about adopting the same policies to boost reproduction. There is also an entire episode that shows us where Offred’s husband from her “former life” is now and how he got there.

Where I’m normally upset with how much liberty a show or film takes with a novel, it feels okay here. Maybe it’s because the detail given in the novel is so sparse, it’s simply a given that story would have to be added. Maybe it’s because the show matches the book so well in tone that all feels right with this adaptation. Or maybe it’s because the show is just so well executed with its writing, directing and acting. Whatever the case, the show does an excellent job of using the book as a jumping off point, season one ending exactly where the novel does. The rest of the series moving forward will now be entirely new, unread story and I’m okay with that, as I’m sure Margaret Atwood would be as well.

Get The Handmaid’s Tale in paperback now for $9.99.

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‘Glee”s Chris Colfer Lands New Book Deal

chris-colfer-talks-new-book-stranger-than-fanfiction-at-ew-popfest-04As the Fox TV hit show “Glee” was winding down, star Chris Colfer was already working on his next project, a book series for children called The Land of Stories. 

Fast forward four years, and according to Entertainment Weekly, Colfer’s books have spent 48 weeks on the New York Times bestseller list. So it should be no surprise that he’s landed yet another book deal. He’s writing an insider’s guide to The Land of Stories as well as two books in a new series.

The insider’s guide is set to be released next fall. The new series is set to be published in 2019.

This comes after Colfer partnered with Twentieth Century Fox and Shawn Levy’s 21 Laps to adapt The Land of Series into films. The first film, The Wishing Spell, will mark Colfer’s directorial debut.

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Show vs. Book: 1984

19841984 on Broadway: We are Big Brother

by Samantha Holle

It was a humid, sweltering day in September, and the clocks were striking three. It was time for the Sunday matinee of 1984.

In case you evaded reading it in high school, 1984 is the story of Winston Smith, an average Joe living in a not-so-average world: after tremendous world-wide territorial battles, Earth has been split into three superstates that are perpetually at one another’s throats. Winston lives in Oceania (what used to be London) and works at a government agency called the Ministry of Truth. His job is to literally rewrite history: when a person has been “unpersoned” — erased from society for going against the government — it is Winston’s job to go back into the files of history and remove any mention of this person’s name. The goal is to keep up the idea that Big Brother, the entity which governs and controls everything in Oceania, is never wrong, is never defied, and always comes up victorious.

But when we meet Winston, he is growing tired of this life. He has seen proof in his work that people who were labeled “government enemies” were not where they were said to be nor were they doing the illegal acts for which they were vaporized. Winston hates Big Brother and the society that lives for war, destruction, and the beating down of the human spirit.

Then he meets Julia, a coworker who, on the outside, doesn’t seem to be Winston’s type: She is a diligent worker at the MiniTruth (as the Ministry of Truth is called in the new vernacular, Newspeak). She screams the loudest and with the most vigor during the Two Minutes Hate, a daily event in which everyone watches a televised murder of an enemy of the state by government officials. It comes as a complete surprise to Winston when Julia quietly reveals that she, too, hates Big Brother and wants to defy the government by feeling love and experiencing freedom.

But there are no secrets in Oceania. Television screens can watch you as you watch them. Neighbors listen at keyholes for any sounds of dissent. People throw one another to the wolves to save themselves. And Winston and Julia soon find themselves biting off far more than they can chew when they get involved in the underground resistance movement called The Brotherhood. Their relationship — and their secret opinions of Big Brother — become more than an act of rebellion. Soon they have to decide which is preferable: a difficult life of defiance and secrecy, or an easy life of love for only Big Brother.

The novel has recently gained popularity, and it’s not hard to see why: Phrases like “fake news” and “alternative facts” pervade our conversations. People communicate via screen more frequently than they communicate in person, and the concept of handheld devices monitoring one’s actions and locations is now a definitive reality. There is little room for intelligent conversation between people of differing opinions, as the ability to argue without screaming has almost entirely disappeared. In these times, it seems every day has a little bit of a Two-Minutes Hate.

It is a dark thought: are we living in the world Orwell imagined almost 70 years ago?

That is the question that Robert Icke and Duncan Macmillan pose to their audiences through their stage adaptation of the novel. The two brought Orwell’s 1948 publication to life  in 2013 in the UK; the play was brought to the Big Apple for previews this past May. Just a little over a month later, it began to make serious headlines because people began to fall ill as they watched, especially during the extreme torture scenes at the end.

As an English teacher who has read the novel twice, I went into the play fully aware of this. How bad could it be if I already know that what I’m going to see is disturbing?

The answer to that question: no number of articles about the play or my understanding of the book could’ve prepared me for it. I left the theater uneasy, nauseous, and dizzy. It wasn’t the strobe lights and sound effects, or the fake blood, or the electrocution scene, or the revelation about what really happens when a dissenter is brought into room 101. It was the way some things hit close to home: the bastardization of the English language in order to reduce meaning (and thus kill meaningful conversation), the discomfort between people of varying opinions, the confusion of trying to balance what one feels is right and what everyone else is doing. Yes, 1984 takes place in a dystopian future, but there are present day elements. The lines between the fictional content and our reality blur.

Content and nausea aside, what made this play stand out from any I’d seen previously was the incorporation of media. The production utilizes overhead projectors and hand-held video cameras to capture action that the audience cannot see from their seats: Winston’s diary entries are projected onto a screen above his head as he writes; Julia and Winston’s secret trysts are recorded off stage in a secret room and played on this same screen. This allows the audience to feel like Big Brother in that we have access to people’s privacy, but it also creates sympathy for those being watched.

Ultimately, the novel comes to life in disturbing vividness on Broadway. There is no better indicator of this play’s construction of confusion than the opening scene: Winston is writing in his diary, questioning if the year is actually 1984 or if that’s just what he’s been told. He is interrupted by the sudden appearance of a group who are discussing “the book” and that the act of writing it is, in and of itself, a small act of rebellion. The group explains that without the book, we’d have no way of knowing how bad the past really was and how to avoid these mistakes in the future. It is, at first, unclear about whether or not they are talking about Winston’s diary. Later, the audience comes to understand that this group was the resistance, and they were discussing the book of Emmanuel Goldstein, public enemy number one of Big Brother and leader of the Brotherhood.

However, is it such a stretch to imagine that they might have been talking about Orwell’s book?

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Limited Series vs. Book: Big Little Lies, “When Push Comes to Shove”

The murder is still a mystery but the motivations between characters continue to build in the latest installment of Big Little Lies. Once again, the children’s teacher notices some tension between Ziggy and Amabella, encouraging Jane to take her son to a child psychologist. The psychologist determines he doesn’t have the characteristics of a bully and in fact may be getting bullied at school.

Meanwhile  Jane is starting to feel a release and a new interest in men after revealing (in the last episode) that she was raped by a man named Saxton Banks. Madeline looks up Saxton Banks online and shows a photo of him to both Jane and Celeste — a big shift from the book. In the book, Madeline and Celeste keep their knowledge of Saxton Banks to themselves without bringing it up to Jane.

Meanwhile both Celeste and Madeline and working to conquer and succumb to their troubled marriages. Celeste visits her therapist again — this time, alone — and Madeline cheats on her husband with her co-worker at the theater! Soon after, we learn that this isn’t the first time something like this has happened between them.

I have to say, having Madeline cheat on Ed is a HUGE change from the book and one of which I am NOT a fan. Madeline’s character in the book is nutty and intense, but still likable and having her make a decision like this is the very opposite from likable, especially when Ed is …pretty good. Now it makes sense why the show has put such an emphasis on this whole “Avenue Q” storyline; it was all to build to the tryst and relationship between Madeline and the director of the show. Madeline’s work is mentioned many times in the novel but is not a focal point by any means, and we certainly never learn the names of her co-workers through it. That said, I have to admit I love the following scene in which Madeline very openly tells Celeste what happened and Celeste just laughs and laughs (probably because Celeste doesn’t have the ability to be as open with Madeline, and her secrets are so much darker that Madeline’s little makeout session seems trivial to Celeste).

I’ve noticed that in these past entries, I’ve pointed out a lot of changes the show has made from the book. While I’m not a fan of shows and movies changing adaptations from the story we already know and love, I still love this limited series version of Big Little Lies. Reese Witherspoon’s acting in it is some of the best we’ve seen from her. The show has also done an excellent job at making Celeste and Jane as complicated as they are in the book, which can sometimes be hard to do onscreen when we don’t get to read their thoughts like we can in the book. The editing on the show and all of its random flashbacks and quick shots are incredible and add little pops of knowledge and feeling in a way a book simply can’t.

 

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