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• A Distant Episode • Paul Bowles • ss The Partisan Review Jan-Feb '47
• Blackberry Winter • Robert Penn Warren • ss, 1931
• O City of Broken Dreams • John Cheever • ss New Yorker Jan 24 '48
• The Lottery • Shirley Jackson • ss New Yorker Jun 26 '48
• The View from the Balcony • Wallace Stegner • ss
• No Place for You, My Love • Eudora Welty • ss, 1951
• The State of Grace • Harold Brodkey • ss
• The Magic Barrel • Bernard Malamud • ss The Paris Review Nov-Dec '54
• Good Country People • Flannery O'Connor • ss Harper's Bazaar Jun '55
• In Time Which Made a Monkey of Us All • Grace Paley • ss
• Sonny's Blues • James Baldwin • nv The Partisan Review, 1957
• Venus, Cupid, Folly and Time • Peter Taylor • nv The Kenyon Review Spr '58
• Welcome to the Monkey House • Kurt Vonnegut, Jr. • ss Playboy Jan '68
• In the Zoo • Jean Stafford • ss New Yorker, 1955
• A Poetics for Bullies • Stanley Elkin • ss
• Upon the Sweeping Flood • Joyce Carol Oates • ss The Southwest Review Spr '63
• The Indian Uprising • Donald Barthelme • ss New Yorker Mar 6 '65
• In the Heart of the Heart of the Country • William Gass • nv New American Review 1 '67
• A Solo Song: For Doc • James Alan McPherson • ss
• The Babysitter • Robert Coover • ss
• City Boy • Leonard Michaels • ss
• White Rat • Gayl Jones • ss
• Are These Actual Miles? • Raymond Carver • ss
• Train • Joy Williams • ss
• Fugue in A Minor • William Kotzwinkle • ss
• Here Come the Maples • John Updike • ss
• Pretty Ice • Mary Robison • ss
• Testimony of Pilot • Barry Hannah • ss
• Greenwich Time • Ann Beattie • ss
• Lechery • Jayne Anne Phillips • ss
• Liars in Love • Richard Yates • ss
• The Circling Hand • Jamaica Kincaid • ss New Yorker Nov 21 '83
• Territory • David Leavitt • ss New Yorker May 31 '82
• Bridging • Max Apple • ss Atlantic Monthly Apr '84
• Greasy Lake • T. Coraghessan Boyle • ss
• The Rich Brother • Tobias Wolff • ss Vanity Fair, 1985
• American Express • James Salter • ss Esquire Feb '88
• The Joy Luck Club • Amy Tan • ss Ladies Home Journal Mar '89
• The Fireman's Wife • Richard Bausch • ss Atlantic Monthly Nov '89
• Hot Ice • Stuart Dybek • ss Antæus, 1984
• You're Ugly, Too • Lorrie Moore • ss New Yorker Jul 3 '89
• The Things They Carried • Tim O'Brien • ss Esquire Aug '86

Harrison, Stephanie.  Adaptations: From Short Story to Big Screen.  New York: Three Rivers Press, 2005.

Harrison’s book neither deals directly with Roeg’s film, nor with du Maurier’s short story that inspired it, but it is essential to any analysis of Don’t Look Now.  The process by which a director adapts a short story into film is important, because a short story is just that, short.  A director must take something that rarely lasts over fifty pages and turn in into a film that usually lasts over two hours.  A director must take the story and ‘run with it;’ in some ways making the story his own.  Harrison analyzes 35 short stories and the films they spawned.  She separates the films and analyses into sections based mainly on genre (Horror, Western, etc.).  Don’t Look Now is a hybrid film, so it would not snugly fit in any of the genres that Harrison chooses, but it does have horror, drama, erotica, and auteur elements to it.  Harrison describes four different auteurs (Altman, Hitchcock, Kubrick, and Kazan) and their individual styles of adaptation.  She calls Altman, for instance, the “translator” (3), because he attempted to stay as true as possible to the original story.  There is little to no literature written about Nicholas Roeg, so it is impossible to know whether or not he would fit in with any of the different auteurs.
    One point I found very interesting in Harrison’s analysis is her idea that audiences are less hard on films based on short stories for being true to their source material, because “few short stories are embedded in the public’s consciousness in a way that popular novels are” (xvi).  In the case of Don’t Look Now, both the story and the film seem to have been lost from the public consciousness (due, in part, to the success of The Exorcist, which was released the same year as Roeg’s film).  Harrison’s book, as I said above, never mentions Nicolas Roeg’s Don’t Look Now, but by looking at the process by which other writers have adapted short stories, we can get a sense of the different approaches to it and how Roeg many have gone about doing it.  Roeg took a fifty-four page short story about a man’s blindness to his abilities and his fate and refashioned it into an unsettling drama/thriller about a married couple and ...