简介
Summary:
Publisher Summary 1
Nicolas Delbanco explores the stories and techniques of twelve stylists, from Ernest Hemingway to Jamaica Kincaid, and encourages students to imitate the craft of these master storytellers as they hone their own fiction writing skills.
目录
Table Of Contents:
How to Use This Book xiii
Acknowledgments xix
Theory and Practice: An Introduction xxi
PART I Reading and Imitating the Master Stylists 1(272)
CHAPTER 1 PLOT AND STRUCTURE 3(25)
The Art of the Echo
ANDREA BARRETT 3(25)
"The Behavior of the Hawkweeds" 4(1)
Notes on Craft and Context 21(1)
On Point of View in Structure 21(1)
On Characterization in Structure 21(1)
On Theme in Structure 21(1)
On Theme in Plot 22(1)
On Time Span: The Structure of Plot 22(1)
On Plot and Structure: Putting It Together 23(1)
On History and Invention 23(3)
Applications and Connections 26(1)
Exercises 26(2)
CHAPTER 2 A PRIMER FOR NARRATIVE STYLES 28(29)
Self Reflexive Fiction and the World within the Word
JOHN BARTH 28(29)
"Lost in the Funhouse" 30(1)
Notes on Craft and Context 49(1)
On Form and Language in Style 49(1)
On Theme in Style 50(1)
Author as Character, Character as Author 51(1)
On Fiction about Fiction 52(1)
"Lost in the Funhouse" as a Primer for Narrative Styles 53(1)
On Self Reflexive Imitation 53(1)
Applications and Connections 54(1)
Exercises 55(1)
Examples of Student Work 55(2)
CHAPTER 3 CHARACTER AND THE EPIPHANIC MOMENT 57(19)
Learning to Reveal the Hidden
CHARLES BAXTER 57(19)
"Fenstad's Mother" 58(1)
Notes on Craft and Context 70(1)
On Plot in Characterization 70(1)
Counterpointed Characterization: Protagonist and Antagonist 71(1)
The Epiphanic Moment 71(1)
Humor and Dialogue in Characterization 72(1)
Extras: Allusions in Characterization 72(1)
Life off the Page: Development of Minor Characters 73(1)
On Real Characters 73(1)
Applications and Connections 74(1)
Exercises 74(2)
CHAPTER 4 DIALOGUE 76(31)
Minimalism and the Monologue
RAYMOND CARVER 76(31)
"A Small, Good Thing" 77(1)
Notes on Craft and Context 97(1)
On Economy in Language and Dialogue 97(1)
On Expansion as Revision 98(1)
Fleshing Out a Story 99(1)
On Character: Names and Distance 100(1)
On Point of View and Distance 100(1)
On the Selection of Details 101(1)
On Dialogue and Monologue 101(1)
On Evoking Emotional Intensity through Restraint 103(1)
Applications and Connections 103(1)
Exercises 104(1)
Examples of Student Work 104(3)
CHAPTER 5 THEME AND THE SELECTION OF DETAIL 107(21)
Writing Up Close and at a Distance
RICHARD FORD 107(21)
"Communist" 108(1)
Notes on Craft and Context 122(1)
Details: On Time Span 122(1)
Writing Up Close 123(1)
Writing at a Distance 123(1)
Summary vs. Dialogue 123(1)
Details: On What's Left Unsaid 124(1)
The Selection of Details 124(1)
On Details in Theme 125(1)
On Setting in Theme 125(1)
Applications and Connections 126(1)
Exercises 127(1)
CHAPTER 6 COMPRESSION 128(17)
Prose as Architecture
ERNEST HEMINGWAY 128(17)
"Chapter VII" 130(1)
Notes on Craft and Context 130(1)
On Compression and Style 130(1)
On Point of View in Style 131(1)
On Word Choice and Syntax 131(1)
"In Another Country" 132(1)
Notes on Craft and Context 136(1)
On Tense and Point of View 136(1)
On Dialogue and Language 137(1)
On Prose as Architecture 137(1)
Applications and Connections 138(1)
Exercises 139(1)
Examples of Student Work 140(5)
CHAPTER 7 SETTING 145(23)
Perception, Place, and Displacement
BHARATI MUKHERJEE 145(23)
"The Management of Grief " 147(1)
Notes on Craft and Context 161(1)
On Setting: Empathy and the Unfamiliar 161(1)
The Facts: Setting the Scene 162(1)
On Collective Catastrophes and Shared Grief 162(1)
On Place and Displacement 162(1)
On Fate 163(1)
On Displaced Characters 163(1)
On the Unreliable Narrator 164(1)
On Perception and Displacement 164(1)
On Displacement as Bond and Conflict 165(1)
On Time and Place in Displacement 165(1)
Applications and Connections 166(1)
Exercises 166(2)
CHAPTER 8 POINT OF VIEW AND COMIC TIMING 168(16)
You and I
LORRIE MOORE 168(16)
"How to Become a Writer" 170(1)
Notes on Craft and Context 176(1)
On Second-Person Point of View 176(1)
You as You and I 176(1)
On Parody 177(1)
On Nontraditional Plot 177(1)
Not One Climax, but Many: Episodic Plot 178(1)
Humor: Rhythm and Diction 178(1)
Point of View: Sharing the Joke and the Darkness 179(1)
Applications and Connections 179(1)
Exercises 180(1)
Examples of Student Work 180(4)
CHAPTER 9 DRAMATIC ENCOUNTER 184(22)
Mixing the Accidental and the Foreordained
FLANNERY O'CONNOR 184(22)
"A Good Man Is Hard to Find" 185(1)
Notes on Craft and Context 199(1)
On the Plot 199(1)
On the Foreordained 200(1)
On Humor and Horror 200(1)
Plot: Escalating Danger 200(1)
On Character Driving Plot 201(1)
On Hints from Minor Characters 201(1)
On Free Will and Predestination 201(1)
On Pace and the Dramatic Encounter: Sustaining Hope 202(1)
On Character and Grace 202(1)
On Symbolic and Thematic Implications 203(1)
After the Dramatic Encounter 203(1)
Applications and Connections 204(1)
Exercises 205(1)
CHAPTER 10 LANGUAGE AND FORM 206(27)
The Power of Data and Lists
TIM O'BRIEN 206(27)
"The Things They Carried" 208(1)
Notes on Craft and Context 223(1)
The Challenges of "True" Narrative 223(1)
On Form: The List Story 223(1)
On the Tonality and Weight of Lists 224(1)
On Style and Rhythm 225(1)
On Dialogue and Specific Language 226(1)
On the Individual and Universal Character 226(1)
On Invention as Truth Seeking and Narrative Posturing 227(1)
Drawing Connections: Hemingway and Barth 228(1)
From Imitation to Original Creation 228(1)
Applications and Connections 228(1)
Exercises 229(1)
Examples of Student Work 230(3)
CHAPTER 11 THE PROCESS OF REVISION 233(24)
Inflected English
BERNARD MALAMUD 233(24)
"The Magic Barrel" 235(1)
Notes on Craft and Context 249(1)
Revision as Creation 250(1)
On the Process of Revision 250(1)
On Creating and Revising Characters 253(1)
On Magical Realism 253(1)
On Style and Dialogue 253(1)
On Style and Description 254(1)
On Plot and Point of View 254(1)
Getting the Ending Right 254(1)
On Theme without Reduction 255(1)
Applications and Connections 255(1)
Exercises 256(1)
CHAPTER 12 AUTOBIOGRAPHY VS. INVENTION 257(16)
Blending Fantasy and Reality
JAMAICA KINCAID 257(16)
"My Mother" 258(1)
Notes on Craft and Context 262(1)
Reading Genre: Fantasy or Reality? 262(1)
On Autobiography in Fiction 263(1)
On Culture: Reinventing Narrative 263(1)
On Autobiography and Symbol 264(1)
Representative Character and Conflict 264(1)
Episodic Plot: Transformation and Flux 265(1)
Concrete Detail in Invention 265(1)
On Imitation and Autobiography 266(1)
On Interchangeable Identity and Language 266(1)
The Concrete in the Abstract 267(1)
Applications and Connections 267(1)
Exercises 268(1)
Examples of Student Work 268(5)
PART II An Anthology 273
(A short story by each of the following authors, with ten exercises attached)
JOHN CHEEVER,
"Reunion" 275(4)
PETER HO DAVIES,
"Relief" 279(9)
JUNOT DIAZ,
"How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie" 288(4)
STUART DYBEK,
"We Didn't" 292(10)
AMY HEMPEL,
"In the Cemetery Where Al Jolson Is Buried" 302(8)
GISH JEN,
"Who's Irish?" 310(10)
JHUMPA LAHIRI,
"Sexy" 320(17)
REGINALD MCKNIGHT,
"The Kind of Light That Shines on Texas" 337(11)
GRACE PALEM,
"Faith in the Afternoon" 348(11)
GEORGE SAUNDERS,
"The Wavemaker Falters" 359(7)
DAVID FOSTER WALLACE,
"Forever Overhead" 366(9)
EUDORA WELTY,
"Why I Live at the P.O." 375
Glossary G-1
Credits C-1
Index I-1
How to Use This Book xiii
Acknowledgments xix
Theory and Practice: An Introduction xxi
PART I Reading and Imitating the Master Stylists 1(272)
CHAPTER 1 PLOT AND STRUCTURE 3(25)
The Art of the Echo
ANDREA BARRETT 3(25)
"The Behavior of the Hawkweeds" 4(1)
Notes on Craft and Context 21(1)
On Point of View in Structure 21(1)
On Characterization in Structure 21(1)
On Theme in Structure 21(1)
On Theme in Plot 22(1)
On Time Span: The Structure of Plot 22(1)
On Plot and Structure: Putting It Together 23(1)
On History and Invention 23(3)
Applications and Connections 26(1)
Exercises 26(2)
CHAPTER 2 A PRIMER FOR NARRATIVE STYLES 28(29)
Self Reflexive Fiction and the World within the Word
JOHN BARTH 28(29)
"Lost in the Funhouse" 30(1)
Notes on Craft and Context 49(1)
On Form and Language in Style 49(1)
On Theme in Style 50(1)
Author as Character, Character as Author 51(1)
On Fiction about Fiction 52(1)
"Lost in the Funhouse" as a Primer for Narrative Styles 53(1)
On Self Reflexive Imitation 53(1)
Applications and Connections 54(1)
Exercises 55(1)
Examples of Student Work 55(2)
CHAPTER 3 CHARACTER AND THE EPIPHANIC MOMENT 57(19)
Learning to Reveal the Hidden
CHARLES BAXTER 57(19)
"Fenstad's Mother" 58(1)
Notes on Craft and Context 70(1)
On Plot in Characterization 70(1)
Counterpointed Characterization: Protagonist and Antagonist 71(1)
The Epiphanic Moment 71(1)
Humor and Dialogue in Characterization 72(1)
Extras: Allusions in Characterization 72(1)
Life off the Page: Development of Minor Characters 73(1)
On Real Characters 73(1)
Applications and Connections 74(1)
Exercises 74(2)
CHAPTER 4 DIALOGUE 76(31)
Minimalism and the Monologue
RAYMOND CARVER 76(31)
"A Small, Good Thing" 77(1)
Notes on Craft and Context 97(1)
On Economy in Language and Dialogue 97(1)
On Expansion as Revision 98(1)
Fleshing Out a Story 99(1)
On Character: Names and Distance 100(1)
On Point of View and Distance 100(1)
On the Selection of Details 101(1)
On Dialogue and Monologue 101(1)
On Evoking Emotional Intensity through Restraint 103(1)
Applications and Connections 103(1)
Exercises 104(1)
Examples of Student Work 104(3)
CHAPTER 5 THEME AND THE SELECTION OF DETAIL 107(21)
Writing Up Close and at a Distance
RICHARD FORD 107(21)
"Communist" 108(1)
Notes on Craft and Context 122(1)
Details: On Time Span 122(1)
Writing Up Close 123(1)
Writing at a Distance 123(1)
Summary vs. Dialogue 123(1)
Details: On What's Left Unsaid 124(1)
The Selection of Details 124(1)
On Details in Theme 125(1)
On Setting in Theme 125(1)
Applications and Connections 126(1)
Exercises 127(1)
CHAPTER 6 COMPRESSION 128(17)
Prose as Architecture
ERNEST HEMINGWAY 128(17)
"Chapter VII" 130(1)
Notes on Craft and Context 130(1)
On Compression and Style 130(1)
On Point of View in Style 131(1)
On Word Choice and Syntax 131(1)
"In Another Country" 132(1)
Notes on Craft and Context 136(1)
On Tense and Point of View 136(1)
On Dialogue and Language 137(1)
On Prose as Architecture 137(1)
Applications and Connections 138(1)
Exercises 139(1)
Examples of Student Work 140(5)
CHAPTER 7 SETTING 145(23)
Perception, Place, and Displacement
BHARATI MUKHERJEE 145(23)
"The Management of Grief " 147(1)
Notes on Craft and Context 161(1)
On Setting: Empathy and the Unfamiliar 161(1)
The Facts: Setting the Scene 162(1)
On Collective Catastrophes and Shared Grief 162(1)
On Place and Displacement 162(1)
On Fate 163(1)
On Displaced Characters 163(1)
On the Unreliable Narrator 164(1)
On Perception and Displacement 164(1)
On Displacement as Bond and Conflict 165(1)
On Time and Place in Displacement 165(1)
Applications and Connections 166(1)
Exercises 166(2)
CHAPTER 8 POINT OF VIEW AND COMIC TIMING 168(16)
You and I
LORRIE MOORE 168(16)
"How to Become a Writer" 170(1)
Notes on Craft and Context 176(1)
On Second-Person Point of View 176(1)
You as You and I 176(1)
On Parody 177(1)
On Nontraditional Plot 177(1)
Not One Climax, but Many: Episodic Plot 178(1)
Humor: Rhythm and Diction 178(1)
Point of View: Sharing the Joke and the Darkness 179(1)
Applications and Connections 179(1)
Exercises 180(1)
Examples of Student Work 180(4)
CHAPTER 9 DRAMATIC ENCOUNTER 184(22)
Mixing the Accidental and the Foreordained
FLANNERY O'CONNOR 184(22)
"A Good Man Is Hard to Find" 185(1)
Notes on Craft and Context 199(1)
On the Plot 199(1)
On the Foreordained 200(1)
On Humor and Horror 200(1)
Plot: Escalating Danger 200(1)
On Character Driving Plot 201(1)
On Hints from Minor Characters 201(1)
On Free Will and Predestination 201(1)
On Pace and the Dramatic Encounter: Sustaining Hope 202(1)
On Character and Grace 202(1)
On Symbolic and Thematic Implications 203(1)
After the Dramatic Encounter 203(1)
Applications and Connections 204(1)
Exercises 205(1)
CHAPTER 10 LANGUAGE AND FORM 206(27)
The Power of Data and Lists
TIM O'BRIEN 206(27)
"The Things They Carried" 208(1)
Notes on Craft and Context 223(1)
The Challenges of "True" Narrative 223(1)
On Form: The List Story 223(1)
On the Tonality and Weight of Lists 224(1)
On Style and Rhythm 225(1)
On Dialogue and Specific Language 226(1)
On the Individual and Universal Character 226(1)
On Invention as Truth Seeking and Narrative Posturing 227(1)
Drawing Connections: Hemingway and Barth 228(1)
From Imitation to Original Creation 228(1)
Applications and Connections 228(1)
Exercises 229(1)
Examples of Student Work 230(3)
CHAPTER 11 THE PROCESS OF REVISION 233(24)
Inflected English
BERNARD MALAMUD 233(24)
"The Magic Barrel" 235(1)
Notes on Craft and Context 249(1)
Revision as Creation 250(1)
On the Process of Revision 250(1)
On Creating and Revising Characters 253(1)
On Magical Realism 253(1)
On Style and Dialogue 253(1)
On Style and Description 254(1)
On Plot and Point of View 254(1)
Getting the Ending Right 254(1)
On Theme without Reduction 255(1)
Applications and Connections 255(1)
Exercises 256(1)
CHAPTER 12 AUTOBIOGRAPHY VS. INVENTION 257(16)
Blending Fantasy and Reality
JAMAICA KINCAID 257(16)
"My Mother" 258(1)
Notes on Craft and Context 262(1)
Reading Genre: Fantasy or Reality? 262(1)
On Autobiography in Fiction 263(1)
On Culture: Reinventing Narrative 263(1)
On Autobiography and Symbol 264(1)
Representative Character and Conflict 264(1)
Episodic Plot: Transformation and Flux 265(1)
Concrete Detail in Invention 265(1)
On Imitation and Autobiography 266(1)
On Interchangeable Identity and Language 266(1)
The Concrete in the Abstract 267(1)
Applications and Connections 267(1)
Exercises 268(1)
Examples of Student Work 268(5)
PART II An Anthology 273
(A short story by each of the following authors, with ten exercises attached)
JOHN CHEEVER,
"Reunion" 275(4)
PETER HO DAVIES,
"Relief" 279(9)
JUNOT DIAZ,
"How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie" 288(4)
STUART DYBEK,
"We Didn't" 292(10)
AMY HEMPEL,
"In the Cemetery Where Al Jolson Is Buried" 302(8)
GISH JEN,
"Who's Irish?" 310(10)
JHUMPA LAHIRI,
"Sexy" 320(17)
REGINALD MCKNIGHT,
"The Kind of Light That Shines on Texas" 337(11)
GRACE PALEM,
"Faith in the Afternoon" 348(11)
GEORGE SAUNDERS,
"The Wavemaker Falters" 359(7)
DAVID FOSTER WALLACE,
"Forever Overhead" 366(9)
EUDORA WELTY,
"Why I Live at the P.O." 375
Glossary G-1
Credits C-1
Index I-1
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