The Economy of Adaptation (Scattered Thoughts in Death in Venice)

One could write a whole paper on the economics of adaptations, but I'm interested in the other meaning of the word - how do adaptations get transferred from original text to adapted text and in that, how is the original "meaning" (a concept I'll problematize later) transferred?

I think that novellas, in their economy of style, could seem to require more of their content to be included in an adaptation. Part of that is due to how we read: it's easier to hold onto descriptive phrases and small details in a book that has fewer of them (or even fewer words). Sparer prose is easier to remember but harder to film, in part, I'd like to suggest, because each word's role is deeper (not more important) than those in a longer work. By deeper, I mean that the overall sheen of a short work is more impacted by a given word than in a longer work.

Let's take some phrases from Mann's Death in Venice (trans. Michael Henry Heim). His lengthy description of Aschenbach at the beginning of the book is easily cast: just find (or adapt, through makeup and camera angles) an actor who looks the part and can also play it. However, take a detail like one about the hotel manager: "a short, quiet, obsequiously courteous man"(42). Short is easily cast. Obsequiously courteous may not be so easily directed, especially for such a small role. (I can imagine it being overdone, but it's harder to imagine it being as subtly struck as Mann's description.) Maybe I'd have an easier time of this if I were a better actor myself?) Even more complex is this description of the gondolier: " A "lightweight" outfit (52) is more easily portrayed than a "washable" one (ibid.).

This is a text of introspection more than action. There isn't even any dialogue until a third of the way through. In that vein and in contrast to what I've been arguing, the beach scene on 54-55 is written like a painting. It's easily reproduced, almost as through Mann were himself a set dresser, until Aschenbach starts musing on the sea and the "deep-seated reasons" that he loves it (55). I'm not sure that a voiceover would do any of the musings justice, although that's the easy solution to the problem I'm setting up.

One other complication that Mann's book throws in is that of translation. Michael Cunningham's introduction to the Heim translated edition (Ecco, 2004) foregrounds the issue of translation right away. He says that fiction in particular in "an ongoing process of translation" (vii) -- and his point that Aschenbach changes in the new Heim translation.

Mann himself offers something of an answer to my conundrum. In describing Tadzio and Aschenbach's preoccupation with watching him, Mann has Aschenbach say, "What discipline, what precision of thought was conveyed by that tall, youthfully perfect physique!" (81) and "he longed to work in Tadzio's presence, to model his writing on the boy's physique" (85).

A Tattoo Meditation

I got my fourth tattoo this weekend. It was my largest (size of a face), longest (two hours), most complexly designed (lots of little lines running over differently sized curves), and most intense (on ribs and touching hips).

Getting a tattoo is so meditative, despite its intensity (and I don't call the feeling pain - it doesn't operate on me the way that pain does). I kept very still, didn't clench my toes or fists, and barely had any muscle spasms (something that did happen with my first hip tattoo). I breathed into any discomfort, and tried to still my thoughts. I imagined my body moving up to the needle instead of it moving down into me - when I mentioned it, my artist concurred that that really works. I turned on my yoga teaching mindset and thought about which bandhas I was engaging. I traced the sensations like a map across my hip and rips, trying to determine where it felt better (I think my back ribs felt best, with hip and front ribs coming in as more intense). I also noticed the times when I was wrong about where the needle actually was. I bathed in the buzz and the smell of the ink.

I didn't think twice about wandering through the shop with my shirt hiked up (which, to be fair, I don't think twice about in kickboxing, either). I walked barefoot (same). What I said, when the artist and my friend asked about how I felt, was that I was okay. And I was. When it got tough, that moment ended, often replaced by a good moment. Sometimes just letting my gaze unravel its focus was helpful. Sometimes I curled one set of toes. I though about my mom, my ex-boyfriends, my friends, my cat, my homework. I got Writing Ideas. I thought about all the things the tat and I would experience together. I took in as much of the experience as I could, and when I left, I felt a high like the one I got after my first (fifteen minute) tat.