How Novels WorkOUP Oxford, 2006/10/12 - 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 offiction 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'sThe 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 Eveand PinchMe; 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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178 ページ
... London . Briony parts from the couple at the tube station , having promised that she will write to her parents and ... London 1999 The first - time reader is likely to be puzzled for a moment . But then the place and date are repeated as ...
... London . Briony parts from the couple at the tube station , having promised that she will write to her parents and ... London 1999 The first - time reader is likely to be puzzled for a moment . But then the place and date are repeated as ...
196 ページ
... London is her forte , though she is also drawn to East Anglia ( she has a rural retreat in Suffolk ) and has wandered as far as Alaska ( No Night Is Too Long , 1994 ) . London is best for her . It allows strange , frighteningly ...
... London is her forte , though she is also drawn to East Anglia ( she has a rural retreat in Suffolk ) and has wandered as far as Alaska ( No Night Is Too Long , 1994 ) . London is best for her . It allows strange , frighteningly ...
197 ページ
... London suburb , some unobserved corner not far away . A sceptic would say that loca- tion is what anchors otherwise implausible events in a probable world . Oddly , Rendell attaches herself to traditional literary topography by mixing ...
... London suburb , some unobserved corner not far away . A sceptic would say that loca- tion is what anchors otherwise implausible events in a probable world . Oddly , Rendell attaches herself to traditional literary topography by mixing ...
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academic acters become begins Blind Assassin Brontë Byatt called century chapter character's characters Christopher Clarissa cliché Cloud Atlas comic Constant Gardener critics Dalloway daughter David David Copperfield David Lodge death Defoe's DeLillo dialogue Dickens disgrace Eliot English epigraph example father feel fiction first-person free indirect speech genre gives head Henry James Human Stain husband imagine invented 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 Oxford World's Classics Pamuk's paragraph parataxis Penguin person plot present tense prose protagonist quotation reader recalls Reta Ripley Ripley's Ripley's Game Romance satirical seems sense sentence sometimes speak speech story talk tells things thoughts tion told Tom Jones truth Victorian villain voice wants wife woman Woolf's words writing