![]() ![]() Wood occasionally gushes, as in his consideration of “free indirect style … see things though …the character’s eyes and language but also through the author’s.” But he quickly composes himself, rebuking John Updike and Saul Bellow for allowing authorial mind-sets to infiltrate a character’s habits of thinking and speaking (in the former’s Terrorist and the latter’s Seize the Day). Forster’s classic Aspects of the Novel in a book-length analysis of the techniques that make fiction “both artifice and verisimilitude.”Īdopting an enthusiast’s approach, the author examines classic and contemporary aesthetic choices, citing the works of several dozen favorite authors, including precursors of fiction (Homer, Shakespeare, Cervantes), consensus masters (Flaubert, Tolstoy, Austen, Henry James, Chekhov, Stendhal) and eminences still practicing (V.S. ![]() ![]() New Yorker staff writer Wood ( Irresponsible Self: On Laughter and the Novel, 2004, etc.) channels E.M. ![]()
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