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一部拉子成長小說的啟發,從讀者、觀眾到意外的ex-gay專題研究
英國女作家CC Gilbert |
In a novel you, perhaps, have one main voice – stage is a much more dynamic medium. You can’t control your audience in the way you can control a reader. While I always liked being in control of a piece of writing, it’s a big responsibility as well.
*小說每次只會出現一個聲音,但是舞台劇卻是好幾個聲音同時出現,不像操控讀者那樣容易控制觀眾。
左:Frances McDormand;右:Lisa Cholodenko |
United States of Tara 倒錯人生 |
壯年時的羅拉 |
Yet the love story’s progression – to say more would give too much away – is not entirely convincing by the end. While Frances’s passion and later, pain, is entirely believable – and here, Waters excels at presenting the raw interiority of a quietly heroic woman, slightly too ahead of her time – there is something under-investigated about Lilian’s “turning”, especially over the question of going public.
The ambition that drives Len and Lil never turns into parody – in fact she looks pained when I say I didn’t like or trust Lillian at first. “Oh no, didn’t you?” she exclaims, as if I had just slighted a child. “Oh, I grew to really like her,” I reply quickly, and she looks relieved.華老師的確打算把莉莉安寫得堅貞不移,但是大部份人和我一樣總是心存懷疑。看來華老師會面對許多讀者同樣的疑問。
Frances’ and Lillian’s love affair is at the heart of The Paying Guests. Lesbians are central to all her novels, apart from the last, the Booker-shortlisted The Little Stranger. Was the decision to return to a lesbian relationship conscious? “It sort of was, because I missed it,” answers the author noted for creating scenes electric1 with passion. “I missed writing about love. Once I realised that, at its heart, I was writing a love story, I was very excited, because I have never really written a love story before.” Before I pick up on the comment, she explains that the book is grand love story rather than sexy romp (Tipping the Velvet) or doomed passion (The Night Watch).華老師作了產品定位分析,The Paying Guests是部充滿愛情的故事。