By Jane Smiley
Pulitzer Prize winner and bestselling novelist Jane Smiley celebrates the novel–and takes us on an exciting journey via 100 of them–in this seductive and immensely profitable literary tribute.
In her inimitable style–exuberant, candid, opinionated–Smiley explores the facility of the radical, taking a look at its heritage and diversity, its cultural influence, and simply the way it works its magic. She invitations us behind the curtain of novel-writing, sharing her personal conduct and spilling the secrets and techniques of her craft. and he or she bargains useful recommendation to aspiring authors. As she works her means via 100 novels–from classics akin to the thousand-year-old Tale of Genji to contemporary fiction by means of Zadie Smith and Alice Munro–she infects us anew with the eagerness for studying that's the governing spirit of this present to e-book fanatics all over the place.
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Extra info for 13 Ways of Looking at the Novel
788). The result, he says, is ‘an offensive and totally deplorable book’ that promotes racial intolerance and is therefore to be condemned. Achebe’s lecture had a powerful impact, and its text was repeatedly reprinted and widely discussed. ‘Heart of Darkness’, which had seemed to be bold and astute in its attacks on imperialism, was now revealed as a work that, in the opinion of a leading African writer, was actually pro-imperialist in its endorsement of racial prejudice. The next onslaught came from feminist critics and had a similar basis.
1–22. Cox, C. B. Introduction. Youth: A Narrative/Heart of Darkness/The End of the Tether. London: Dent; Vermont: Tuttle, 1974. Davies, Laurence. ‘Conrad, Chance, and women readers’. 1 (1993), 75–88. Eagleton, Terry. Criticism and Ideology: A Study in Marxist Literary Theory. London: Verso, 1976. Eliot, T. S. The Waste Land: A Facsimile and Transcript of the Original Drafts including the Annotations of Ezra Pound. Ed. Valerie Eliot. London: Faber & Faber, 1971. ———. Selected Essays. London: Faber & Faber, 1951.
5 Although Conrad speaks here specifically of the sea, much of what he says applies equally to any body of water. Water is always alien to human existence; human beings are intruders in its world. Water is a place of dangers both seen and unseen: the possibility of drowning exists (to which Marlow alludes shortly afterward ), as well as unseen dangers that might lie within its murky depths. Both dangers cause fear—again, a fear of the unknown and the unpredictable. But most important, the water indicates 42 John G.
13 Ways of Looking at the Novel by Jane Smiley