There has been quite a bit of buzz about critic James Wood’s new book, How Fiction Works. Here and here are two takes that particularly interested me. And also here, Christopher Tilghman’s thoughtful review of the book in Sunday’s Washington Post Book World.
Book World ran an enticing excerpt from How Fiction Works--below. (Reading it reminds me of one of my favorite quotations by W. Somerset Maugham: “There are three rules for writing the novel. Unfortunately, no one knows what they are.”)
“What is a character? I am thicketed in qualifications: if I say that a character seems connected to consciousness, to the use of a mind, the many superb examples of characters who seem to think very little, who are rarely seen thinking, bristle up (Gatsby, Captain Ahab, Becky Sharp, Widmerpool, Jean Brodie). If I refine the thought by repeating that a character at least has some essential connection to an interior life, to inwardness, is seen "from within," I am presented with the nicely opposing examples of those two adulterers, Anna Karenina and Effi Briest, the first of whom does a lot of reflection, and is seen internally as well as externally, the second of whom, in Theodor Fontane's eponymous novel, is seen almost entirely from the outside, with little space set aside for represented reflection. No one could say that Anna is more vivid than Effi simply because we see Anna doing more thinking.
“If I try to distinguish between major and minor characters -- round and flat characters -- and claim that these differ in terms of subtlety, depth, time allowed on the page, I must concede that many so-called flat characters seem more alive to me, and more interesting as human studies, however short-lived, than the round characters they are supposedly subservient to.
“The novel is the great virtuoso of exceptionalism: it always wriggles out of the rules thrown around it. And the novelistic character is the very Houdini of that exceptionalism.”
-- James Wood
