Aspects of the Novel

Rating:
Summary: better than his novels
Review: ...the fundamental aspect of the novel is its story-telling aspect... -EM Forster, Aspects of the Novel

I liked this collected series of lectures on what makes for good novel writing much better than almost any of the novels that Forster actually wrote (A Passage to India being the lone exception). Forster treats seven different aspects--the story, people, plot, fantasy, prophecy, pattern, and rhythm--in a breezy conversational style. Along the way, he offers examples, both good and bad, from literary history. I found myself agreeing and dissenting about equally, but the whole thing was immensely interesting and entertaining.

Here are some of the observations that I agreed with and why:

A story "can only have one fault: that of making the audience not want to know what happens next."

One inevitably thinks of James Joyce's Ulysses, which by now has surely retired the title of "the book most likely to remain unfinished". No matter how revolutionary the technique, how insightful the observations or how compelling the characters, a book that you can put down and not care what happens next has failed in its most basic task. ----------------------

The constant sensitiveness of characters for each other--even in writers called robust, like Fielding--is remarkable, and has no parallel in life, except among those people who have plenty of leisure. Passion, intensity at moments--yes, but not this constant awareness, this endless readjusting, this ceaseless hunger. I believe that these are the reflections of the novelist's own state of mind while he composes, and that the predominance of love in novels is partly because of this.

Forster elsewhere sites DH Lawrence favorably, but he seems to me to be an author whose characters are so obsessed by passion as to be too novelistic, if not completely unrealistic. But, the example I would site here actually is not a case of love predominating to excess, but rather Crime and Punishment , where the characters' constant awareness of the philosophical and moral implications of their every thought and deed is such that it could only be the product of an author in intellectual overdrive. If real people truly lived their lives this way, nothing would ever get done. ----------------------

In the losing battle that the plot fights with the characters, it often takes a cowardly revenge. Nearly all novels are feeble at the end. This is because the plot requires to be wound up. Why is this necessary? Why is there not a convention which allows a novelist to stop as soon as he feels muddled or bored? Alas, he has to round things off, and usually the characters go dead while he is at work, and our final impression of them is through deadness.

Anyone who's ever read one of his books will instantly call to mind James Clavell. I recall the jarring sensation of finishing his great novel Tai-Pan when, many hundreds of pages into the book, unwilling to see it conclude, but obviously noticing that their were a dwindling number of pages; I could not imagine how he would conclude the main plot line so quickly, let alone tie up all of the remaining loose ends. And then, BOOM!, our hero is dead and the book is over. And why? I was ready to read on for as long as he wanted to keep writing. Or, at worst, he could have just stopped in mid story and said: "To be continued..." But Forster is right; the conventions of the novel almost require authors to

let the tiger out of the cage at the end, and, more often then not, it leaves a bitter taste in the reader's mouth, regardless of how much we'd enjoyed the book up until that point.

There is much food for thought of this kind in this witty, opinionated, fascinating survey of the novel. Add to that a really fine hammer job on Henry James and the fact that said hammering upset Virginia Woolf and we're talking big thumbs up here.

GRADE: A-

Rating:
Summary: better than his novels
Review: ...the fundamental aspect of the novel is its story-telling aspect... -EM Forster, Aspects of the Novel

I liked this collected series of lectures on what makes for good novel writing much better than almost any of the novels that Forster actually wrote (A Passage to India being the lone exception). Forster treats seven different aspects--the story, people, plot, fantasy, prophecy, pattern, and rhythm--in a breezy conversational style. Along the way, he offers examples, both good and bad, from literary history. I found myself agreeing and dissenting about equally, but the whole thing was immensely interesting and entertaining.

Here are some of the observations that I agreed with and why:

A story "can only have one fault: that of making the audience not want to know what happens next."

One inevitably thinks of James Joyce's Ulysses, which by now has surely retired the title of "the book most likely to remain unfinished". No matter how revolutionary the technique, how insightful the observations or how compelling the characters, a book that you can put down and not care what happens next has failed in its most basic task. ----------------------

The constant sensitiveness of characters for each other--even in writers called robust, like Fielding--is remarkable, and has no parallel in life, except among those people who have plenty of leisure. Passion, intensity at moments--yes, but not this constant awareness, this endless readjusting, this ceaseless hunger. I believe that these are the reflections of the novelist's own state of mind while he composes, and that the predominance of love in novels is partly because of this.

Forster elsewhere sites DH Lawrence favorably, but he seems to me to be an author whose characters are so obsessed by passion as to be too novelistic, if not completely unrealistic. But, the example I would site here actually is not a case of love predominating to excess, but rather Crime and Punishment , where the characters' constant awareness of the philosophical and moral implications of their every thought and deed is such that it could only be the product of an author in intellectual overdrive. If real people truly lived their lives this way, nothing would ever get done. ----------------------

In the losing battle that the plot fights with the characters, it often takes a cowardly revenge. Nearly all novels are feeble at the end. This is because the plot requires to be wound up. Why is this necessary? Why is there not a convention which allows a novelist to stop as soon as he feels muddled or bored? Alas, he has to round things off, and usually the characters go dead while he is at work, and our final impression of them is through deadness.

Anyone who's ever read one of his books will instantly call to mind James Clavell. I recall the jarring sensation of finishing his great novel Tai-Pan when, many hundreds of pages into the book, unwilling to see it conclude, but obviously noticing that their were a dwindling number of pages; I could not imagine how he would conclude the main plot line so quickly, let alone tie up all of the remaining loose ends. And then, BOOM!, our hero is dead and the book is over. And why? I was ready to read on for as long as he wanted to keep writing. Or, at worst, he could have just stopped in mid story and said: "To be continued..." But Forster is right; the conventions of the novel almost require authors to

let the tiger out of the cage at the end, and, more often then not, it leaves a bitter taste in the reader's mouth, regardless of how much we'd enjoyed the book up until that point.

There is much food for thought of this kind in this witty, opinionated, fascinating survey of the novel. Add to that a really fine hammer job on Henry James and the fact that said hammering upset Virginia Woolf and we're talking big thumbs up here.

GRADE: A-

Rating:
Summary: Indispensable, that's what it is.
Review: As with all writer's writings about their own works, Aspects of the Novel is critical in at least an historical and structural reading of Forster's works (it helps in terms of hermoneutics as well). Also contained are shreds of Forster's own philosophy, an argument for an Hegelian study of the novels, and clues to the meaning and importance of his short fiction.

Rating:
Summary: An Intriguing and Useful Study
Review: ASPECTS OF THE NOVEL follows the text of a series of lectures E. M. Forster gave at Cambridge in 1927. He departed boldly from convention by trying to get his listeners to picture the great novelists of history writing at the same time in the same room--this to protect us from the pseudo-scholarly impulse to classify by period without a careful exploration of themes. Who is a psuedo-scholar? Anyone who "loves mentioning [the] genius [of a novelist], because the sound of the word exempts him from trying to discover its meaning." No longer guilty, I hope!

Forster helps facilitate that all-important struggle with the writer that will give us the most enjoyment and edification from literature. He does so by examining seven "aspects": The Story, People, The Plot, Fantasy, Prophecy, Pattern and Rhythm. Examples drawn from the likes of Sterne, Melville, Joyce, D. H. Lawrence and Henry James help illustrate his logically and lucid points. As a practitioner and a critic of the novel, Forster is both engaged with his topic and engaging in his exposition. Highly recommended for both the serious novel reader and the literature student needing a breather from the oppressiveness of Theory.

Rating:
Summary: A Must Read for Everyone
Review: This little book, the result of a series of Cambridge lectures by E. M. Forester in 1927, may be a little hard to acquire, but it is written in a style that is easy to read and understand, and with a style that tempts you to read it many times.

The idea is simple. Imagine all the novelists sitting in a room, each with a pen in hand. As we look over their shoulders what do we see? A story, something that keeps you wanting to know 'What happens next'. What gets added to that to make a great novel? People, Plot, Fantasy, Prophecy, Pattern and Rhythm are the words Forester uses to discuss the various aspects. Always with a sense of humor, and a loving understanding of his craft, and specific examples from novels written by those writers in that room.

This book it worth studying for an understanding of literature, it is also reading for an understanding of this particular novelist and what he believes is important in those books we all love.

Rating:
Summary: wonderful insights from a great British novelist
Review: This shortish book is composed of the transcripts of Forster's 1927 series of talks about the novel, and is divided into chapters on story, characters, plot, and pattern & rhythm. In my opinion the two chapters on fantasy and prophecy are less successful, but if you are considering this book then you should definitely read it. It's filled with wonderful lines and terrific criticism (both positive and negative) of contemporary novels by Austen, Wells, Scott, Dostoevsky, Proust, James and others, and it was this latter aspect that I found most enjoyable. There is also an index so you can find these references when you want to. Forster discusses the sense of time and space in literature, round and flat characters, food, sex, love, POV, story vs. plot and causality. I've been reading novels for several decades and have read a fair number of books about writing, and I still gained insight from this lively little book.

Rating:
Summary: Invaluable and deeply insightful
Review: This very unusual book is highly recommended to all lovers of classical or even modern literature. It provides some fascinating insight into the creative process, as well as a deeper understanding of the artist E.M. Forster.Invaluable criticism and advice from perhaps the greatest English writer ever.

Rating:
Summary: Marvelous thugh loosely structured reflections on the novel
Review: Though Forster structures his essays around such fundamental novelistic elements as plot, character, and language, this is a rather loosely constructed and free ranging discussion of the literary form that has come in the past two hundred years to dominate the Western world's literary preoccupations. It is not systematic, nor is it comprehensive. Its tone is more personal and impressionistic. Fortunately, Forster has a large number of tremendously perceptions about the novel and novelists, and because he couches these reflections in frequently brilliant sentences, this book makes for reading that is both insightful and delightful. It is also an intensely personal book, so that we gain a great deal of insight into Forster's tastes and quirks.

Nearly every chapter in this book has something to offer the reader, but I have found his discussion of the difference between flat and round characters to be especially useful in reading other novels. In Forster's view, a round character is one that can develop and change over the course of a novel's story. They adjust, grow, and react to events and people around them. They are fuller, and therefore more lifelike. A flat character, on the other hand, is essentially the same character at the end of the tale as at the beginning. They do not grow, do not alter with time, do no admit of development. Flat characters are not necessarily bad characters. As Forster points out, correctly, I think, nearly all of Charles Dickens's characters are flat characters. Not even major characters such as David Copperfield change during the course of their history.

I have found this distinction to be quite helpful in reading the work of various novelists. Some authors have almost nothing but round characters. Anthony Trollope is a premier example of this. All of his characters develop and change and are effected by events around them. Some authors have a mix of flat and round characters, like Jane Austen. As Forster points out, she is even capable of taking a flat character like Mrs. Bennet, expand her suddenly into a round character, and then collapse her back into a round one. And her round characters are very, very round indeed. Compare Elizabeth Bennet or Emma Woodhouse with any character in Dickens, and the difference is obvious. On the other hand, someone like Hemingway tends to have round male characters and flat female characters, or Iris Murdoch, who has round female characters but flat male characters.

The book is filled with marvelous, frequently funny sentences. "Books have to be read . . . it is the only way of discovering what they contain." "Neither of them has much taste: the world of beauty was largely closed to Dickens, and is entirely closed to Wells." "The intensely, stifling human quality of the novel is not to be avoided; the novel is sogged with humanity." "The human mind is not a dignified organ, and I do not see how we can exercise it sincerely except through eclecticism." And one could go on and on.

If one wants a systematic and exhaustive history and discussion of the novel, one ought to turn, perhaps, to another book. But if one finds a pithy, impressionistic reaction to the form by one of its better 20th century practitioners, one could not do better than this find book.