简介
Of all the literary forms, the novel is arguably the most discussed . . . and fretted over. From Miguel de Cervantes's Don Quixoteto the works of Jane Austen, F. Scott Fitzgerald, Ernest Hemingway, and today's masters, the novel has grown with and adapted to changing societies and technologies, mixing tradition and innovation in every age throughout history. Thomas C. Foster—the sage and scholar who ingeniously led readers through the fascinating symbolic codes of great literature in his first book, How to Read Literature Like a Professor—now examines the grammar of the popular novel. Exploring how authors' choices about structure—point of view, narrative voice, first page, chapter construction, character emblems, and narrative (dis)continuity—create meaning and a special literary language, How to Read Novels Like a Professorshares the keys to this language with readers who want to get more insight, more understanding, and more pleasure from their reading.
目录
Table Of Contents:
Preface: Novel Possibilities, or All Animals Aren't Pigs? xiii
Introduction: Once Upon a Time: A Short, Chaotic, and Entirely Idiosyncratic History of the Novel 1
1 Pickup Lines and Open(ing) Seductions, or Why Novels Have First Pages 21
2 You Can't Breathe Where the Air Is Clear 37
3 Who's in Charge Here? 45
4 Never Trust a Narrator with a Speaking Part 56
5 A Still, Small Voice (or a Great, Galumphing One) 67
6 Men (and Women) Made out of Words, or My Pip Ain't Like Your Pip 80
7 When Very Bad People Happen to Good Novels 89
8 Wrinkles in Time, or Chapters Just Might Matter 99
9 Everywhere Is Just One Place 109
10 Clarissa's Flowers 117
11 Met-him-pike-hoses 131
12 Life Sentences 145
13 Drowning in the Stream of Consciousness 160
14 The Light on Daisy's Dock 172
15 Fiction About Fiction 182
16 Source Codes and Recycle Bins 197
Interlude: Read with Your Ears 213
17 Improbabilities: Foundlings and Magi, Colonels and Boy Wizards 227
18 What's the Big Idea鈥攐r Even the Small One? 239
19 Who Broke My Novel? 250
20 Untidy Endings 264
21 History in the Novel/The Novel in History 279
22 Conspiracy Theory 291
Conclusion: The Never-Ending Journey 303
Reading List: Criticism of the Novel 309
Preface: Novel Possibilities, or All Animals Aren't Pigs? xiii
Introduction: Once Upon a Time: A Short, Chaotic, and Entirely Idiosyncratic History of the Novel 1
1 Pickup Lines and Open(ing) Seductions, or Why Novels Have First Pages 21
2 You Can't Breathe Where the Air Is Clear 37
3 Who's in Charge Here? 45
4 Never Trust a Narrator with a Speaking Part 56
5 A Still, Small Voice (or a Great, Galumphing One) 67
6 Men (and Women) Made out of Words, or My Pip Ain't Like Your Pip 80
7 When Very Bad People Happen to Good Novels 89
8 Wrinkles in Time, or Chapters Just Might Matter 99
9 Everywhere Is Just One Place 109
10 Clarissa's Flowers 117
11 Met-him-pike-hoses 131
12 Life Sentences 145
13 Drowning in the Stream of Consciousness 160
14 The Light on Daisy's Dock 172
15 Fiction About Fiction 182
16 Source Codes and Recycle Bins 197
Interlude: Read with Your Ears 213
17 Improbabilities: Foundlings and Magi, Colonels and Boy Wizards 227
18 What's the Big Idea鈥攐r Even the Small One? 239
19 Who Broke My Novel? 250
20 Untidy Endings 264
21 History in the Novel/The Novel in History 279
22 Conspiracy Theory 291
Conclusion: The Never-Ending Journey 303
Reading List: Criticism of the Novel 309
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