Monday, February 04, 2008

Fiction doing backflips

In watching the three Bourne movies in close succession over the past week, Richard and I spotted a neat thing we had missed when viewing them at the theater: the final scene of the second movie, The Bourne Supremacy, is also the climax of the third movie, The Bourne Ultimatum, with a completely different dramatic purpose. I asked Elizabeth if she could think of any books-in-series that worked this way, and she came up with two related but inexact examples: that it wasn't until Lloyd Alexander had submitted The High King to his editor Ann Durrell that she told him he had missed a book and sent him off to write Taran Wanderer; and that Jan Karon was forced after the fact by fans to plug a plot hole in her Mitford series. Any others?

4 comments:

Anonymous said...

Rosa Guy? Didn't she examine the same events from different viewpoints in some of her books? I think that I remember The Friends overlapping with Edith Jackson and another book.

Cheryl said...

Not sure if this is exactly what you mean, but I will be a book-proud editor and point out the work of Lisa Yee, whose MILLICENT MIN, GIRL GENIUS; STANFORD WONG FLUNKS BIG-TIME, and SO TOTALLY EMILY EBERS examine one summer (and often the same scenes) among three friends from their three very different points of view.

Melinda said...

And if that is what you mean, then Cynthia Voigt did that with Homecoming and Come a Stranger (from Mina's pov) and the whole Tillerman series.

Roger Sutton said...

I'm not sure just what I meant, but Millicent and the Dicey books are excellent examples of devious connections among novels (I don't remember the Ruby books well enough to say). Isn't there a mention in Homecoming or Dicey's Song of Gran having thrown a telephone through a window, a scene we get to see for ourselves in The Runner?