By William R. Handley
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Extra info for The Brokeback Book: From Story to Cultural Phenomenon
Example text
That shot is eerily—and significantly—silent, voiceless: it turns out that what we are seeing is what the boys’ disgusted boss is seeing through his binoculars as he spies on them. After that—because their love for each other can’t be fitted into the lives they think they must lead—misery pursues and finally destroys the two men and everyone with whom they come in contact with the relentless thoroughness you associate with Greek tragedy. By the end of the drama, indeed, whole families have been laid waste.
Now he perceives an infidelity worse than Jack’s tricks in Mexico: the “knowledge” that he had been replaced in their dream of a ranch together. 8 This interpretive ambiguity is instructive about the very history of gay civil rights that feels so outside of the film’s diegesis, particularly at this historical moment, a time of both political progress and regress since the film came out. One of the tensions in the response to the film is whether this is (or was marketed as) a specifically gay love story or a universal one, which David Leavitt, Daniel Mendelsohn, and James Schamus discuss in their chapters.
Andrew Sullivan wrote that he preferred the story to the movie, but I couldn’t see how. Proulx herself states in her essay “Getting Movied”: “Larry and Diana were working with a short story which came with a sturdy framework. But there was not enough there. I write in a tight, compressed style that needs air and loosening to unfold into art” (134). Or, as she put it in an interview: The film “really enriched the story. Instead of a little canoe, it became an ocean liner” (Detrixhe). But praise be to Proulx, I thought, for inventing this story, even if a prose writer watching Brokeback must end up in awe of the power of images and music.