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Novelists on the novel
(Book)
Contributors
Allott, Miriam Farris, editor.
Published
New York : Columbia University Press, 1966.
Edition
Columbia paperback edition.
ISBN
0710046480, 9780710046482
Physical Desc
xv, 336 pages ; 22 cm
Status
Available from another library
Copies
Location | Call Number | Status |
---|---|---|
Framingham State - Main | PN 3321 .A4 1966 | On Shelf |
More Details
Published
New York : Columbia University Press, 1966.
Format
Book
Edition
Columbia paperback edition.
Language
English
ISBN
0710046480, 9780710046482
Notes
Bibliography
Includes bibliographical references and index.
Table of Contents
Part One: The nature of prose fiction
I. The novel and the marvellous: Rejecting romantic improbability / Samuel Richardson
A caution against the supernatural / Henry Fielding
Romance reformed by the novelist / Tobias Smollett
Pleasing delusions / Sarah Fielding
La belle nature / Jean-Jacques Rousseau
Combining the marvellous and the probable / Clara Reeve
Romance lacks unity of design / Thomas Holcroft
The difference between the novel and the romance / Clara Reeve
Sunt certi denique fines / Richard Cumberland, Mrs. Sarah Green
An epic in prose? / Anna Barbauld
Novel: romance: epic / Sir Walter Scott
The historical romance combines the marvellous and the probable / Sir Walter Scott, Nathaniel Hawthorne
The novelist's sense of conflict / Gustave Flaubert, Guy de Maupassant
The quality of romance / Robert Louis Stevenson
A romantic realist / Joseph Conrad
Cutting the cable / Henry James
Ghost stories / Henry James
Adjusting the exceptional and the non-exceptional / Thomas Hardy
II. The novel as a portrait of life: A new species of writing / Henry Fielding
The bounds of probability / Henry Fielding
No "sudden conversions" / Samuel Richardson
Truth to be kept in sight / Richard Cumberland
The offspring of nature / Fanny Burney
The paths of common life: Jane Austen's "Emma" / Sir Walter Scott
Accidents admissible? / Charles Dickens
Dickens defends fantasy / Charles Dickens
The art of novels is to represent nature / William Makepeace Thackeray
Realism compatible with sensationalism / Anthony Trollope
Truth lies in the "exceptional" / Feodor Dostoevsky
Scientific realism / Emile Zola
Reality only a spring-board / Gustave Flaubert
The naturalist modifies nature / Emile Zola
Realists are illusionists / Guy De Maupassant
Representative art both realistic and ideal / Robert Louis Stevenson
The novel "an artificiality distilled from the fruits of observation" / Thomas Hardy
Imitation cannot serve as a standard / Leo Tolstoy
Art "all discrimination and selection" Henry James
Imagined life clearer than reality / Joseph Conrad
Is life like this? Virginia Woolf
Realism impairs the sense of tragedy / D.H. Lawrence
Realism and stylization / Andre Gide
Truth stranger than fiction / Aldous Huxley
Not an observer, but a creator / Francois Mauriac
A discussion about categories of fiction: Henry James dismisses them, Robert Louis Stevenson remonstrates
III. The ethics of the novel: The novelist and the young person / Samuel Richardson, Jean-Jaques Rousseau, Clara Reeve, Oliver Goldsmith, Sir Walter Scott, Anthony Trollope, Charles Dickens, Henry James, Francois Mauriac
Reforming the wicked reader / Daniel Defoe
Gilding the pill / Samuel Richardson
Useful examples provided / Henry Fielding
Exemplary ambitions achieved / Tobias Smollett
No politics? / Richard Cumberland, Stendhal
The reader uninterested in the moral / Sir Walter Scott
On not impaling the butterfly / Nathaniel Hawthorne
Truth is best / William Makepeace Thackeray
The writer's responsibility / George Eliot
An argument about artistic detachment / Gustave Flaubert, George Sand, Gustave Flaubert
High moral purpose of the naturalists / Emile Zola
Foul to tell what is false: unsafe to suppress what is true / Robert Louis Stevenson
Natural truth better than didacticism / Thomas Hardy
The artist must set the question, not solve it / Anton Chekhov
Is it genuine, is it sincere? Henry James
Cherishing undying hope / Joseph Conrad
Thumbs off the scale / D.H. Lawrence
Best to be without any views / Ford Madox Ford
How to present ideas in a novel / Honore de Balzac, Ivan Turgenev, D.H. Lawrence, Andre Gide, Aldous Huxley
Poetic justice / Ivy Compton-Burnett
Moral tragedy / Andre Gide
The Christian novelist / Francois Mauriac
Tailpiece / Oscar Wilde.
Part Two: The genesis of a novel
I. The novelist's approach and equipment: Invoking assistance / Henry Fielding
In the destructive element immerse? / Gustave Flaubert, Herman Melville, George Sand, Feodor Dostoevsky
The voice of true feeling / Stendhal, Leo Tolstoy
Only one tool in the workshop / Robert Louis Stevenson
Learning the lesson of the master / Guy de Maupassant
The soul of the artist / Leo Tolstoy
The watcher at the window / Henry James
The business of the novelist / Thomas Hardy
The novelist's most precious possession / Joseph Conrad
The novelist's essential characteristic / Arnold Bennett
The novelist's raison d'etre / Francois Mauriac
II. Germination: "Hence sprung Pamela" Samuel Richardson
"I thought of Mr. Pickwick" / Charles Dickens
Mary Ann Evans in to George Eliot / George Eliot
A scarlet letter / Nathaniel Hawthorne
The beginning of Barchester / Anthony Trollope
Henry James is inoculated / Henry James
The inception of "Nostromo" / Joseph Conrad
Proust recaptures the past / Marcel Proust
What is it to be? / Virginia Woolf
No notebooks / Ivy Compton-Burnett
III. The novelist at work: effort and inspiration: Richardson in difficulties / Samuel Richardson
A carrier's horse / Richard Cumberland
Whom the devil drives / Sir Walter Scott
No planning / Stendhal
What! what! what! how! how! how! / Nathaniel Hawthorne
250 words every quarter of an hour / Anthony Trollope
Miseries and splendours of creation / Gustave Flaubert
Pain and travail of soul / Leo Tolstoy
Flesh in the ink-pot / Leo Tolstoy
Copious preliminaries / Henry James
Wrestling with the Lord / Joseph Conrad
Feathering about / Virginia Woolf
The novelist inspired / Henry Fielding, Charlotte Bronte, George Eliot, Gustave Flaubert, Henry James, Virginia Woolf, E.M. Forster.
Part Three: The craft of fiction
I. Structural problems: Unity and coherence
Epic regularity / Henry Fielding
Nothing foreign to the design / Henry Fielding
Plot uniform and narrative unbroken / Richard Cumberland
Digressions are the sunshine of reading / Laurence Sterne
No detached episodes / Anna Barbauld
Defending quirks and quiddities / Sir Walter Scott
The "man of the hill" in trouble again / Sir Walter Scott
Circulating the blood of the book through the inserted story / Charles Dickens
Striving for unity / Gustave Flaubert
Two major faults / Feodor Dostoevsky
Episodes distract attention / Anthony Trollope
The artist must suppress much and omit more / Robert Louis Stevenson
The novel all one and continuous / Henry James
Focus / Leo Tolstoy
Form is substance / Henry James
On appearing to digress / Ford Madox Ford
Mastery of perspective / Virginia Woolf
No superfluities / Andre Gide
Pattern and rhythm / E.M. Forster
Symphonic effect / Gustave Flaubert
The art of fugue / Andre Gide
The musicalization of fiction / Aldous Huxley
Plot and story
The novelist must have a story to tell / Anthony Trollope
No story at all is best / Gustave Flaubert
Writing a story for publication in weekly parts / Charles Dickens
A story should be an organism / Thomas Hardy
Story the spoiled child of art / Henry James
A story must convey a sense of inevitability / Ford Madox Ford
Oh dear yes-the novel tells a story / E.M. Forster
Doing away with plot / Mary Mitford
Plot the most insignificant part of a tale / Anthony Trollope
Conventional plot a vulgar coercion / George Eliot
Surprising properties of plot / E.M. Forster
Plot the support of a novel / Ivy Compton-Burnett
Beginnings and endings / Henry Fielding, Charles Dickens, George Eliot, Anton Chekhov, Ford Madox Ford, Andre Gide
The time-factor
Fielding wets the pace / Henry Fielding
Foreshortening: the problem always there and always formidable / Henry James
Allegiance to "time by the clock" / E.M. Forster
The presentness of the past / Marcel Proust
II. Narrative technique: Epistolary method improper / Henry Fielding
Letters much more lively and affecting / Samuel Richarsdon
Another vagary / Horace Walpole
Letters for the author, omniscient narrative for the reader / Richard Cumberland
Three ways of telling a story / Anna Barbauld
Epistolary form an antiquated affair / Anton Chekhov
Advantages of the letter-system / Thomas Hardy
Perils of first-person narrative / Anthony Trollope
The terrible fluidity of self-revelation / Henry James
The narrator's interpolations in the historical novel / George Sand
Many good ways of telling a story / George Eliot
Form as varied as content / Leo Tolstoy
A certain indirect and oblique view / Henry James, Arnold Bennett, Joseph Conrad
"Bouncing" more important than the "point of view" / E. M. Forster
Exit author? / Richard Cumberland, Sir Walter Scott, Antony Trollope, Charles Dickens, Gustave Flaubert, Guy de Maupassant, Henry James, Ford Madox Ford, E.M. Forster, Andre Gide, Aldous Huxley
III. Characterization: The dial-plate or the inner workings? / Henry Fielding, Sarah Fielding, Samuel Richardson, Sir Walter Scott
No pictures of perfection / Henry Fielding, Richard Cumberland, Jane Austen, George Sand, William Makepeace Thackeray
No portraits / Henry Fielding, Stendhal, Charlotte Bronte, George Eliot, George Sand, Charles Dickens, Gustave Flaubert, Wilkie Collins, Robert Louis Stevenson, Henry James, Ford Madox Ford, Ivy Compton-Burnett
The novelist's characters must be real to him / Anthony Trollope
The novelist haunted by his characters / Joseph Conrad
L'image en disponibilite / Henry James
"Flat" and "round" characters / E.M. Forster
Abandoning the "old stable ego" / D.H. Lawrence
All novels deal with character / Virginia Woolf
A character has to be conventionalized / Arnold Bennett
Authenticity / Andre Gide
IV. Dialogue: Strong language / Tobias Smollett
Flaubert describes his difficulties to Louise Colet / Gustave Flaubert
Relevant, natural, short / Anthony Trollope
Organic and dramatic / Henry James
Further problems / Ford Madox Ford
Stylization / Ivy Compton-Burnett
V. Background: Scott transforms Melrose / Sir Walter Scott
The setting of "Wuthering Heights" / Charlotte Bronte
Too much background / George Eliot
A new English county / Anthony Trollope
Wessex / Thomas Hardy
The scientific importance of background / Emile Zola
Map and almanack / Robert Louis Stevenson
The selection of telling detail / Anton Chekhov
Henry James follows the wrong master / Henry James
Pursuing the Guermantes' way / Marcel Proust
Background reduced to a minimum / Ivy Compton-Burnett
VI. Style: The judgment of style / Henry Fielding
Richardson's style / Anna Barbauld
The voice of true feeling in epistolary narrative / Jean-Jacques Rousseau
Jane Austen becomes self-conscious / Jane Austen
Clear and simple / Stendhal
Flaubert on the art of writing / Gustave Flaubert
A protest / George Sand
The familiar style / George Eliot
Byron a model / Wilkie Collins
How to be intelligible and harmonious / Anthony Trollope
Naturalism and the grand style / Emile Zola
Exactness / Guy de Maupassant
On not having too much style / Thomas Hardy
An elegant and pregnant texture / Robert Louis Stevenson
The craft of writing / Joseph Conrad
Fresh, usual words / Ford Madox Ford
Thought charged with emotion / Andrew Gide
Effects of the long week-end (1918-1939) / E.M. Forster.
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Citations
APA Citation, 7th Edition (style guide)
Allott, M. F. (1966). Novelists on the novel (Columbia paperback edition.). Columbia University Press.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Allott, Miriam Farris. 1966. Novelists On the Novel. Columbia University Press.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Allott, Miriam Farris. Novelists On the Novel Columbia University Press, 1966.
MLA Citation, 9th Edition (style guide)Allott, Miriam Farris. Novelists On the Novel Columbia paperback edition., Columbia University Press, 1966.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
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