In Form, Digressions on the Act of FictionSouthern Illinois University Press, 1985 - 247 psl. Formmust never be taken for granted, but must be created as the work itself is shaped: "The writer works not from a priori ideas about what will happen and what form it will take, but in and through the text." Sukenick, one of our most original contemporary novelists, describes these essays as "the comments of a fiction writer about writing, not those of a critic on what has been written. They are more or less reports on experience--those of one engaged in the ongoing struggle with the angel of form, rather than of one studying its consequences from a cool distance: 'in form, ' not 'on form.'" The difficulty of creative works no longer accessible to traditional reading habits has threatened us with an age of criticism in which interpretation has become more imposing than invention. One of the tasks of modern fiction, therefore, is "to displace, energize, and re-embody its criticism--literally to reunite at with our experience of the text." |
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... story have come to seem superfluous ele- ments of the art . The essential story that fiction tells is that of motion and stasis , and it would seem that whatever the par- ticular terms of this process , or whatever its level of occur ...
... story constitute a re- framing of the story from the point of view of contingency , because it is the contingent that is persuasive . In a book like Tom Glynn's novel , Temporary Sanity , the breakdown of nar- rative authority takes a ...
... story and my story , there's the journalist's story and the historian's story , there's the philos- opher's story and the scientist's story about what happens in the atomic microcosm and the cosmic macrocosm ( scientists have a corner on ...
Turinys
Twelve Digressions Toward a Study of Composition | 3 |
Thirteen Digressions | 16 |
Ten Digressions | 34 |
Autorių teisės | |
Nerodoma skirsnių: 8