Novel Form Quotes

'One Hundred Years of Solitude' is a masterpiece because it is an episodic novel that has a rigorous form - an unprecedented combination. From the very beginning we know the town of Macondo will endure only a century, so there is a limit to the length of the narrative.

I think the plasticity of the novel is its greatest challenge. There are no rules; there is no necessary form. You can know what you want it to be, or do, and still not know how to write it. There are endless possibilities, infinite choices. What voice should it be in? What events to start with? What characters will be part of it?

It seems to me that the novel is very much alive as a form. Without any question, every epoch has its own forms, and the novel nowadays cannot resemble that of the nineteenth century. In this domain all experiments are justified, and it is better to write something new clumsily than to repeat the old brilliantly. In the nineteenth century, novels dealt with the fate of a person or of a family; this was linked to life in that period. In our time the destinies of people are interwoven. Whether man recognizes it or not, his fate is much more linked to that of many other people than it used to be.

The novel as we knew it in the nineteenth century was killed off by Proust and Joyce.

The idea to make hotel reviews the form of the novel came first. So I just started writing hotel reviews and tried to come up with a consistent voice.

In adopting the form of the adventure novel, Wells deepened it, raised its intellectual value, and brought into it elements of social philosophy and science. In his own field - though, of course, on a proportionately lesser scale - Wells may be likened to Dostoyevsky, who took the form of the cheap detective novel and infused it with brilliant psychological analysis.

If any art form can accommodate contemporary culture, it's the novel. It's so malleable - it can incorporate essays, poetry, film. Maybe the challenge for the novelist is to stretch his art and his language, to the point where it can finally describe what's happening around him.

I did not think much what I was writing them for, except that I knew I wanted my next novel to be in some less conventional form than straight narrative.

At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.

The novel has always been the form that incorporates other forms. For me, it has always been the ultimate medium.

There was a time in my life when I wasn't sure I'd ever write a short story again because I had started writing novels, and I am fundamentally a lazy person, and the fact is that a novel is a lazy person's form, really. That is, you can amble; you can digress.

The novel is like a melancholy form. It's about some kind of disillusionment with the way things are versus the idea of how they could be or how they used to be.

I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully.

I think the novel form chose me. I was a writer before I became a criminal... my first instinct was to write.

The novel has always been a contradictory form. Here is a long form narrative mainly read originally by consumers who were only newly literate or limited in their literacy. The novel ranked below poetry, essay and history in prestige for a long time.

I love the novel as a form, as an adventure of mind and soul. Really, I absolutely love writing them; they consume my days and nights - what can I say? But I am an avid film student, too: I watch a movie every night.

I see no intrinsic reason why a doubly talented artist might not arise and create a comic-strip novel masterpiece.

But rather that we should lose our sense that neither can become the other, that the traditional novel form continues to enlarge our experience in those very areas where the wide-angle lense and the Cinerama screen tend to narrow it.

Form is, in a way, death. A novelist's obligation is to break free from the form, even though he knows that this will also be seen as artificial and distanced from life.

This progressive effacement of human relationships is not without certain problems for the novel. How, in point of fact, would one handle the narration of those unbridled passions, stretching over many years, and at times making their effect felt on several generations? We’re a long way from Wuthering Heights, to say the least. The novel form is not conceived for depicting indifference or nothingness; a flatter, more terse, and dreary discourse would need to be invented.

The novel form is about the protagonist's struggle to transform his arbitrary, fragmented, given experience into a narrative as meaningful as his favorite books.

The novel as a form is usually seen to be moral if its readers consider freedom, individuality, democracy, privacy, social connection, tolerance and hope to be morally good, but it is not considered moral if the highest values of a society are adherence to rules and traditional mores, the maintenance of hierarchical relationships, and absolute ideas of right and wrong. Any society based on the latter will find novels inherently immoral and subversive.

The novel remains a very special form for me.

I'm obsessed with the Victorian novel. I can't help it. I feel like the novel then was so powerful and agile in ways I'm not sure it is now.

A novelist can shift view-point if it comes off. ... Indeed, this power to expand and contract perception (of which the shifting view-point is a symptom), this right to intermittent knowledge - I find one of the great advantages of the novel-form ... this intermittence lends in the long run variety and colour to the experiences we receive.