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29 of 31 people found the following review helpful
4.0 out of 5 stars A passage to understanding the novel,
By A Customer
This review is from: Aspects of the Novel (Penguin Modern Classics) (Paperback)After dazzling me with his wonderful novels, I read this critical work by Forster and it gave me a much clearer idea of some of the notions behind his own methods of writing as well as those of other twentieth-century novelists. He explains the need to create an aesthetic view of the universe when writing a novel, as logic and reality are not as important within literature as stylistic effect. He demonstrates this concept most clearly in A Passage to India where truth is so distorted that everyday objects are miraculously deified and Eastern mysticism is often undermined. He further illustrates the role of truth in fiction, whether through believable or unbelievable characterisation, or through use of artistic or journalistic language.
13 of 14 people found the following review helpful
5.0 out of 5 stars Forster on how novels work,
This review is from: Aspects of the Novel (Twentieth Century Classics) (Paperback)This book is based on lectures Forster delivered in 1927, but it still felt (to me) very relevant and useful today, as well as being often amusing and thought-provoking. His approach avoids the standard `history and development' of the novel, concentrating instead on how novels work practically.
Some of the key concepts are ones he was (I think) the first to articulate. He formulates the distinction between the `story' (the sequence of events, where we ask `what will happen next?') and the `plot' (the events linked by causality, where we ask `why?'). He disputes with Aristotle (emotion isn't only in action, but in our internal secret lives, to which the novelist has access). He demonstrates the difference between flat characters (unchanging and `constructed round a single idea' like Mrs Macawber's loyalty to her husband) and round ones (`capable of surprising in a convincing way'). He looks at how characters are different from real people (they spend most time loving and desiring rather than eating and sleeping!). How points of view (omniscient, free indirect) can be mixed and matched. How novelists persuade us to accept the fantastic (whether in terms of coincidences or angels). How patterns work (the structuring of the plot and of symbols). And what the future of the novel might be (when individuals, through social and personal change, start to look at themselves in a new way, novels, he claims, will find new ways of representing things).
The style is witty and full of nice lines. `[The pseudo-scholar] loves mentioning genius, because the sound of the word exempts him from discovering its meaning.' `Speculations... always have a large air about them, they are a convenient way of being helpful or impressive.' `Love, like death, is congenial to a novelist because it ends a book conveniently.'
Examples range from the earliest of novels (Richardson, Defoe) to the (then) latest (Woolf, Lawrence) and across an international field: Tolstoy and Gide as well as Sterne, Dickens and Wells. Arnold Bennett said of the book, `I have never met this kind of perspicacity in literary criticism before'. I know what he means - I wish I'd read it years ago...
3 of 3 people found the following review helpful
4.0 out of 5 stars An Easygoing Charm and Chattiness,
Forster makes no apologies for his narrow outlook. Although 'English poetry fears no one', Forster feels the English novel trails behind that of its continental peers, especially the great Russians, Tolstoy and Dostoevsky. But such a reductive base can still support the scaffolding of Forster's ahistorical theories, and thus he goes on to unravel the timeless ideas of story, plot, people, fantasy, prophecy, point of view, rhythm and pattern. The distinction between flat and round characters may seem simple, but it is valid still, as the contemporary novel continues to be hobbled by problems of characterisation. Is this an insolvable problem, the predominance of depthless characters in modern fiction?
Critically, though, there are flaws, and Forster's narrowness is one. Forster refuses to explore the Modernist titans of the 1920s in any great depth, and so the majority of his examples predate this revolutionary movement. James Joyce's Ulysses gains only a passing and begrudging respect, while Virginia Woolf, D.H. Lawrence and H.G. Wells are barely mentioned. So when Forster rallies against the novel's subservience to chronological Time, this cursory glance at the modernists seems a weakness, as they had already undermined the notion of textual linearity. An intriguing question then arises: did Forster fear, or simply dislike, the work of his contemporaries? It seems a little of both.
But that is a small failing, and one that doesn't detract from the work's overall success. As far as readable literary criticism goes, this is an essential and thoughtful exposition on the novel's compositional processes. Nevertheless, Forster made no claims to academic rigour, believing us to learn far more by simply enjoying a book rather than pedantically studying it. And so it's in the mixed garb of the practitioner-critic that Forster performs his most important task: to show the worth and enjoyment of reading.
2 of 2 people found the following review helpful
4.0 out of 5 stars Personal Vision of the Genre,
A quarter of a century after the novel was recognised as literature (before Henry James' "The Art of Fiction" only poetry and drama deserved the name) and in the peak period of the modernism (this book was written exactly between the publications of "Ulysses" and "Finnegans Wake") Forster presented his personal view of fiction in a quiet and unassuming but clear and rational way. The resulting book is fairly unrevolutionary for the period of turmoil and change but it has stood the test of time at least as well as the modern experiments.
"Aspects of the Novel" is one of the books which keep the readers repeating to themselves: "But I know this!" Yes, you do. But it was E. M. Forster who said it first.
1 of 1 people found the following review helpful
5.0 out of 5 stars Compulsory and compulsive reading,
Forster is unpompous, straightforward, personal and writes (or, more properly, speaks) to all - it's not a 'critics' or academics' book - it really is for all who are simply interested in the genre as a whole. Divided into comnon-sensical sections (people, story, plot, patterns etc.), Forster uses a large range of examples and extracts to make his opinions and arguments come to life.
This book does explain ideas the reader is likely to know - what is a flat character as opposed to a rounded character, for example - but in a way that clarifies those ideas, and makes them seem new, shiny and interesting.
From such a master of the genre, this was always going to be a great, influential book; it was just a surprise what an enjoyable one it was too.
5.0 out of 5 stars Great,
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5.0 out of 5 stars Perfect item,
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4.0 out of 5 stars Brilliant, bitchy but not always the best,
4.0 out of 5 stars Brilliantly pseudo-academic,
These series of lectures were not an investigation into the history of the novel, nor a prescription of how to write good prose, but an attempt to describe the novel as an art form. Starting from the rather open definition of the novel as "a fiction in prose of a certain extent", Forster tackles a different component each lecture. The story, that satisfies our thirst to find out what happens next, is covered distinctly from the plot, which is the embodiment of our curiosity as to why things happen. He covers a novel's characters, explaining how they can be 'flat' or 'round', and how they differ from real human beings. The realm of 'fantasy', the author's rights in his own universe, are considered, as are matters of pattern, rhythm and viewpoint, with one particularly interesting heading of 'prophecy'.
In terms of whether the book is still relevant, Forster ended his lecture series with some conjecture on what the future may hold for the novel form, whether television would eventually make it even disappear altogether (thank goodness for Riepl's Law). His conjecture that whilst history and society move on, art remains static, is extremely interesting in light of the fact that these lectures were being given at the height of the modernist period, and pertinent works are only lightly touched upon. Furthermore, whilst he provides plenty of written examples, there are of course many references to classic works, which it probably helps to have read, but also references to authors who have been buried by posterity or are no longer so accessible.
On the whole, however, Aspects of the Novel remains fundamentally readable today. It is not a high-brow scholarly affair; rather a well-thought out observational piece, taking a broad look at that vast field of literature we call the 'novel'. Forster makes some extremely astute remarks, and his witty and conversational style bring these across in an easy and comfortable way, that makes you feel his observations are frankly obvious. He does not encompass the full gamut of literary inquiry, but instead picks and chooses to highlight his points and support his argument that there are no fast and steady rules for what defines 'the novel'. This is probably required reading for students of English literature, but it's easy accessibility and thought-provoking titbits should appeal to just about all keen readers with a fascination for the novel form.
5.0 out of 5 stars Intense human qualities,
The novel, humanity
E. M. Forster defines a novel as simply as `a fiction in prose of a certain extent'. But, `the intensely, stiflingly human quality is not to be avoided. If humanity is exorcized, little is left but a bunch of words.'
Story, values (actors)
A fundamental aspect of a novel without which it could not exist is a `story', a narrative of events arranged in their time sequence. A story has only one merit: that of making the audience want to know what happens next (suspense).
A story should also have values, like actors, to whom it did happen. People in a novel can be completely understood by the reader, if the novelist wishes it. One caveat however: his people must be convincing. Moreover, a writer can use different kind of characters: flat ones, like types, constructed around a simple idea, or round ones (complex).
Another important issue in a story is the point of view from which the story is told.
A plot is a narrative of events with the emphasis falling on causality. A plot should be intelligent (not simply based on curiosity), built on memory (relation with other facts) and contain elements of surprise and mystery (a suspension of the time sequences).
Fantasy, prophecy, pattern, rhythm
Fantasy manipulates a beam of light which renders the objects more vivid than in domesticity. This can be done by an `adaptation' or a `parody'.
Prophecy lays an accent on a universal theme. It is a tone of voice demanding humility and the suspension of the sense of humor.
Novels can also have patterns (ex. symmetry) and rhythms (repetitions and variations).
For E. M. Forster, `art stands still', because novelists will have to pass all the new facts through the old creative mind. But, for him, there is still a possibility that human nature will alter if individuals manage to look at themselves in a new way. In that case, however, they have a fight at their hands with every institution and vested interest (organized religion, the State) which are against such a search.
These brilliant lectures are a must read for all lovers of world literature.
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Aspects of the Novel (Teach Yourself) by E M Forster (Hardcover - 21 Jan 1993)
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