For many years, adaptation studies have been the core business of film and literature studies. The often sterile debates address issues of fidelity as well as the progressive opening of adaptation studies to other media than just film and literature.
This is not a new book and many readers may find it pathetically old-fashioned. Yet this collection of writings on art with a capital A by an author often discarded as typically WASP is doing what so much modern art criticism seems no longer “capable and willing” of doing, as we are asked by the air hostess when boarding the plane and being offered an exit seat:
In these days of globalization, including global culture, it might be useful to recall the old humanist ideal of “universality”, that of the uomo universale (and please do not read the term “uomo” in gender-biased terms) who develops his faculties in as many fields as possible and who manages to do so thanks to the general (that is: nonspecialized) education s/he receives and eventually implements in his or her life as scholar, artist, scientist, but also citizen.
I first read about the work of the Observatório de Favelas in the great book Radical Cities by Justin McGuirk (Verso, 2014). This organization in the vast and sprawling favela Complexo da Maré in Rio De Janeiro was founded by the social geographer Jailson de Souza e Silva. Besides being a place for research about life in the favelas, the organization also houses the Escola Popular de Comunicação Crítica (ESPOCC).
Recently Charlie Johns edited an extremely interesting book that works through the argument that neurosis is the dominant condition of our society today.
The Lonely Hearts Hotel is the most recent novel by Canadian author, Heather O’Neil. It is the story of Pierrot and Rose; orphans, who both, in differing circumstances, nearly die at birth but miraculously survive against the odds.
Although graphic novels are now considered part of literature, only very few are literary adaptations in the traditional sense of the word.