An enthralling, time-traveling version of Alice, in dual wonderlands of 20th-century Hollywood.
Originally published in 1982, Screenplay by MacDonald Harris (The Balloonist) exhibits remarkable sleight of hand with two parallel versions of Los Angeles. Alys was raised in the late 20th century by fabulously wealthy, unconventional parents and orphaned at age 18. With no personal connections and unlimited money to burn, he amuses himself with unusual old books and music and soulless sexual liaisons. An odd old man shows up at his doorstep and requests to rent a room–though no room has been advertised. He introduces himself as Nesselrode, a film producer, and says he can get Alys into pictures.
Soon Alys’s tenuous link to modern 1980s L.A. falters as he steps through a screen into black-and-white 1920s Hollywood with Nesselrode as a surly, time-obsessed guide. In this alternate world, he falls in love with a beautiful starlet, but can they make a life together in her time? Or in his?
In addition to the unmistakable overarching reference to Alice’s Adventures in Wonderland, Harris’s novel recalls the moral questions of The Picture of Dorian Gray and Alys himself could have stepped from the pages of The Great Gatsby. Even with such classics for comparison, Screenplay is a masterpiece of darkly playful cunning. Harris’s evocative prose, in Alys’s disturbingly clinical, coldly self-indulgent first-person narrative, is both intoxicating and disquieting; the altered reality here is more sinister and sensual, even erotic, than in Carroll’s Wonderland. The tension in this memorable and singular dreamscape builds with perfect pacing to an ending that raises more questions than it answers.
This review originally ran in the December 30, 2014 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!