In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works.
An indispensable source of advice and inspiration, this anthology features essays by Henry James, Kate Chopin, Willa Cather, Sinclair Lewis, Jack London, Raymond Chandler, Raymond Carver, Eudora Welty, and Kurt Vonnegut, Jr.
This classic guide, from the renowned novelist and professor, has helped transform generations of aspiring writers into masterful writers—and will continue to do so for many years to come. John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here. From the Trade Paperback edition.
James Salter’s exalted place in American letters is based largely on the intense admiration of other writers, but his work resonates far beyond the realm of fellow craftsmen, addressing themes--youth, war, erotic love, marriage, life abroad, friendship--that speak to us all. Following the publication of his first novel, Salter left behind a military career of great promise to write full-time and--through decades of searching, exacting work--became one of American literature’s master stylists. Only months before he died, at the age of eighty-nine, he agreed to serve as the first Kapnick Writer-in-Residence at the University of Virginia, where he composed and delivered the three lectures presented in this book and introduced by his friend and fellow novelist, National Book Award-winning author John Casey. Salter speaks to us here with an easy intimacy, sharing his unceasing enchantment with the books that made up his reading life, including works by Balzac, Flaubert, Babel (whose prose is "like a handful of radium"), Dreiser, Céline, Faulkner. These talks provide an invaluable opportunity to see the way in which a great writer reads. They also offer a candid look at the writing life--the rejection letters, not one but two negative reviews in the New York Times for the same book, writing in the morning or at night and worrying about money during the long afternoons. Salter raises the question, Why does one write? For wealth? For admiration, or a sense of "importance"? Confronting a blank sheet that always offers too many choices, practicing a vocation that often demands one write instead of live, the answer for Salter was creating a style that captured experience, in a world where anything not written down fades away. Kapnick Foundation Distinguished Writer-in-Residence Lectures
Classic essay from the collection "Partial Portraits".According to Wikipedia: "Partial Portraits is a book of literary criticism by Henry James published in 1888. The book collected essays that James had written over the preceding decade, mostly on English and American writers. But the book also offered treatments of Alphonse Daudet, Guy de Maupassant and Ivan Turgenev. Perhaps the most important essay was The Art of Fiction, James' plea for the widest possible freedom in content and technique in narrative fiction. The Art of Fiction was a response to remarks by English critic Walter Besant, who wrote an article that literally attempted to lay down the "laws of fiction." For instance, Besant insisted that novelists should confine themselves to their own experience: "A young lady brought up in a quiet country village should avoid descriptions of garrison life." James argued that a sufficiently alert novelist could catch knowledge from everywhere and use it to good purpose: "The young lady living in a village has only to be a damsel upon whom nothing is lost to make it quite unfair (as it seems to me) to declare to her that she shall have nothing to say about the military. Greater miracles have been seen than that, imagination assisting, she should speak the truth about some of these gentlemen." James continually argues for the fullest freedom in the novelist's choice of subject and method of treatment..."
This book is a complete course in writing fiction. Drawing examples from the works of such masters as Poe, Hawthorne, and Robert Louis Stevenson, it offers a guided course through such vital topics as Realism, Plot, Characters, Setting, Point of View, The Epic, Structure of the Short Story, and much more.
Henry James on the Theory and the Practice of Fiction
Author: Henry James
Publisher: University of Chicago Press
Category: Literary Criticism
A collection of "the most important" of Henry James' Prefaces; "his studies of Hawthorne, George Eliot, Balzac, Zola, de Maupassant, Turgenev, Sainte-Beuve, and Arnold; and his essays on the function of criticism and the future of the novel."--P.  of cover.
In 1958, Ayn Rand, already the world-famous author of such bestselling books as Atlas Shrugged and The Fountainhead, gave a private series of extemporaneous lectures in her own living room on the art of fiction. Tore Boeckmann and Leonard Peikoff for the first time now bring readers the edited transcript of these exciting personal statements. The Art of Fiction offers invaluable lessons, in which Rand analyzes the four essential elements of fiction: theme, plot, characterization, and style. She demonstrates her ideas by dissecting her best-known works, as well as those of other famous authors, such as Thomas Wolfe, Sinclair Lewis, and Victor Hugo. An historic accomplishment, this compendium will be a unique and fascinating resource for both writers and readers of fiction.
For students and writers alike, a brilliant guide to the craft of writing by the National Book Award–winning author of Spartina. National Book Award winner John Casey is a masterful novelist who is also an inspiring and beloved teacher. In Beyond the First Draft he offers essential and original insights into the art of writing—and rewriting—fiction. Through anecdotes about other writers’ methods and habits (as well as his own) and close readings of literature from Aristotle to Zola, the essays in this collection offer “suggestions about things to do, things to think about when your writing has got you lost in the woods.” In “Dogma and Anti-dogma” Casey sets out the tried-and-true advice and then comments on when to apply it and when to ignore it. In “What's Funny” he considers the range of comedy from pratfalls to elegant wit. In “In Other Words” he discusses translations and the surprising effects that translating can have on one’s native language. In “Mentors” he pays tribute to those who have guided him and other writers. Throughout the fourteen essays there are notes on voice, point of view, structure, and other crucial elements. This book is an invaluable resource for aspiring writers and a revitalizing companion for seasoned ones.
Nach den Spiegel-Bestsellern „Dornenmädchen“ und „Dornenkleid“ folgt mit „Dornenspiel“ der dritte Teil der Thriller-Reihe von der amerikanischen Bestseller-Autorin Karen Rose. In „Dornenspiel“ bekommen es die FBI-Agenten Griffin „Decker“ Davenport und Kate Coppola mit einem unaussprechlichen Verbrechen zu tun ... Cincinnati, Ohio: Als Griffin „Decker“ Davenport nach mehreren Tagen aus dem Koma erwacht, wandern seine Gedanken sofort zu seinem letzten Fall. Er hat drei Jahre damit zugebracht, als FBI-Undercover-Agent einen Menschenhändler-Ring auszuheben. Doch er weiß auch, dass ihm das nur teilweise gelungen ist – und dass Kinder in Gefahr sind ... FBI Special Agent Kate Coppola ist entsetzt, als sie von Decker erfahren muss, dass ein Partner des Rings Jugendliche für seinen Online-Sexhandel benutzt. Sie und Decker eröffnen die Jagd auf ihn und werden gleichzeitig zu Gejagten. Denn ihr Gegner beseitigt alle, die ihm in die Quere kommen ... „Karen Roses ‚Dornen‘-Reihe sind Thriller in Perfektion!“ (Alex Dengler, denglers-buchkritik.de über „Dornenkleid“)
studies in the art of fiction in English-speaking Canada
Author: W. J. Keith
Publisher: Ecw Press
Category: Literary Criticism
A discussion of the work of 10 fiction writers representing the range of Canadian fiction during the past 50 years that emphasizes artistry rather than theme or the exploration of national identity. The writers considered are Margaret Atwood, Robertson Davies, Mavis Gallant, Jack Hodgins, Hugh Hood, Margaret Laurence, W. O. Mitchell, Alice Munro, Howard O'Hagan, and Ethel Wilson.
Musaicum Books presents to you this carefully created volume of "The Art of Fiction". This ebook has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Contents: The Narrow Bridge of Art. Hours in a Library. Impassioned Prose. Life and the Novelist. On Rereading Meredith. The Anatomy of Fiction. Gothic Romance. The Supernatural in Fiction. Henry James's Ghost Stories. A Terribly Sensitive Mind. Women and Fiction. An Essay in Criticism. Phases of Fiction. Adeline Virginia Woolf (1882–1941) was an English writer, and one of the foremost modernists of the twentieth century. During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals.
"A novel is in its broadest definition a personal, a direct impression of life"
Author: Sebastian Frese
Publisher: GRIN Verlag
Category: Literary Criticism
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Freiburg (Englisches Seminar), course: The Art of Fiction in 1890s Britain , 10 entries in the bibliography, language: English, abstract: Introduction Henry James is known not only as a novelist but also for his work as literary critic. In his famous essay “The Art of Fiction” (1884), he reacted on a pamphlet that the British author Walter Besant had published under the same title earlier that year. In fact, a discussion and controversy on the novel had already been started in 1882 with Howells' “Henry James Jr.” and Stevenson's “A Gossip of Romance”. James used the opportunity to present his ideas on the novel of fiction: “A novel is in its broadest definition a personal, a direct impression of life” 1. It is very important for him to stress that life is personally -and therefore subjectively- received by an author who than tries to represent life in his2 work. James offers in his essay various new aspects that a novelist should be aware of and make use of if he wants to write a realistic and true novel. This essay deals with the novel What Maisie knew (first published in 1897) which is one of the less known and less studied novels written by Henry James. Critics see it as a work in which James has left the `mainstream literature ́ that the literary market asked for and has realised some of his ideas he had coped with in theory already in the 1880’s when he wrote “The Art of Fiction”. Most of these critics have studied the morality in What Maisie knew and the innovation to present the story from a child’s consciousness. This essay is not interested in the moral aspect of the novel but raises the question if Henry James put into practise his own theory when he wrote Maisie more than ten years after his “Art of Fiction”. After presenting the main arguments of James’ theory, I will scrutinise whether James really has put his theory into practice. Most attention will be turned to his ideas of a realistic writing, looking not only at the aspect of how to write a realistic novel but also of how to create a realistic atmosphere. This essay will try to prove that Henry James did practise his own preaching at least to a certain degree in What Maisie knew and show where James' realistic fiction might reach its limits.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Essays on the Novel in British Periodicals 1851-1869
Author: John Charles Olmsted
Category: Literary Criticism
First published in 1979, this collection of thirty-three essays on the novel drawn from thirteen periodicals demonstrates the primary concerns of those discussing the nature and purpose of prose fiction in the period from 1851 to 1869. The essays reflect what was thought and said about the art of fiction and reveal what journalists of these periodicals thought were the most urgent critical concerns facing the working reviewer. This volume includes work by major mid-century reviewers such as David Masson, George Henry Lewes, Walter Bagehot, William Caldwell Roscoe, Richard Holt Hutton and Leslie Stephen. Including an introduction which assesses the issues raised by the best periodicals at the time, this anthology is designed to provide students of Victorian fiction and critical theory with a collection of essays on the art of fiction in a convenient and durable form.
The Victorian Art of Fiction presents important Victorian statements on the form and function of fiction. The essays in this anthology address questions of genre, such as realism and sensationalism; questions of gender and authorship; questions of form, such as characterization, plot construction, and narration; and questions about the morality of fiction. The editor discusses where Victorian writing on the novel has been placed in accounts of the history of criticism and then suggests some reasons for reconsidering this conventional evaluation. Among the featured essayists and critics are John Ruskin, Walter Bagehot, George Henry Lewes, Leslie Stephen, Anthony Trollope, and Robert Louis Stevenson; the classic essays include George Eliot’s “Silly Novels by Lady Novelists” and Henry James’s “The Art of Fiction.”