Isolation Across Time: The Browning Version and About a Boy

Marcus and Will. Hornby uses the novel format to supplement the reader with valuable information that would not be attainable in a play unless a narrator existed. Hornby has the ability to impart the characters' thoughts, such as Marcus's inclination that either he or his mother must be mentally unstable.

This passage highlights how the protagonist's desire to bring positivity to his mother is exemplified through his self-dialogue. The bittersweet undertones present throughout the novel are exemplified by this role reversal. Further insight into this theme can be found in The Schoolboy. It is only through Marcus' internal dialogue and the presence of a narrator that these reflections can be accessed.

The usage of narrative voice is evident in both the novel and film adaptation of 'About a Boy'. Although the medium differs, the film's voice over serves as an equivalent to the book's narrator, providing added insight for the audience. Conversely, Ratigan employs subtext, set design, costumes, and actor performances to convey unspoken notions in his approach.

The initial scene features Taplow in Andrew's apartment, counting the number of chocolates in a box. This serves as a prime illustration for the concept being discussed.

According to the stage directions, Taplow takes two chocolates but only consumes one, returning the other to the box after a brief internal conflict. This action quickly establishes Taplow's character as a typical boy with a fundamentally decent heart for viewers or readers. Although they vary greatly, both texts address the theme of isolation in their concepts and situations.

While the situation depicted in 'The Browning Version' may feel exclusive, 'About a Boy' presents a more relatable and timely story. Marcus, who is

navigating a new setting and struggling to establish connections, reflects an experience that many contemporary readers in Britain can identify with. Notably, the themes and language used to convey Marcus' feelings of isolation in 'About a Boy' bear similarities to those in 'The Browning Version'.

The language in Marcus' running thoughts acknowledges that 'who he was' is the fundamental issue, employing child-like syntax with under or over punctuation and incomplete phrases that portray anxious discomfort. Yet, despite this linguistic similarity, Hornby's novel interweaves a dynamic plot and satirical humor that entertain and engage readers. His contemporary prose mirrors our speech, making the novel easy for modern readers to comprehend.

In 'The Browning Version', the language is formal in line with its time-context. The play explores the theme of discomfort in one's own skin, which resonates with Ratigan's personal experiences as a homosexual living in a homophobic society, causing isolation. Ratigan's emotional connection to this subject matter allows for powerful writing. The play features Andrew's reluctance to be liked while delving into Ratigan's insightful studies of human relationships, adding dramatic emphasis to the overall discomfort felt by the characters.

A concrete example of this can be observed when Frobisher rejects Andrew's pension application. Both Andrew and Frobisher display pauses while speaking, highlighting the uncomfortable nature of their conversation. Andrew is visibly uneasy discussing finances, and Millie's comments lead Frobisher to believe the Crocker-Harris family is more affluent than they really are. Millie's deception results in Andrew being humiliated, and the audience seems to sympathize with him in this situation.

The play implicitly includes post-war references, displaying an accurate portrayal of a 1940s grammar school with science being a minority subject.

Unfortunately, in the 1994 film adaptation of 'The Browning Version', relevance is lost due to archaic and clumsy cold war references. This undermines Taplow's plot to gain his 'remove'. The director chose to do this to make the story more accessible to contemporary audiences, but I find it misguided and unsuccessful since the remove plot isolates Andrew as the only teacher who enforces the rule about sharing remove results with the boys.

The significance of Andrew's adherence to rules is emphasized in contrast to Frank's nonchalant attitude and popularity with the boys. Meanwhile, the structural components of 'The Browning Version' present a challenge, as the one-act play necessitates the portrayal of various settings. Ratigan faces the difficulty of transitioning between scenes, proving to be more troublesome than in the novel.

The play unfolds in an episodic manner in the sitting room of the Crocker-Harris's flat. Although it's not Andrew's home, it's his only comfortable refuge where he feels isolated to some extent. Yet, Andrew has no choice but to leave for a new and unfamiliar place where he won't be as appreciated or fulfilled. This makes for an uncomfortable situation as Andrew seems to be moving from one form of isolation to another.

The idea of isolation is the central theme in the novel, emphasized by the constant entering and exiting of different characters. This highlights Andrew's lonely life as no one ever truly gets to know him. The disjointed and tight set adds to this by making it seem as though nothing and no one quite fit in. Fortunately, Hornby had less constraints with regards to setting and scenes, meaning he could choose to create short, snappy

chapters that intrigue the reader from the beginning, or longer chapters such as the 'Christmas Day' chapter, which mirrors the actual day's agonizing length that Will endures with 'the pair of losers' and their extended family.

Hornby utilizes the shift between chapters and locations to offer various viewpoints, including those of Will and Marcus, which can provide the reader with distinct perspectives. Additionally, this technique can assist in gaining a better understanding of each character, such as Marcus, who is characterized as curious but lacking humor and worldliness. The movie adaptation of 'About a Boy' also uses this approach, featuring the same opening that switches between Will and Marcus.

Although I found the film's success to be on par with that of the novel, the focus was inconsistent and restricted. Some sections diverged greatly from the original text, while others were nearly identical. It may be that the director lacks the same clarity as Hornby regarding the desired direction of the narrative. An illustration of this is demonstrated by the erasure of all 90s references in the film to modernize it.

The text describes how Ellie and Marcus become friends at school after an incident involving the song lyric "Shake your ass... tell me where it's at," which replaces the name of Kurt Cobain. Although this part of the text is very different from the rest, the "Dead Duck Day" chapter is very similar when adapted for film because it is so vividly written.

The Browning Version and About a Boy depict contrasting stages of isolation. In Ratigan's play, the main character's retirement is the starting point, which seems unconventional. However, this enables Ratigan to

concentrate solely on the aspect of isolation he wishes to portray and offer the audience only essential information about what happens before. Ratigan's writing is, therefore, careful and concentrated in showing how it all leads to this point. On the other hand, Hornby's story opens with a predictable fresh start, a familiar concept so common that it can be referred to as a cliche.

Marcus feels isolated by the new city, lifestyle, and people he encounters. The contemporary nature of this situation affects the reader's comprehension. While divorce and separation have become commonplace in modern times, it still causes distress to those involved. Hornby explores this aspect of the human experience within the context of his story.

Ratigan's work depicts a marriage between Millie and Andrew that is not happy, but divorce is not an option due to the time period of the play when divorce was highly frowned upon and rare. This shows that the structure of a text can provide a greater understanding of its context. Meanwhile, Hornby's use of flashbacks in his work adds detail to the plot and offers insider information to the reader. Examples of this include Fiona's mention of Marcus having lived two different lives and the repetition of the "Dead Duck Day" subject, along with Marcus recalling being nervous. With these snippets provided through character rather than narrator, Hornby is able to smoothly skip ahead in time without harming the story's continuity.

The text emphasizes Marcus' isolation in a particular moment, depicting his reactions and reflections. Hornby's structure is deemed more powerful as it employs timeless methods that transcend popularity across different eras. The language used by both

writers effectively conveys the characters' loneliness, with each text using specific language reflective of its own time period.

Hornby's writing style is characterized by the use of specific language, slang, and references that can easily date the piece. According to some, Hornby effortlessly weaves humor through topics favored by the general public. He intimately understands the emerging middle class of Britain and utilizes contextual references such as 'Snoop Doggy Dog' and 'Kurt Cobain', both popular among Marcus's peers, to paint a picture of what a 'normal' boy would listen to. Unfortunately, this also serves to isolate Marcus, who does not approve of the misogynistic attitudes displayed by 'Snoop Doggy Dog'.

The statement is too old for Marcus to have come up with it himself. Fiona seems to have influenced his thoughts, as he realizes that his mother has shaped him and made him who he is. His contentment with Joni Mitchell at home sets him apart, proving that he is not suited for school or his surroundings. Nonetheless, Marcus's situation is not unique.

By brainwashing Marcus into not being a 'sheep', Fiona has isolated him to the point where his thinking is completely aligned with her. This hinders Marcus from being a child, creating negative feelings towards Fiona from the reader. While the references in the book may mean little or nothing to someone reading it fifty years from now, they are not vital to understanding the conveyed ideas. Like McEwan and other contemporaries, Hornby is self-aware as a 'cool' writer.

The use of contextual references in Hornby's writing could be interpreted as evidence for his arguments. When writing from the perspective of a child, such as in chapter

three of his novel, the use of age-appropriate language is crucial. In this section, the character Marcus wishes he were a "Macaulay Culkin" kind of child. The repetition of Macaulay's name, the length of Marcus' sentences and lack of punctuation all serve to effectively convey the perspective of a twelve-year-old. Hornby employs similar techniques when writing from a female voice in his latest novel, "How to Be Good", demonstrating his skill in accurately imitating language.

Both texts are convincing in their own way and successfully convey the intended voice to the reader. While 'The Browning Version' has a formal setting, the language appropriately matches this tone. Mrs. Gilbert isolates Millie and takes over her position and home.

Mrs. Gilbert expresses her fear of cooking while observing Millie doing so. The statement is contextual and isolating, suggesting that Mrs. Gilbert may not have experience cooking due to always relying on a maid. On the other hand, Millie mentions having no maid for five years.

Both writers use satire to comment on societal conditions. Ratigan's depiction of Andrew aligns with the cultural emphasis on respecting elders and the elevated status of teachers during that time period. Andrew's isolation during his leaving assembly speech for the "junior" sports master highlights the false importance placed on sports. Additionally, this technique causes Millie to feel inferior.

Despite the passage of time, Ratigan's play remains pertinent to contemporary individuals as sports are still celebrated and athletes are often idolized. Hornby additionally employs satire to critique societal issues, specifically targeting the trite portrayal of the self-help group called 'SPAT', devoted to aiding single parents.

The movie effectively depicts a group of lesbians and single mothers abandoned

by their partners holding hands and chanting, causing discomfort for the audience. The scene portrays their isolation and misery in a heart-wrenching but entertaining manner. The vivid depiction makes it believable. Both texts explore similar themes of self-awareness among people.

Both Hornby and Ratigan chose different mediums for their works. Hornby's novel has a strong focus on contemporary topics such as politics and zeitgeist, making it a timely piece of literature for the turn of the millennium. His diverse methods of storytelling effectively convey the information he wants the reader to have, while also exploring universal themes of human isolation. In contrast, Ratigan's play is a comedic representation of the bleak and inescapable nature of existential loneliness. Despite their differences, both works are considered serious literature.

Multiple factors contributed to my enjoyment of the play as a reader. In addition to the fascinating portrayal of Andrew's downfall, other elements that I previously mentioned were also very well executed. Ultimately, this work of serious literature has proven to be valuable across different periods of time, as evidenced by the success of its film adaptation.

The play benefits from a time-context that is not constricting.