‘I Kinda Like to Go Off the Track’: Finding David Lynch in the Middle World of Dune

For many scholars of David Lynch’s work, Dune is considered a spectacular failure, a costly creative misstep on the way to Blue Velvet. While it may not be regarded as one of his signature films, Dune contains enough of Lynch’s creative personality to warrant a critical re-examination. The purpose of this study is to place Dune within the context of his earlier work, namely Eraserhead and The Elephant Man, and to mine it for those tropes with which Lynch has become synonymous: enabling the grotesque, interiority and the unconscious mind, and the relationship between industry and flesh. By the director’s own admission, Dune forced him into an aesthetic middle world, wedging him between the midnight movie and mainstream cinema. Using Thomas Leitch’s theory of adaptation in both an archival and teleological reading of Dune, I demonstrate how Lynch asserts himself in this middle world, how he succeeds in honouring the source material while also meeting his authorial desire to reinvent it, to decouple from the archive and ‘go off the track’.

Adapting Wives and Daughters for Television: Reimagining Women, Travel, Natural Science, and Race

This essay examines the depiction of women, travel, natural science, and race in Elizabeth Gaskell’s Wives and Daughters (1864–66) and Andrew Davies’s BBC adaptation of the novel (1999). It argues that the adaptation offers a recognizable transposition of Gaskell’s text, but makes some significant adjustments that reveal its contemporary reimagining of the novel’s gender and racial politics. In particular, Davies transforms Gaskell’s unexceptional female protagonist Molly Gibson into a proto-feminist naturalist adventurer, and revisions the casual racism the novel expresses towards black people in line with late-twentieth-century sensibilities. Each text, novel and film, reveals the period-specific ideological forces that shape its portrayal of Englishwomen and African people.

Introduction: Adaptation and the Battle of, and for, and over, and within the Public Humanities

This introduction to the special issue of Adaptation devoted to adaptation and the public humanities focuses on the ways the once-anodyne term ‘public humanities’ has become more sharply politicized and contested over the past few years. In many ways, adaptation, which generates new versions and new readings of old texts instead of cancelling, erasing, or unpublishing them, offers the possibility of transcending the conflicts in contemporary culture. But the creation and the study of adaptations offer not a retreat from the culture wars but an array of new tools for waging them more productively by reframing them in ways that lead to more open and fruitful dialogue on the subjects proposed by the essays in this issue: theatrical performances cast for the public good, the costs of performing adapted versions of oneself or of encouraging adaptation-induced tourism, the ecological implications of adaptation, and the shifting valence of adaptation when it is practiced by public figures and posthuman agents.

Revising The Scarlet Letter: Race and Motherhood in In the Blood and Little Fires Everywhere

Nathaniel Hawthorne’s The Scarlet Letter has generated numerous adaptations. Its depiction of race has made it a problematic ‘master text’, however, especially since it was published in the same year as the US Fugitive Slave Act. This essay examines three recent adaptations across a variety of media that focus on the relationship between race and motherhood, revealing the ways in which Hester Prynne can be integrated into society as a single mother in ways that non-white mothers cannot. Suzan-Lori Parks’ 1998 play In the Blood stages ‘Hester, La Negrita’ as a homeless mother of five who cannot escape the ‘hand of fate’ of racial oppression. Celeste Ng’s 2017 novel Little Fires Everywhere reinvents Hester as a surrogate mother whose efforts on behalf of a birth mother in a trans-racial adoption dispute highlight how race differentially impacts maternal rights. The 2020 Hulu television adaptation of Ng’s novel casts the Hester and Pearl figures, along with an artist named Hawthorne, as black women whose activism forces the Richardson family to acknowledge their white privilege. Together, these adaptations examine how the ‘monstrous birth’ of slavery that Hawthorne only belatedly acknowledged has had a lingering afterlife in constructions of race and motherhood.