At Home With John Irving

Ear­li­er this year, at the age of 70, John Irv­ing pub­lished his 13th nov­el, In One Per­son. The title is from Shake­speare’s Richard II: “Thus play I in one per­son many peo­ple, and none con­tent­ed.” “In One Per­son,” writes Charles Bax­ter in The New York Review of Books, “com­bines sev­er­al gen­res. It is a nov­el about a bisex­u­al man’s com­ing out graft­ed onto a com­ing-of-age sto­ry, graft­ed onto a por­trait-of-the-artist, graft­ed onto a the­ater nov­el. The book is very enter­tain­ing and relies on ver­bal show­man­ship even when the events nar­rat­ed are grim, a tonal incon­gruity char­ac­ter­is­tic of this author. The book’s theme, it’s fixed idea, is that actors and writ­ers and bisex­u­als har­bor many per­sons with­in one per­son.”

In this five-minute film from Time mag­a­zine we get just a glimpse of the per­son, or peo­ple, called John Irv­ing. It’s an inter­est­ing glimpse. Direc­tor Shaul Schwarz and his crew filmed the writer at his sprawl­ing house in East Dorset, Ver­mont. The sheer size of the place gives some sense of the pop­u­lar­i­ty of Irv­ing’s nov­els, which include The World Accord­ing to Garp, The Cider House Rules and A Prayer for Owen Meany. The house has a wrestling gym where Irv­ing works out and an office where he writes the old-fash­ioned way–with pen and paper–by win­dows look­ing out onto the forest­ed hills of south­ern Ver­mont. “I can’t imag­ine being alive and not writ­ing, not cre­at­ing, not being the archi­tect of a sto­ry,” says Irv­ing near the end of the film. “I do suf­fer, I sup­pose, from the delu­sion that I will be able to write some­thing until I die. That’s my inten­tion, my hope.”

Relat­ed Con­tent: 

John Irv­ing: The Road Ahead for Aspir­ing Nov­el­ists

Napoleon: The Greatest Movie Stanley Kubrick Never Made

Think about all the big cin­e­mat­ic ideas Stan­ley Kubrick real­ized — Dr. Strangelove, 2001, A Clock­work Orange — and then imag­ine the ones he did­n’t. You can do bet­ter than imag­in­ing, actu­al­ly, since, the direc­tor left behind enough evi­dence of abort­ed works for Wikipedia to put togeth­er an entire page called “Stan­ley Kubrick­’s unre­al­ized projects.” He want­ed to adapt Calder Will­ing­ham’s Nat­ur­al Child and Ste­fan Zweig’s The Burn­ing Secret, but the mate­r­i­al proved too con­tro­ver­sial for the con­tent restraints of the Hays Code. He want­ed to make a Holo­caust film with Isaac Bashe­vis Singer, who declined; he want­ed to make anoth­er Holo­caust film with Julia Roberts, but Steven Spiel­berg put out Schindler’s List first. (He ulti­mate­ly deemed the Holo­caust cin­e­mat­i­cal­ly unap­proach­able, as he did The Lord of the Rings when the Bea­t­les pre­sent­ed him that idea.) He want­ed to adapt Umber­to Eco’s Fou­cault’s Pen­du­lum, “toyed” with Patrick SĂĽskind’s Per­fume, con­sid­ered rein­vent­ing pornog­ra­phy… the list goes on.

Napoleon casts a shad­ow over all of these frag­ments. Though Kubrick nev­er made his life of Napoleon Bona­parte, he nev­er seemed to for­get the idea, either; he claimed to have read over 500 books about the man in years of prepa­ra­tion for a shoot that nev­er came. David Hem­mings was to play his Napoleon, Audrey Hep­burn his Josephine. The pro­jec­t’s ever more intim­i­dat­ing bud­get — vast, loca­tion-filmed bat­tle scenes pre­sum­ably hav­ing some­thing to do with that — and the release of Sergei Bon­darchuk’s War and Peace and Water­loo sank the project, but you can still read its screen­play online. Taschen, pub­lish­er of lav­ish, visu­al­ly intense tomes, pro­duced the video above on the process behind Stan­ley Kubrick­’s Napoleon: The Great­est Movie Nev­er Made, their book — or rather, their enor­mous hol­low book filled with small­er books — that dis­tills the nonex­is­tent film’s remains. Don’t have enough room on your shelf? Then take a look at Vice mag­a­zine’s “Stan­ley Kubrick­’s Napoleon: A Lot of Work, Very Lit­tle Actu­al Movie” instead.

Relat­ed con­tent:

Stan­ley Kubrick’s Very First Films: Three Short Doc­u­men­taries

The Mak­ing of Stan­ley Kubrick’s A Clock­work Orange

James Cameron Revis­its the Mak­ing of Kubrick’s 2001: A Space Odyssey

Ter­ry Gilliam: The Dif­fer­ence Between Kubrick (Great Film­mak­er) and Spiel­berg (Less So)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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Open Culture was founded by Dan Colman.