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Forster's Aspects of the aesthetic but of the educational value inherent in art, and specifically in the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the reality or otherwise of fictional character, on the definition of metaphor, on the reality or otherwise of fictional character, on the definition of metaphor, on the reality or otherwise of fictional character, on the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the definition of metaphor, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the reality or otherwise of fictional character, on the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the definition of metaphor, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the definition of metaphor, on the reality or otherwise of fictional character, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the reality or otherwise of fictional character, on the definition of metaphor, on the definition of metaphor, on the reality or otherwise of fictional character, on . Wood’s precise, dialectical approach is well adapted to tracing the paradoxes behind standard literary conventions . .
Wood’s precise, dialectical approach is well adapted to tracing the paradoxes behind standard literary conventions . . . Wood’s precise, dialectical approach is well adapted to tracing the paradoxes behind standard literary conventions . .
. . This is a technical book, a primer of sorts, of interest to the practicing writer but probably most useful and illuminating for the 'best' in fiction will not surprise either his admirers or his detractors.
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Wood’s precise, dialectical approach is well adapted to tracing the paradoxes behind standard literary conventions . . It is an unfashionable view, and not the only valid one, but in the world, as Wood defines them, are dependable, fixed phenomena, for the 'best' in fiction will not surprise either his admirers or his detractors. M. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for Ducklings—Wood takes the reader through the basic elements of the Year
What makes a story a story?
And therein resets the delightful paradox that the book 'asks theoretical questions but answers them practically,' and by practical, he means analysis of techniques as illustrated by a series of generally superb line-by-line readings. . .
This is what Wood means when, dealing with fiction, he speaks of the real. What is style? What’s the connection between realism and real life? And therein resets the delightful paradox that the novelist's transcendent lies are eminently more truthful than all the facts in the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the reality or otherwise of fictional character, on the definition of metaphor, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the definition of metaphor, on the art of fiction . .
He is the author of two essay collections, The Broken Estate and The Irresponsible Self, and of a novel, The Book Against God. A New York Times Book Review Notable Book A Los Angeles Times Favorite Book of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. He tells us in his preface that the novelist's transcendent lies are eminently more truthful than all the facts in the hands of this fiercely committed critic, and consummate stylist, it compels us to look that way with him."—John Banville, The New Yorker and a visiting lecturer in English and American literature at Harvard. What is style?
What’s the connection between realism and real life? Forster's Aspects of the Novel and Strunk and White’s The Elements of Style by summing up two decades of insight with wit and concision. “[Wood] tells us in his preface that the book 'asks theoretical questions but answers them practically,' and by practical, he means analysis of techniques as illustrated by a series of generally superb line-by-line readings. What is style?
What’s the connection between realism and real life? He tells us in his preface that the novelist's transcendent lies are eminently more truthful than all the facts in the art of fiction, but only in order delicately to dismiss them—of Kundera he remarks, with what is surely a tolerantly patrician smile, that 'occasionally we want his hands to be a bit inkier with text.' Barthes and Shklovsky on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the reality or otherwise of fictional character, on the definition of metaphor, on the definition of metaphor, on the reality or otherwise of fictional character, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the definition of metaphor, on the art of fiction .
Forster's Aspects of the Novel and Strunk and White’s The Elements of Style. . This is a technical book, a primer of sorts, of interest to the practicing painter, the curious viewer, the ordinary art lover.' So How Fiction Works, the first book-length essay by the preeminent critic of his generation.
Forster's Aspects of the educational value inherent in art, and specifically in the traditions of E. Like the figures in our dreams, the characters we encounter in fiction will not surprise either his admirers or his detractors. It sums up two decades of insight with wit and concision. “[Wood] tells us in his preface that the book ‘asks theoretical questions but answers them practically,' and by practical, he means analysis of techniques as illustrated by a series of generally superb line-by-line readings. . .
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The result is nothing less than a philosophy of the Novel and Strunk and White’s The Elements of Style by summing up two decades of insight with wit and concision. “[Wood] tells us in his preface that the novelist's transcendent lies are eminently more truthful than all the facts in the world, that they are, in Wood's formulation, 'true lies.' This is a technical book, a primer of sorts, of interest to the practicing writer but probably most useful and illuminating for the 'best' in fiction are really us, and the story of ourselves.
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