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Wayne C. Booth, "The Rhetoric of Fiction (2nd Edition)"

The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.

For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

Contents

& 8220;Foreword to the Second Edition

Preface to the First Edition

Acknowledgments

Part I: Artistic Purity and the Rhetoric of Fiction

 1 Telling and Showing

  Authoritative "Telling" in Early Narration

  Two Stories from the Decameron

  The Author's Many Voices

 2 General Rules, I: "True Novels Must Be Realistic"

  From Justified Revolt to Crippling Dogma

  From Differentiated Kinds to Universal Qualities

  General Criteria in Earlier Periods

  Three Sources of General Criteria: The Work, the Author, the Reader

  Intensity of Realistic Illusion

  The Novel as Unmediated Reality

  On Discriminating among Realisms

  The Ordering of Intensities

 3 General Rules, II: "All Authors Should Be Objective"

  Neutrality and the Author's "Second Self"

  Impartiality and "Unfair" Emphasis

  Impassibilité

  Subjectivism Encouraged by Impersonal Techniques

 4 General Rules, III: "True Art Ignores the Audience"

  "True Artists Write Only for Themselves"

  Theories of Pure Art

  The "Impurity" of Great Literature

  Is a Pure Fiction Theoretically Desirable?

 5 General Rules, IV: Emotions, Beliefs, and the Reader's Objectivity

  "Tears and Laughter Are, Aesthetically, Frauds"

  Types of Literary Interest (and Distance)

  Combinations and Conflicts of Interests

  The Role of Belief

  Belief Illustrated: "The Old Wives' Tale"

 6 Types of Narration

  Person

  Dramatized and Undramatized Narrators

  Observers and Narrator-Agents

  Scene and Summary

  Commentary

  Self-Conscious Narrators

  Variations of Distance

  Variations in Support or Correction

  Privilege

  Inside Views

Part II: The Author's Voice in Fiction

 7 The Uses of Reliable Commentary

  Providing the Facts, Picture, or Summary

  Molding Beliefs

  Relating Particulars to the Established Norms

  Heightening the Significance of Events

  Generalizing the Significance of the Whole Work

  Manipulating Mood

  Commenting Directly on the Work Itself

 8 Telling as Showing: Dramatized Narrators, Reliable and Unreliable

  Reliable Narrators as Dramatized Spokesmen for the Implied Author

  "Fielding" in Tom Jones

  Imitators of Fielding

  Tristram Shandy and the Problem of Formal Coherence

  Three Formal Traditions: Comic Novel, Collection, and Satire

  The Unity of Tristram Shandy

  Shandean Commentary, Good and Bad

 9 Control of Distance in Jane Austen's Emma

  Sympathy and Judgment in Emma

  Sympathy through Control of Inside Views

  Control of Judgment

  The Reliable Narrator and the Norms of Emma

  Explicit Judgments on Emma Woodhouse

  The Implied Author as Friend and Guide

Part III: Impersonal Narration

 10 The Uses of Authorial Silence

  "Exit Author" Once Again

  Control of Sympathy

  Control of Clarity and Confusion

  "Secret Communion" between Author and Reader

 11 The Price of Impersonal Narration, I: Confusion of Distance

  "The Turn of the Screw" as Puzzle

  Troubles with Irony in Earlier Literature

  The Problem of Distance in "A Portrait of the Artist"

 12 The Price of Impersonal Narration, II: Henry James and the Unreliable Narrator

  The Development from Flawed Reflector into Subject

  The Two Liars in "The Liar"

  "The Purloining of the Aspern Papers" or "The Evocation of Venice"?

  "Deep Readers of the World, Beware!"

 13 The Morality of Impersonal Narration

  Morality and Technique

  The Seductive Point of View: Céline as Example

  The Author's Moral Judgment Obscured

  The Morality of Elitism

Afterword to the Second Edition: The Rhetoric in Fiction and Fiction as Rhetoric: Twenty-One Years Later

 Extensions

 Beckett's Company As Example

 Starting Over

Bibliography

Supplementary Bibliography, 1961–82, by James Phelan [no. 364]

Index to the First Edition

Index to the Bibliographies

Index to the Bibliographies by Number

 Bibliography

 Supplementary Bibliography, 1961–82& 8221;

Tags: Literature, LiteraryCriticism, WritingTechnique

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See Also:

Jane Austen, "Emma" (Norton Critical Editions), 3rd Edition

Josephine Ross, "Jane Austen: A Companion"

Janet Todd (ed), "Jane Austen in Context (The Cambridge Edition of the Works of Jane Austen)"

Deirdre Le Faye, "Jane Austen: The World of Her Novels"

Michael Dobson & Stanley Wells (eds), "The Oxford Companion To Shakespeare"

Tom McArthur, "The Oxford Companion to the English Language"

John Rignall (ed), "Oxford Reader's Companion to George Eliot"

R. C. Terry, "Oxford Reader's Companion to Trollope"

Julia Prewitt Brown, "A Reader's Guide to the Nineteenth-Century English Novel"

Ian Gregor (ed), "Reading the Victorian Novel: Detail into Form"

John Sutherland & Deirdre Le Faye, "So You Think You Know Jane Austen? A Literary Quizbook (World's Classics)"

Daniel Pool, "What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist -- The Facts of Daily Life in Nineteenth-Century England"

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