How Novels WorkOUP Oxford, 2008/02/14 - 368 ページ Never has contemporary fiction been more widely discussed and passionately analysed; recent years have seen a huge growth in the number of reading groups and in the interest of a non-academic readership in the discussion of how novels work. Drawing on his weekly Guardian column, 'Elements of Fiction', John Mullan examines novels mostly of the last ten years, many of which have become firm favourites with reading groups. He reveals the rich resources of novelistic technique, setting recent fiction alongside classics of the past. Nick Hornby's adoption of a female narrator is compared to Daniel Defoe's; Ian McEwan's use of weather is set against Austen's and Hardy's; Carole Shield's chapter divisions are likened to Fanny Burney's. Each section shows how some basic element of fiction is used. Some topics (like plot, dialogue, or location) will appear familiar to most novel readers; others (metanarrative, prolepsis, amplification) will open readers' eyes to new ways of understanding and appreciating the writer's craft. How Novels Work explains how the pleasures of novel reading often come from the formal ingenuity of the novelist. It is an entertaining and stimulating exploration of that ingenuity. Addressed to anyone who is interested in the close reading of fiction, it makes visible techniques and effects we are often only half-aware of as we read. It shows that literary criticism is something that all fiction enthusiasts can do. Contemporary novels discussed include: Monica Ali's Brick Lane; Martin Amis's Money; Margaret Atwood's The Blind Assassin; A.S. Byatt's Possession; Jonathan Coe's The Rotters' Club; J.M. Coetzee's Disgrace; Michael Cunningham's The Hours; Don DeLillo's Underworld; Michel Faber's The Crimson Petal and the White; Ian Fleming's From Russia with Love; Jonathan Franzen's The Corrections; Mark Haddon's The Curious Incident of the Dog in the Night-time; Patricia Highsmith's Ripley under Ground; Alan Hollinghurst's The Spell; Nick Hornby's How to Be Good; Ian McEwan's Atonement; John le Carré's The Constant Gardener; Andrea Levy's Small Island; David Mitchell's Cloud Atlas; Andrew O'Hagan's Personality; Orhan Pamuk's My Name Is Red; Ann Patchett's Bel Canto; Ruth Rendell's Adam and Eve and Pinch Me; Philip Roth's The Human Stain; Jonathan Safran Foer's Everything Is Illuminated; Carol Shields's Unless; Zadie Smith's White Teeth; Muriel Spark's Aiding and Abetting; Graham Swift's Last Orders; Donna Tartt's The Secret History; William Trevor's The Hill Bachelors; and Richard Yates's Revolutionary Road . |
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ix ページ
... give here the paperback editions that I have used, with the date of each novel's first publication. The Select Bibliography at the back of this book details the editions of other novels that I have used. Quotations from these works too ...
... give here the paperback editions that I have used, with the date of each novel's first publication. The Select Bibliography at the back of this book details the editions of other novels that I have used. Quotations from these works too ...
10 ページ
... give pleasure, but also that he or she should be welcoming or accommodating. And this was partly a matter of how to begin, how to introduce your characters, and perhaps yourself, to your readers. Trollope's own novels usually commence ...
... give pleasure, but also that he or she should be welcoming or accommodating. And this was partly a matter of how to begin, how to introduce your characters, and perhaps yourself, to your readers. Trollope's own novels usually commence ...
16 ページ
... give the novel its protagonist's name would be to encourage a sympathy that James seems to warn us off. Unsurprisingly, both novelists and their publishers care very much about titles, knowing that they are the means by which a book ...
... give the novel its protagonist's name would be to encourage a sympathy that James seems to warn us off. Unsurprisingly, both novelists and their publishers care very much about titles, knowing that they are the means by which a book ...
22 ページ
... give us breathing space' (Prologue, lines 234–5). In the story, one of these songs is supposedly read aloud to herself by the beautiful Princess Ida, who is overheard by the love-struck narrator. (He is a prince, in love with Ida, who ...
... give us breathing space' (Prologue, lines 234–5). In the story, one of these songs is supposedly read aloud to herself by the beautiful Princess Ida, who is overheard by the love-struck narrator. (He is a prince, in love with Ida, who ...
25 ページ
... gives English versions of the suitable lines from Nietzsche and Plato that decorate the entrance to her novel The Secret History. The fragment of Sophocles' Oedipus Rex at the head of Philip Roth's modern story of retribution The Human ...
... gives English versions of the suitable lines from Nietzsche and Plato that decorate the entrance to her novel The Secret History. The fragment of Sophocles' Oedipus Rex at the head of Philip Roth's modern story of retribution The Human ...
目次
1 | |
9 | |
2 Narrating | 40 |
3 People | 79 |
4 Genre | 105 |
5 Voices | 127 |
6 Structure | 155 |
7 Detail | 189 |
8 Style | 213 |
9 Devices | 251 |
10 Literariness | 284 |
11 Ending | 303 |
Notes | 321 |
Select Bibliography | 327 |
Index | 337 |
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多く使われている語句
academic acters Austen become begins Blind Assassin Byatt called century chapter character’s characters Christopher Clarissa clichés Cloud Atlas Coleman comic Constant Gardener critics Cunningham’s Dalloway daughter David David Copperfield David Lodge death Defoe’s DeLillo dialogue Dickens disgrace Eliot English epigraph example Faber father feel fiction first-person free indirect speech genre gives head Henry James Human Stain husband imagine invented Jane Jane Austen Jane Eyre Jonathan kind language letters literary lives looks lover Lucan Middlemarch Minty murder mystery narrator narrator’s Nathan Nathan Zuckerman Nazneen never Nick novel novelist opening paragraph parataxis person plot present tense prose protagonist quotation reader recalls Reta Ripley Ripley’s Romance Roth’s satirical seems sense sentence Shields’s sometimes speak speech story talk tells things thoughts tion told Tom Jones truth Victorian villain voice wants wife woman Woolf’s words writing