"I turned what i thought was a C+ paper into an A-"
Not all of Highsmith’s books are equal, but she has a disorienting voice that’s all its own: stripped of literary ornamentation, devoid of sentimentality, and lacking a moral compass, no matter how horrific the behavior of her characters or the suffering of their victims. Almost every film adaptation of her work before Carol, starting with Hitchcock’s first, has bowdlerized her endings, whether by excising a final murder or insisting that a killer be brought to justice. That’s not Highsmith. “I find the public passion for justice quite boring and artificial, for neither life nor nature cares if justice is ever done or not,” she explained in her 1966 book Plotting and Writing Suspense Fiction . Told at one point by an agent that her books don’t sell in America because the people in them are unlikable, she responded that “perhaps it is because I don’t like anyone” and proposed that in the future she write about animals. Indeed, her 1975 story collection , The Animal-Lovers’ Book of Beastly Murder, is about pets that kill their human masters. (Her own favorite animals were snails, which she smuggled through customs by hiding a half-dozen or so under each of her breasts.) In truth she often identified with her most amoral human protagonists, from the psychopathic Bruno of Strangers on a Train (“I love him!”) to Tom Ripley. In the early 1970s Highsmith contemplated writing a novel, as her biographer Wilson describes it, about a character obsessed with “the detritus of modern living—waste material including abortions, the contents of toilets, bedpans, diapers, hysterectomies.” And who might that character be? She answered the question in her diary—“myself.”
In the trenches. Anti Essays . Retrieved October 29, 2017, from the World Wide Web: http:///free-essays/Trenches-
July 22, 1914
Martin, Louise and Theodore attend birthday party of a neighborhood child celebrating his second birthday.
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