COPYCAT REDUX

What's the difference between a plagiarist and a copycat? Nothing really -- except one admitted it and the other didn't, one is a writer and the other is an artist, one had her novel withdrawn by the publisher and the other had his layout in The New York Times Style Magazine defended by a Times editor as a case of copycat "coincidence."

Consider Kaavya Viswanathan's plagiarism vs. Vik Muniz's copycatting.

Here's a widely cited example, one of many borrowed passages in Viswanathan's recently published novel "How Opal Mehta Got Kissed, Got Wild, and Got a Life": "He had too-long shaggy brown hair that fell into his eyes, which were always half shut. His mouth was always curled into a half smile, like he knew about some big joke that was about to be played on you."

Which bears a striking similarity to this passage in Megan McCafferty's 2001 novel, "Sloppy Firsts": "He’s got dusty reddish dreads that a girl could never run her hands through. His eyes are always half-shut. His lips are usually curled in a semi-smile, like he’s in on a big joke that’s being played on you but you don’t know it yet."

Here's an example, on the right, of what Muniz produced last December for a NYT Style Magazine fashion spread.

Which bears a striking resemblance to Norman O. Mustill's image, on the left, from his 1969 book of collages, "Flypaper":

IMAGE BY MUSTILLIMAGE BY MUNIZ


Although the copied visual image is not exact, it bears as much similarity to Mustill's original as the plagiarized verbal passage bears to McCafferty's, and there's enough exact material -- tree branches within a human form in the context of a fashion statement and the referential hand -- to draw the appropriate conclusion.

As for the notion that Viswanathan's plagiarism is of a different order from Muniz's copycatting if only because of sheer numbers -- she apparently copied dozens of passages from two McAfferty novels -- it doesn't hold up unless 1) you fail to see the similarity between Muniz's borrowed technique of combining newsprint and human figure cutouts in the image on the right with Mustill's image from his 1971 pamphlet "Twinpak," on the left, or 2) you fail to compare percentages..

IMAGE BY MUSTILLIMAGE BY MUNIZ


Viswanathan plagiarized roughly 40 passages (a sentence or paragraph each) in a book that comes to 320 pages. As blatant as that is, the total percentage of borrowed words comes to very little compared with the two Muniz copycat images, above, and a less obvious third borrowing (scroll down), which is 50 percent of the six-image Times spread.

April 29, 2006 8:58 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
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This page contains a single entry by Straight Up | published on April 29, 2006 8:58 AM.

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