- Paperback: 480 pages
- Publisher: Mandarin; New edition edition (7 May 1992)
- Language English
- ISBN-10: 0749310448
- ISBN-13: 978-0749310448
- Product Dimensions: 17.5 x 10.2 x 3.6 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,928,259 in Books (See Top 100 in Books)
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Product Description
A novel about a novel and all the people associated with it. From the author to the publisher and critic, this thriller explores the world of publishing. James Michener is also the author of "Space", "Centennial" and "Tales of the South Pacific".
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Mass Market Paperback
It is very likely that, within the prolific progress of his production as an historical novelist, Mr. Michener received hoards of letters from writers who had spent a few years bruising foreheads on publishers' warded doors, then wised-up and tip-toed around to the alley looking for an in through an established author.
THE NOVEL is a response to this and much more ("this" being the situation of budding authors wanting to know how a manuscript gets published after it has been finished with the flair of an expert, the final period identified by typing "-30-" instead of "The End"). A telling book about the gestalt of publishing, focusing on the midwife process of book-length-fiction, THE NOVEL releases the secrets of its journey from conception to The New York Times Best Seller List
Intriguingly, THE NOVEL is significantly shorter than Michener's other novels, and it's written in a somewhat experimental storytelling technique. In Michener's other novels he uses honorable, tried-and-true techniques, those of a master novelist (actually he glorifies these established techniques with his brilliantly polished craft). Yet, in THE NOVEL, an anomaly in his fiction collection, Michener experiments outside-the-box of age-old, proven techniques, bursting forth with an offering which I could rave through fogged Rose Tints.
In this toe-in-the-water literary experiment, Michener separates his narrative into four illuminating Parts, each written from the unique, First-Person-Narrative points-of-view of The Writer, then of The Editor, then of The Critic, and then of The Reader. As far as I know, in his other works of fiction Michener plots and composes from a by-the-book-of-narration point-of-view, i.e., pick only ONE and do it precisely and perfectly:
Either use Omniscient Observer; OR First Person Narrative; or Third Person Observer, etc.
Valid reasons have supported the rigid rule in narrative craft into a long life; the rule says, "Pick your Person (poison?), or Narrative Point-of-View, and STICK with it. Then tell the story from A to Z."
Switching Narrative style has been a firm "No No"; once The Novel had established Lukas Yoder in First Person, the whole book would have been written from that point-of-view, i.e., "I am Lukas Yoder and I got up this morning at 5 am feeling ... Here's how I see my editor, critic, and reader ..."
Too many experimental works of fiction, as I believe Michener exposes well in THE NOVEL, gleefully toss out all the rules and write a piece-of-work so incomprehensible, so unidentifiable, so "out there" as to be impossible to READ, let alone enjoy or, heaven forbid, escape into and live vicariously with well drawn characters who follow the rules of story-living.
Michener breaks the narrative rules just enough in THE NOVEL to have produced a refreshingly delightful, yet poignant and powerful literary work. Michener's other novels have evidenced him as a great traditional novelist who's established a noteworthy niche in the historical genre. In THE NOVEL, he's delivered a literary presentation equal to the term (which, unfortunately, often brands any work of fiction with the stigma of being boring or depressing). Yet, THE NOVEL is far from dull or depleting; it provides a rich reading experience, alive with Pennsylvania Dutch ambiance bridged into the glitzy world of NYC publishing.
Each of the Four parts of THE NOVEL work so well that the dramatic-display-of-differences among each of the four is clarified through a glass brightly; the nuances of each part are painted in oil-color, brilliant-contrast as they neatly emerge among antithetical ambiances of Writer, Editor, Critic, and Reader. When they're read sequentially within the bindings of this novel, these four unique gestalts interweave warmly, coalescing into a portrait of the dynamic dichotomy of the world of, in, and around the living force of the Novel.
Thank you Mr. Michener.
I have the greatest admiration for one who has first mastered craft, then toyed with It tastefully, teasing the reader away from immediate reality, then retaining the best traditional glue to hold a reader enthralled within a literarily linguistic work of fiction.
In an E-mail sent 9/4/05 to Tamar Myers (author of exquisite PenDutch mystery series featuring Magdalena Yoder) I wrote:
>> Don't know if you've read JA Michener's THE NOVEL, but I recommend it very, very highly. In a sense it might be one of the most important and most deeply entertaining novel ever written. It doesn't say as much as ATLAS SHRUGGED (or maybe it does), but it has something special I haven't quite put into words yet. Strangely, I've not been able to read another of his novels; they're just too detailed for me, but THE NOVEL is absolutely just right. <<
I plan to read more of Michener's novels, as my reading maturity and need for history ripen, so that the amount of incredibly valuable detail in Michener's novels becomes exactly what I'm craving and will become addicted to.
When you finish Michner's THE NOVEL, which seethes with the best of PenDutch ambiance, if you're like me, you will likely want to spend more time there. Luckily, you can take care of the craving by ordering a few of Tamar Myers's novels.
(Feel free to check my Listmania on the US Amazon site for short blurbs on each book in that series, and please check my reviews noted in that list, for in-depth analyses of the Magda Mystique. Note that in that Listmania a bonus is included of Barbara Workinger's Amish series, another winner set in Lancaster County, see my reviews for details.)
In any of Tamar's Magdalena Yoder series you'll be able to wallow in that richly homey feel of the Pennsylvania Dutch lifestyle. Not only that, you'll be reading one of the richest minds able to turn cultural sets into hilarious dichotomies exposing the conflicts between comfort/control and luxury/overwhelm, and blasting stereotypes into deteriorating ozone, never to return.
Linda G. Shelnutt
THE NOVEL is a response to this and much more ("this" being the situation of budding authors wanting to know how a manuscript gets published after it has been finished with the flair of an expert, the final period identified by typing "-30-" instead of "The End"). A telling book about the gestalt of publishing, focusing on the midwife process of book-length-fiction, THE NOVEL releases the secrets of its journey from conception to The New York Times Best Seller List
Intriguingly, THE NOVEL is significantly shorter than Michener's other novels, and it's written in a somewhat experimental storytelling technique. In Michener's other novels he uses honorable, tried-and-true techniques, those of a master novelist (actually he glorifies these established techniques with his brilliantly polished craft). Yet, in THE NOVEL, an anomaly in his fiction collection, Michener experiments outside-the-box of age-old, proven techniques, bursting forth with an offering which I could rave through fogged Rose Tints.
In this toe-in-the-water literary experiment, Michener separates his narrative into four illuminating Parts, each written from the unique, First-Person-Narrative points-of-view of The Writer, then of The Editor, then of The Critic, and then of The Reader. As far as I know, in his other works of fiction Michener plots and composes from a by-the-book-of-narration point-of-view, i.e., pick only ONE and do it precisely and perfectly:
Either use Omniscient Observer; OR First Person Narrative; or Third Person Observer, etc.
Valid reasons have supported the rigid rule in narrative craft into a long life; the rule says, "Pick your Person (poison?), or Narrative Point-of-View, and STICK with it. Then tell the story from A to Z."
Switching Narrative style has been a firm "No No"; once The Novel had established Lukas Yoder in First Person, the whole book would have been written from that point-of-view, i.e., "I am Lukas Yoder and I got up this morning at 5 am feeling ... Here's how I see my editor, critic, and reader ..."
Too many experimental works of fiction, as I believe Michener exposes well in THE NOVEL, gleefully toss out all the rules and write a piece-of-work so incomprehensible, so unidentifiable, so "out there" as to be impossible to READ, let alone enjoy or, heaven forbid, escape into and live vicariously with well drawn characters who follow the rules of story-living.
Michener breaks the narrative rules just enough in THE NOVEL to have produced a refreshingly delightful, yet poignant and powerful literary work. Michener's other novels have evidenced him as a great traditional novelist who's established a noteworthy niche in the historical genre. In THE NOVEL, he's delivered a literary presentation equal to the term (which, unfortunately, often brands any work of fiction with the stigma of being boring or depressing). Yet, THE NOVEL is far from dull or depleting; it provides a rich reading experience, alive with Pennsylvania Dutch ambiance bridged into the glitzy world of NYC publishing.
Each of the Four parts of THE NOVEL work so well that the dramatic-display-of-differences among each of the four is clarified through a glass brightly; the nuances of each part are painted in oil-color, brilliant-contrast as they neatly emerge among antithetical ambiances of Writer, Editor, Critic, and Reader. When they're read sequentially within the bindings of this novel, these four unique gestalts interweave warmly, coalescing into a portrait of the dynamic dichotomy of the world of, in, and around the living force of the Novel.
Thank you Mr. Michener.
I have the greatest admiration for one who has first mastered craft, then toyed with It tastefully, teasing the reader away from immediate reality, then retaining the best traditional glue to hold a reader enthralled within a literarily linguistic work of fiction.
In an E-mail sent 9/4/05 to Tamar Myers (author of exquisite PenDutch mystery series featuring Magdalena Yoder) I wrote:
>> Don't know if you've read JA Michener's THE NOVEL, but I recommend it very, very highly. In a sense it might be one of the most important and most deeply entertaining novel ever written. It doesn't say as much as ATLAS SHRUGGED (or maybe it does), but it has something special I haven't quite put into words yet. Strangely, I've not been able to read another of his novels; they're just too detailed for me, but THE NOVEL is absolutely just right. <<
I plan to read more of Michener's novels, as my reading maturity and need for history ripen, so that the amount of incredibly valuable detail in Michener's novels becomes exactly what I'm craving and will become addicted to.
When you finish Michner's THE NOVEL, which seethes with the best of PenDutch ambiance, if you're like me, you will likely want to spend more time there. Luckily, you can take care of the craving by ordering a few of Tamar Myers's novels.
(Feel free to check my Listmania on the US Amazon site for short blurbs on each book in that series, and please check my reviews noted in that list, for in-depth analyses of the Magda Mystique. Note that in that Listmania a bonus is included of Barbara Workinger's Amish series, another winner set in Lancaster County, see my reviews for details.)
In any of Tamar's Magdalena Yoder series you'll be able to wallow in that richly homey feel of the Pennsylvania Dutch lifestyle. Not only that, you'll be reading one of the richest minds able to turn cultural sets into hilarious dichotomies exposing the conflicts between comfort/control and luxury/overwhelm, and blasting stereotypes into deteriorating ozone, never to return.
Linda G. Shelnutt
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
27 reviews
18 of 19 people found the following review helpful
For those smaller Michener appetites
30 Jun 2004
Format:Mass Market Paperback
"The Novel" is one of Michener's last works, and it must also be one of his shortest. Far less ambitious than most of his signature historical novels, it tells a story closer to home for him - both literally and figuratively. It centers on the two worlds he probably knew best: the Pennsylvania Dutch Country and the publishing industry.
The subject at hand is, ostensibly, an aging novelist and questions about the likely success of his anticipated new book. But Michener really just uses the story as a backdrop for four autobiographical sketches of the author and three people who figure in his life and career. Most of the story is not as suspenseful as some of the review quotes would have you believe, but the stories of the four characters and how they found themselves in their current situations are immediately engaging, tension or no tension. If nothing else, I definitely wanted to find out how they ended up.
Along the way, Michener throws in what I'm sure are several knowing jokes about the literary world in all its snobbery, notably a lengthy battle between two characters over the merits of Longfellow and a wonderfully awful "experimental" novel which the critics, predictably enough, love. If Michener himself weren't so highly regarded throughout his career, I would suspect him of intending many of the dialogue exchanges as digs at his critics. As it is, perhaps he meant comments like "there are novels critics like, and novels readers love" as a more generalzied swipe at the establishment he was so familiar with. The good news for us, of course, is that Michener was both. This is another great sample of his talent.
14 of 15 people found the following review helpful
A novel novel about a novel
12 Jan 2007
Format:Mass Market Paperback
After having seen James Michener's thick books with single-word titles in my local library for years, I thought it was about time that I acquainted myself with this author. I'm not sure why I picked this book among the dozen or so that were on the shelf, and in hindsight I'm sure it wasn't his best work. Frankly, it was a rather strange book in many respects. Although I'm not altogether disappointed in the book, I doubt it is highly representative of Michener's work in general. This book struck me as an anomaly, even though I haven't read anything else by him to compare it against. Frankly, if all his books read this way, I doubt seriously he would have garnered much popular appeal.
In "The Novel," Michener gives us a fictitious novelist by the name of Marcus Yoder who is in the process of publishing his eighth and final novel after honing his craft over the better part of his lifetime. Yoder recounts in first person narrative format his slow and often uncertain rise from obscurity to worldwide fame writing novels about his own people, the Pennsylvania Dutch. Parts 2, 3, and 4 of the book provide a similar perspective of Yoder's work and career, but as told in their own words by his editor, a critic, and one of his readers, respectively. Michener also links the four main characters to one another through personal relationships, not just Yoder's novels. It all makes for an interesting read, but certainly nothing I could characterize as "riveting."
I don't know if Michener's over-arching purpose was to provide aspiring writers with an inside look at the publishing industry, but that's certainly part of what is imparted here. But I also got the strong sense that the main character in the book - Yoder - was modeled somewhat after Michener himself: an unpretentious fellow who is more concerned with giving his money away than in making more, and who writes because that is "what he does" rather than as a purely utilitarian way to put food on the table. Thus, I suspect that if someone wants to know about Michener the man, not Michener the novelist, this would be the appropriate book - short of a biography.
I suppose maybe I was expecting a book more along the lines of an Alex Haley novel like "Hotel," but Michener gives us something here that moves much slower, without only sparing amounts of drama and action. Nothing wrong with that, but just not what I was expecting. I don't think that it is a stretch to imagine that Michener has given us his own thoughts in this book about what a novel should be. I imagined not Marcus Yoder or the other characters in this book imparting their lifetime of wisdom about publishing, but Michener himself. Michener clearly gives us his imagination in this book, but I think that he has given us at least an equal measure of his own thoughts. The result was an education in the publishing industry without the drudgery or condescending voice of a tutorial.
Another thing worth mentioning: Michener was 84 years old when he wrote this book and it shows. Not in the way you might expect, however. He displays a razor sharp mind as well as a keen observation of people in general and the publishing industry in particular - there's simply no hint here of a man waning in his intellectual prowess. Instead, where I saw his years betraying themselves was in the dialog he gave his characters. The only ones that rang true were the 60-something Yoder and his wife, along with the matriarchal "Reader" we're given in section 4 of this book. All the other characters were 20-, 30-, and 40-somethings who talked like they'd stepped out of some time warp when FDR was in the White House. It was quite comical, really. I imagined college kids and campuses as they were when Rudy Vallee was crooning - not Madonna.
Without question, the book bogs down in section 3 where we're given "the critic's" view of the world in general and Yoder in particular. This is the part of the book where Michener's intellect came through most tellingly - he wouldn't have been able to create a credible character without a grasp of the world as viewed through the rarified air of critics and their circle of intellectual elites. But it was also the part of the book that tried too hard to impress us with Michener's cleverness and mastery of world literature. It was also in this section, as well as section 4, that Michener gave us numerous glimpses of his own rather well-known liberal political leanings based on the way he crafted certain characters and cast them not as snobs but as the truly enlightened.
In the end, the characters in the story I found most worthy of our respect and emulation were Yoder and his wife. Simple people, telling simple stories, that simple people can enjoy. I was left wondering whether Michener identified more with Yoder or the critic. I've concluded that he was basically a Yoder, but wanted to show us in this book that he has the mental horsepower of the critic and brilliant academic.
Personally, when it comes to books, I'd much rather read the Yoders of the world - little critical acclaim but fun to read - than the snobbish "critically acclaimed" stuff. This book was probably somewhere in between those two extremes - surely not Michener at his best, but Michener trying to make a statement. As such, it isn't for everyone. I'm a better person for having read it, but had this been the first book he authored, there was little here that would have kept me coming back for more.
In "The Novel," Michener gives us a fictitious novelist by the name of Marcus Yoder who is in the process of publishing his eighth and final novel after honing his craft over the better part of his lifetime. Yoder recounts in first person narrative format his slow and often uncertain rise from obscurity to worldwide fame writing novels about his own people, the Pennsylvania Dutch. Parts 2, 3, and 4 of the book provide a similar perspective of Yoder's work and career, but as told in their own words by his editor, a critic, and one of his readers, respectively. Michener also links the four main characters to one another through personal relationships, not just Yoder's novels. It all makes for an interesting read, but certainly nothing I could characterize as "riveting."
I don't know if Michener's over-arching purpose was to provide aspiring writers with an inside look at the publishing industry, but that's certainly part of what is imparted here. But I also got the strong sense that the main character in the book - Yoder - was modeled somewhat after Michener himself: an unpretentious fellow who is more concerned with giving his money away than in making more, and who writes because that is "what he does" rather than as a purely utilitarian way to put food on the table. Thus, I suspect that if someone wants to know about Michener the man, not Michener the novelist, this would be the appropriate book - short of a biography.
I suppose maybe I was expecting a book more along the lines of an Alex Haley novel like "Hotel," but Michener gives us something here that moves much slower, without only sparing amounts of drama and action. Nothing wrong with that, but just not what I was expecting. I don't think that it is a stretch to imagine that Michener has given us his own thoughts in this book about what a novel should be. I imagined not Marcus Yoder or the other characters in this book imparting their lifetime of wisdom about publishing, but Michener himself. Michener clearly gives us his imagination in this book, but I think that he has given us at least an equal measure of his own thoughts. The result was an education in the publishing industry without the drudgery or condescending voice of a tutorial.
Another thing worth mentioning: Michener was 84 years old when he wrote this book and it shows. Not in the way you might expect, however. He displays a razor sharp mind as well as a keen observation of people in general and the publishing industry in particular - there's simply no hint here of a man waning in his intellectual prowess. Instead, where I saw his years betraying themselves was in the dialog he gave his characters. The only ones that rang true were the 60-something Yoder and his wife, along with the matriarchal "Reader" we're given in section 4 of this book. All the other characters were 20-, 30-, and 40-somethings who talked like they'd stepped out of some time warp when FDR was in the White House. It was quite comical, really. I imagined college kids and campuses as they were when Rudy Vallee was crooning - not Madonna.
Without question, the book bogs down in section 3 where we're given "the critic's" view of the world in general and Yoder in particular. This is the part of the book where Michener's intellect came through most tellingly - he wouldn't have been able to create a credible character without a grasp of the world as viewed through the rarified air of critics and their circle of intellectual elites. But it was also the part of the book that tried too hard to impress us with Michener's cleverness and mastery of world literature. It was also in this section, as well as section 4, that Michener gave us numerous glimpses of his own rather well-known liberal political leanings based on the way he crafted certain characters and cast them not as snobs but as the truly enlightened.
In the end, the characters in the story I found most worthy of our respect and emulation were Yoder and his wife. Simple people, telling simple stories, that simple people can enjoy. I was left wondering whether Michener identified more with Yoder or the critic. I've concluded that he was basically a Yoder, but wanted to show us in this book that he has the mental horsepower of the critic and brilliant academic.
Personally, when it comes to books, I'd much rather read the Yoders of the world - little critical acclaim but fun to read - than the snobbish "critically acclaimed" stuff. This book was probably somewhere in between those two extremes - surely not Michener at his best, but Michener trying to make a statement. As such, it isn't for everyone. I'm a better person for having read it, but had this been the first book he authored, there was little here that would have kept me coming back for more.
11 of 12 people found the following review helpful
Wonderful reading!
25 Mar 2006
Format:Mass Market Paperback
The publishing world as it was a few short years ago appears at center stage in this book, not - as its title might indicate - the creative process that results in a work of fiction. Kinetic Press, a fictitious New York publishing house, can easily be considered the book's main character.
Lukas Yoder, whose voice carries the first of four segments (there are no chapter divisions), has finally produced a best seller after dismal numbers for his first four books have nearly caused Kinetic to refuse him further publication. His editor's insistence that if Yoder goes, so does she, is all that's given him the chance to see Book #5 in print. But that book's a runaway. Now Yoder is finishing the manuscript of Book #6, which he declares must be his last. He's past 60, and Emma - the beloved wife who supported him, both financially and emotionally, though all the years when his writing went nowhere - welcomes this announcement. She can't stand another "seige," as she puts it.
THE NOVEL's second segment belongs to Yvonne Marmelle, Yoder's editor. Born to a "genteel poor" Jewish family tied to New York City's garment district, she enters the publishing industry out of genuine love for books and works her way from beginning go-fer to senior editor with Lukas Yoder's first novel as her debut assignment.
Karl Strieber, professor at the local college that graduated Yoder, aspires to become a respected critic. Like so many other literary scholars, he also hungers to publish his own novel. In the book's third segment, Strieber's voice carries the reader through his experiences and entwines his life with the lives of his neighbor Lukas Yoder and their shared editor, Yvonne Marmelle.
The book's fourth and final segment takes on the voice of Jane Garland, a wealthy widow for whom good books are one of life's passions. She already loves local author Yoder's novels, and meets critic Strieber when her brilliant grandson becomes Strieber's student. When young Timothy also is published by Kinetic, with Yvonne Marmelle as his editor, Mrs. Garland and Ms. Marmelle strike up a friendship that's tested by tragedy as THE NOVEL reaches its unexpectedly dramatic climax.
Although much of this book consists of character study, I turned its pages with consistent pleasure. It's rich and insightful, and often wickedly funny, too. I was impressed that Michener spoke as a prophet for his profession, when he admitted that an author writing in the 1990s - just before the electronic publishing industry, driven by popular use of the Internet, took off - couldn't begin to guess how books would be published in the next century. My only quibble is one that has nothing to do with Michener. Whoever wrote the promotional copy for THE NOVEL spoke of a mysterious threat, and promised that Jane Garland would hold the key to solving this mystery. Not quite an accurate description of the plot! In fact, rather a misleading one. But that's not the author's doing, and THE NOVEL is wonderful reading.
Lukas Yoder, whose voice carries the first of four segments (there are no chapter divisions), has finally produced a best seller after dismal numbers for his first four books have nearly caused Kinetic to refuse him further publication. His editor's insistence that if Yoder goes, so does she, is all that's given him the chance to see Book #5 in print. But that book's a runaway. Now Yoder is finishing the manuscript of Book #6, which he declares must be his last. He's past 60, and Emma - the beloved wife who supported him, both financially and emotionally, though all the years when his writing went nowhere - welcomes this announcement. She can't stand another "seige," as she puts it.
THE NOVEL's second segment belongs to Yvonne Marmelle, Yoder's editor. Born to a "genteel poor" Jewish family tied to New York City's garment district, she enters the publishing industry out of genuine love for books and works her way from beginning go-fer to senior editor with Lukas Yoder's first novel as her debut assignment.
Karl Strieber, professor at the local college that graduated Yoder, aspires to become a respected critic. Like so many other literary scholars, he also hungers to publish his own novel. In the book's third segment, Strieber's voice carries the reader through his experiences and entwines his life with the lives of his neighbor Lukas Yoder and their shared editor, Yvonne Marmelle.
The book's fourth and final segment takes on the voice of Jane Garland, a wealthy widow for whom good books are one of life's passions. She already loves local author Yoder's novels, and meets critic Strieber when her brilliant grandson becomes Strieber's student. When young Timothy also is published by Kinetic, with Yvonne Marmelle as his editor, Mrs. Garland and Ms. Marmelle strike up a friendship that's tested by tragedy as THE NOVEL reaches its unexpectedly dramatic climax.
Although much of this book consists of character study, I turned its pages with consistent pleasure. It's rich and insightful, and often wickedly funny, too. I was impressed that Michener spoke as a prophet for his profession, when he admitted that an author writing in the 1990s - just before the electronic publishing industry, driven by popular use of the Internet, took off - couldn't begin to guess how books would be published in the next century. My only quibble is one that has nothing to do with Michener. Whoever wrote the promotional copy for THE NOVEL spoke of a mysterious threat, and promised that Jane Garland would hold the key to solving this mystery. Not quite an accurate description of the plot! In fact, rather a misleading one. But that's not the author's doing, and THE NOVEL is wonderful reading.
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