The craft of the novel:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
London
Gollancz
1975
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | 256 S. |
| ISBN: | 0575019972 |
Staff View
MARC
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Record in the Search Index
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|---|---|
| adam_text | CONTENTS
One: The Crqft of Creation page 15
My experience as a teacher of Creative Writing . The prob-
lem: How does a writer decide what to write? The trick of
creation is the knack of solving problems. The problem
Proust set himself is solved in the laboratory. Henry James
and the problem of what should we do with our lives? The
sense oifreedom produced by creation. The law of diminishing
possibilities. What was wrong with the efforts of my students.
The basic trick: creating a Self-Image . Machado s Looking
Glass. Shaw s self-creation in his early novels: the slow
emergence of the Shavian hero. A work of art is a mirror in
which you see your own face. Nathanael West: lack of self-
image in Miss Lonelyhearts and Day of the Locust. Is the novel
important ?
Two: The Mind-Moulders page 31
The literary bombshell of 1740: Richardson s Pamela. Why
the Pamela craze swept Europe. Richardson taught the
human mind the art of long-distance travel. The English
become a nation of readers. Richardson repeats his triumph
with Clarissa. Cleland and Fanny Hill. Human experience
hunger . The career of Rousseau. He becomes famous by
denouncing civilisation. La Nouvelle Hiloise and its impact.
Julie releases a river of tears. Romantic ecstasy and romantic
agony are born. Goethe is disappointed in love and writes
Werther. The hero as solitary. The career of Schiller. If God
had known Schiller would write The Robbers he would never
have created the earth. A new dimension in human freedom.
Three: Decline and Fall page 49
Richardson s Sir Charles Grandison. Richardson s idealised
self-portrait. The trouble with writing about the hero s soul.
8 CONTENTS
Senancour s Obermann. Yeats and his Shakespearian fish .
The German novel: Wilhelm Meister, Jean Paul. Why
Romanticism collapsed. The French Novel. Dangerous Rela-
tions. Adolphe. The genius of Balzac. The creator is a god.
The suicide of a nymphomaniac. Flaubert writes Madame
Bovary. The arrival of Naturalism; the great decline begins.
Zola, the Goncourts, Maupassant. Does Zola describe the
whole of life ? The reasons for Maupassant s decline. The
novel was defeated by the problem of freedom. Why the
English novel remained un-decadent. Explainers and de-
scribers . The rise and fall of the Russian novel. Pushkin s
Onegin. Tolstoy and Dostoevsky: the importance of moral
Obsession. The nihilistic generation: Andreyev and Artsyba-
shev. The Soviet novel.
Four: As For Living . . . page 68
Axel s challenge. Art as a form of substitute experience. The
novelist s aim is to project an image of what he wants. The
thought-experiment . The purpose of daydreaming. De
Quincey buys laudanum for his toothache. The efFects of
opium. Mental freedom and breathing-space. The effect of
the novel: wide-angle Vision. The need for the novelist to
combine wide- and narrow-angle vision, telescope and
microscope. War and Peace. Tolstoy and Gorky meet two
dragoons. Dual-value response. Tolstoy denies human free¬
dom. Rolland s Jean-Christophe. Sigrid Undset s Kristin
Lavransdatter. The evaporation of freedom when the novel is
trapped in a mere time-sequence. Bennett s Old Wives Tale:
why it is an artistic dead-end. A thought-experiment is as
valuable as a laboratory experiment. Kierkegaard and exis-
tentialism. Saki and The Unbearable Bassington. Comus on the
African hillside: the problem of life-failure. Two-dimensional
and three-dimensional consciousness. Which is truer ? We
re-constitute 3-D consciousness like egg-powder, by adding
energy. 2-D consciousness is the downfall of the novel.
The decline of D. H. Lawrence. Summary of conclusions
so far.
CONTENTS 9
Five: The Formulafor Success page 88
Freedom is discharge of tension. How this is applied in the
novel. Meredith s Egoist. Sir Willoughby gets his come-
uppance. Jane Austen s handling of the method. Jane
Austen s conception of freedom and Sartre s. The Roads to
Freedom: why it loses impetus. Low-flyers and high-flyers.
Hofmannsthal s The Dißcult Man: totally successful projec-
tion of a self-image. Gonnell s The Chinese Room.
Six: The Varieties of Wish-Fulfilment page 102
Jeffrey Farnol achieves best-sellerdom. The Broad Highway.
A well-constructed daydream is as satisfying as a well-
constxucted symphony or opera. Farnol repeats himself.
Thurber s Walter Mitty. Gary s prisoners in The Roots of
Heaven. The power of imagination: to re-create the sense of
meaning. Maslow and his hierarchy of needs or values.
How the hierarchy reveals itself in the history of literature.
Bennett s The Card as wish-fulfüment. Bennett s obsession
with self-esteem. Bennett the super-con-man. Wells s Wheels
of Chance. Kipps and Mr Polly. Wells s decline as a novelist.
Wells s satyriasis. The secret of Promotion . Wells s Secret
Places of the Heart. Daphne du Maurier s Rebecca. Amis s
Lucky Jim and Braine s Room at the Top.
Seven: Experiments page 118
The humour of anti-climax, and the style it generates. The
new low-key approach of Lawrence and Joyce. The career
of Knut Hamsun. Hamsun creates the stylistic revolution.
His influence on James Joyce. Joyce s Stephen Hero. Joyce s
egoism. The Portrait. Ulysses and the narrow-angle lens. The
mythic method . The techniques of Ulysses. Joyce s dislike
of ideas . Why Ulysses marked the h mit of Joyce s develop-
ment. Finnegan s Wake. Is Ulysses an experimental novel? The
theme of alienation . Musil s Man Without Qualities. Dos
Passos s Manhattan Transfer. D. H. Lawrence on Dos Passos.
Hemingway as experimental novelist. The impact of reality.
His fundamental pessimism.
10 CONTENTS
Eight: Ideas page 142
A. E. Van Vogt and his violent man theory. The use of
such theories for the writer. Maupassant as a writer of ideas.
Three Maupassant stories that State an idea. The importance
of exploring the implications of a Situation. The general
equation . Ideas are the basis of all serious writing. Heming¬
way versus Aldous Huxley. The need for wider consciousness.
The partial mind . Maslow and peak experiences. L. H.
Myers and The Near and the Fax. The life-worlds —the
Gommunal Life-World and the Individual Life-World. A
scale of literary values. Dostoevsky s sinner. Camus s
Stranger. Gompleting the partial mind. Hemingway s Clean,
Well-Lighted Place. Dostoevsky s Stavrogin. Sartre s Nausea.
Presentational Immediacy. Heese s Steppenwolf. Mozart and
the Stars. Thomas Mann s Disillusionmnt. The meaningless-
ness of the near , and the un-attainableness of the far .
What is an idea? The need for the bird s eye view . Sinclair
Lewis s Main Street. J. B. Priestley s Good Companions. The
prophetic novel. Powys s Glastonbury Romance. Summary of
the main thesis of this book. How to hypnotise a chicken.
Locked consciousness. Tricks for unlocking consciousness.
The art of fiction.
Nine: Structure and Technique page 169
The artist s urge to shatter the world and rebuild it nearer
to the heart s desire . Isherwood s Prater Violet: the technique
of contrast. Contrast in Eliot s Hollow Men and in Joyce s
Ulysses. The cymbal effect . Implied cymbal effect in
novels of fantasy, The Lord qfthe Rings, etc. The writer s need
for a symbol of intensity to contrast with the triviality of
everydayness . Do American writers lack soul ? The Objec-
tive Correlative. Why Shakespeare failed in Hamlet. Heming¬
way s Across the River and Into the Trees. The problem of
structure. Henry James s The Europeans. The Ambassadors.
What is wrong with The Ambassadors. Summary: the rise and
decline of the novel, from Defoe to Joyce. Shaw criticises
Arnold Bennett for believing that novel-writing is easier
than playwriting.
CONTENTS II
Ten: Limits page 189
The problems of photographic realism . Ulysses as a treatise
on language. The philosophy of language that underlies
Finnegan s Wake. Anthony Burgess s linguistic fireworks.
Christ in Concrete: violence as ultimate self-expression. The
development of William Faulkner. The Sound and the Fury.
Sanctuary. The failure of violence. William Burroughs. Juan
Butler s The Garbageman. In a novel, every action must have
an equal and opposite reaction. The novel is a balance of
forces. The development of Samuel Beckett. The techniques
of Murphy and Watt. Godot and the plays. The meaningless
closes in.
Eleven: Fantasy and New Directions page 207
Is the novel a living organism, with a definite life-span? The
Spanish Bawd. The rise of the best-seller. The unbridgeable
gulf between serious novelists and best-sellers. The revival of
interest in fantasy: is it an escapist reaction? Maslow s
hierarchy of values and the evolution of Society. Novels about
self-esteem. Tolkien and The Lord of the Rings. Mervyn
Peake s Titus Trilogy. David Lindsay and A Vqyage to Arc-
turus. The Haunted Woman and Devil s Tor. Lindsay s struggles
to find an objective correlative . The Witch. Lindsay s
significance.
Twelve: Conclusions page 221
Summary of central ideas of this book. The need for a
mirror . General ideas: the moment of intensity . Personal
and impersonal values. The robot . How the robot can
cause nervous breakdown. The intentionality of perception.
Clarissa is more intentional than Robinson Crusoe. The paradox
of romanticism: visions of human freedom allied to pessimism.
The cop-out . Simenon s Hattet s Ghosts. The importance of
art in human evolution. How Romanticism exhausted itself:
the road to intensity leads through hysteria. My own
novels: the writing of Ritual in the Bark. Failure of the
mythic method . The ideas of Ritual. The writing of The Out¬
sider. The alienation effect . Brecht and the drama. Realistic
12 CONTENTS
drama and Brechtian drama. The solution for the novel?
Wells s amphibians. The novel and human evolution.
Bibliography page 243
Index page 247
1
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| spelling | Wilson, Colin Verfasser aut The craft of the novel Colin Wilson London Gollancz 1975 256 S. txt rdacontent n rdamedia nc rdacarrier Roman - Histoire et critique Roman - Histoire et critique ram Roman - Technique Roman - Technique ram Fiction History and criticism Fiction Technique Romantheorie (DE-588)4076830-2 gnd rswk-swf Romantheorie (DE-588)4076830-2 s DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=001930574&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | The craft of the novel |
| title_auth | The craft of the novel |
| title_exact_search | The craft of the novel |
| title_full | The craft of the novel Colin Wilson |
| title_fullStr | The craft of the novel Colin Wilson |
| title_full_unstemmed | The craft of the novel Colin Wilson |
| title_short | The craft of the novel |
| title_sort | the craft of the novel |
| topic | Roman - Histoire et critique Roman - Histoire et critique ram Roman - Technique Roman - Technique ram Fiction History and criticism Fiction Technique Romantheorie (DE-588)4076830-2 gnd |
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