W.P. Kinsella’s 1982 novel Shoeless Joe follows the story of an idealist who aspires to build a sizable baseball field on account of mystical voice. Nevertheless, Kinsella doesn’t only write about the obstacle behind the laborious journey but also compacts the story with the element of redemption, love and one’s personal goals and life dreams. It is about the ability to realize the most esoteric dreams. It is about one’s need for closure to allow them to conclude an unresolved issue that had previously been clouded in ambiguity and uncertainty. It is about gaining real happiness and the hard work to attain it. As expected, the limitless fantasy pieces of the novel perform in a pleasuring manner with the magnificent visualization of the film adaptation from Phil Alden Robinson’s 1989 film Field of Dreams and render a magical fantasy that enhances the audience’s euphoria. While the novel is definitely an American classic work, the film version more effectively illustrates the magic of Ray’s journey. Accordingly, the two perspective audiences can harmonically agree and share the equivalent intense moment over the journey of the main characters. On account of Kinsella’s wondrous literary technique to use first person point-of-view and Robinson’s ingenious techniques on special effects, the audience is able to grasp the strength of the scene depicting the physical and emotional transformation of Archie Graham very profoundly.
When Karin accidentally fell from the bleacher, Archie Graham decides to help but realizes by stepping off the field “divider” of the two worlds, he would morph into the old “Doc” Graham, but yet he chooses to continue. The prominent scene is quite significant for the reason that the audience is given the ability to experience Archie’s sudden realization that he will not be able to go back to the field and accepted the fact that he has enjoyed and satisfied his batting experience in the major leagues long enough.
In the novel, writer W.P. Kinsella depicts Archie’s transformation to be very nonchalantly abrupt, which is communicated through the eyes of the narrator:
“Then I feel compelled to look at the baseball field. In order to do that, I stand up and walk a few steps up the bleacher. What I see is Moonlight Graham loping in from right field, lithe, dark, athletic: the same handsome young man who played that one inning of baseball in 1905. But as he moves closer, his features begin to change, his step slows. He seems to become smaller. His baseball uniform fades away and is replaced by a black overcoat. His baseball cap is gone, supplanted by a thatch of white hair. As I watch, his glove miraculously turns into a black bag. The man who without a backward glance walks around the corner of the fence—a place where none of the other players will venture—is not Moonlight Graham, the baseball player of long ago, but the Doc Graham I spoke with on that moonlit night...