Just a few days ago I had a conversation with my former graduate classmates regarding Jane Eyre’s proper names, text locations, Northern England and of course the famous Mr. Rochester.
It’d been quite a while since I’d last picked up the Bronte’s Penguin Classic off my book self, but I was eager to discuss the heroin character whose manuscript still survives in the British Museum. A quick no surprise disclaimer as this happens every now and again; because instead of networking at after work mixers or happy hours, Literature graduate students tend to commence apropos to the novel.
Bringing me to the next manifestation of text as film.
Authorship is like a spinning wheel that occasionally gets granted a film. So while we’re still on this revolving tangent, Extremely Loud and Incredibly Close is definitely worth seeing. I remember discussing Jonathan Safran Foer’s writing style, a modern author that took the leap into postmodern text. His use of colors, images, and word placement on the page connoted a readership that not only participated in Oskar Schell’s healing journey but began to actively search for the sixth borough with him.
Although The Film is essentially melancholy it is extremely touching and definitely a must see. It is the story of a young boy’s determination, faith in humanity and compassion. As Oskar runs through the city to unlock one last mystery linked to his dad (who died in the world trade center), he finds solace and courage among the eclectic individuals who rarely fail to offer him a sympathetic hand.
Extremely Loud and Incredibly Close is heart-wrenching, imaginative, and moving. A definitive reflection of how niceties shouldn’t be taken for granted: simple or complex.