by James Wood
Brontë, Charlotte
The Brothers Karamazov (Dostoevsky)
Browne, Sir Thomas
Browning, Robert
Buddenbrooks (Mann)
Camus, Albert
The Castle (Kafka)
Cather, Willa
Céline, Louis-Ferdinand
Cervantes, Miguel de
characters of
detail depiction by
narration by
Cézanne, Paul
characters. See also author-character overlaps; consciousness of characters
and absence in characterization
belief in
detail’s influence on
in film
flat v. round
form’s tie to
introduction of
minor
in Miss Jean Brodie
novelistic
in postmodern literature
self-theatricalizing
“solidly realized”
Sparks’s depiction of
static
sympathy’s tie to
The Charterhouse of Parma (Stendhal)
Chekhov, Anton
characters of
detail depiction by
metaphor use by
narration by
Christie, Agatha
Christie Malry’s Own Double-Entry (Johnson)
clichés
close third person. See free indirect style narration
Coetzee, J. M.
Cole, Teju
Coleridge, Samuel Taylor
The Comforters (Spark)
Confessions of an English Opium-Eater (De Quincey)
Connolly, Cyril
Conrad, Joseph
characters of
consciousness of characters
audience as factor in
characterological relativity and
Dostoevsky and
form’s influence by
motivation’s exploration via
psychology and humanity explored in
in Rameau’s Nephew
Contre Sainte-Beuve (Proust)
convention
in realist literature
Cooper, Dennis
The Counterlife (Roth)
Crane, Stephen
Crime and Punishment (Dostoevsky)
criticism
formalist v. ethical
form’s tie to
The Crying of Lot 49 (Pynchon)
“Daughters of the Late Colonel” (Mansfield)
David, King
David Copperfield (Dickens)
Davis, Lydia
“The Dead” (Joyce)
Death Comes to the Archbishop (Cather)
Death of Ivan Ilyich (Tolstoy)
Defoe, Daniel
DeLillo, Pynchon
Dept. of Speculation (Offill)
De Quincey, Thomas
detail depiction
character building via
flaneur as device for
Flaubert and
habitual v. dynamic
moderate v. extensive
modern realist narrative and
and mystery, advantages of
real life detail v. literary
relevant v. irrelevant
“telling” v. “untelling” forms of
“thisness” and palpability of
time signatures and
vague v. specific
dialogue, meaning and
Dickens, Charles
characters of
Diderot, Denis
Don Quixote (Cervantes)
Dostoevsky, Fyodor
characters of
detail depiction by
psychological study by
Dreiser, Theodore
Dumas, Marguerite
Duns Scotus, John
Dyer, Geoff
L’Eclisse (film)
Edwards, Jonathan
Effi Briest (Fontane)
The Elegant Variation (blog)
The Elements of Drawing (Ruskin)
Eliot, George
realism and
Elizabeth Costello (Coetzee)
Ellison, Ralph
Embers (Márai)
Emerson, Ralph Waldo
The Emigrants (Sebald)
Emma (Austen)
Endgame (Beckett)
“The End of the Novel” (Mandelstam)
The English Novel (Ford)
Erpenbeck, Jenny
The Eternal Husband (Dostoevsky)
Eugene Onegin (Pushkin)
Far from the Madding Crowd (Hardy)
Faulkner, William
Ferrante, Elena
form and
fiction. See also convention; formalism; modernism; postmodernism; realism
consistency and plausibility in
self-reflective
verisimilitude and
Fielding, Henry
characters of
detail depiction by
film
commercial
self-reflexive
The Finishing School (Spark)
first-person narration
Fitzgerald, F. Scott
Fitzgerald, Penelope
the flaneur (loafer)
Flaubert, Gustave
characters of
detail depiction by
flaneur narration by
language of
modern realist narrative and
time signatures and
Fontane, Theodor
Ford, Ford Madox
on characters
on form
form
characters’ influence on
of Dept. of Speculation
ethical
in fiction v. non-fiction
modernism’s influence on
moral
novelistic convention and
philosophical aspects of
plot’s variance from
formalism
Forster, E. M.
Frantumaglia (Ferrante)
free indirect style narration
author-character overlap in
detail depicted via
flaneur as device for
James’s use of
mistakes/tensions in
in mock-heroic comedy
Freud, Sigmund
Fuentes, Carlos
García Márquez, Gabriel
Garnett, Constance
Gass, William
Gervais, Ricky
The Gift (Nabokov)
Gilead (Robinson)
Giles, Patrick
Ginsberg, Allen
Glendinning, Victoria
Glück, Louise
Goodbye to Berlin (Isherwood)
The Good Soldier (Ford)
Gracq, Julien
Grant, Ulysses S.
Gravity’s Rainbow (Pynchon)
Great Expectations (Dickens)
Green, Henry
on dialogue
metaphor use by
Greenblatt, Stephen
The Guermantes Way (Proust)
Hadji Murad (Tolstoy)
Hamsun, Knut
“A Hanging” (Orwell)
Hardy, Thomas
characters of
metaphor use by
on realism
Heart of Darkness (Conrad)
Hemingway, Ernest
Hemon, Aleksandar
Henry IV, Part 1 (Shakespeare)
Henry IV, Part 2 (Shakespeare)
Henry V (Shakespeare)
Heti, Sheila
Homer
Hopkins, Gerald Manley
Houellebecq, Michel
Housekeeping (Robinson)
A House for Mr. Biswas (Naipaul)
How Should a Person Be? (Heti)
How to Both (Smith)
human behavior, psychology of
Dostoevsky and
literature’s exploration of
moral philosophy and
Hunger (Hamsun)
/> “Hurrahing in Harvest” (Hopkins)
“hypotyposis”
Ibsen, Henrik
The Idiot (Dostoevsky)
The Iliad (Homer)
Invisible Man (Ellison)
irony
authorial
Isherwood, Christopher
Ishiguro, Kazuo
James, Henry
characters of
detail depiction by
form and
metaphor use by
narration by
James, P. D.
Jane Eyre (Brontë)
Johnson, B. S.
Johnson, Denis
Johnson, Samuel
Joseph Andrews (Fielding)
Joseph Conrad (Ford)
Josipovici, Gabriel
Journey to the End of the Night (Céline)
Joyce, James
detail depiction by
narration by
Kaddish (Ginsberg)
Kafka, Franz
Kant, Immanuel
Keats, John
Kennedy-Nixon debates
Kenner, Hugh
Kiarostami, Abbas
King Lear (Shakespeare)
“The Kiss” (Chekhov)
Knausgaard, Karl Ove
form and
realism and
Krauss, Nicole
Kundera, Milan
Labyrinth of Solitude (Paz)
“The Lady with the Little Dog” (Chekhov)
language
of Bellows
metaphors/similes in
registers of
repetition in
rhythm of
of Roth
simplicity in
of the world
Larkin, Philip
Lawrence, D. H.
characters of
language of
metaphor use by
le Carré, John
Lectures on Rhetoric and Belles Lettres (Smith)
Lerner, Ben
Levi, Primo
Lewis, Sinclair
Lives (Plutarch)
Lolita (Nabokov)
Lord Jim (Conrad)
Loving (Green)
Lowe, Brigid
Lyrical Ballads (Coleridge/Wordsworth)
Macbeth (Shakespeare)
Madame Bovary (Flaubert)
The Magic Mountain (Mann)
Make Way for Ducklings (McCloskey)
Mandelstam, Osip
Mann, Thomas
characters of
detail depiction by
Mansfield, Katherine
The Man Who Loved Children (Stead)
Márai, Sándor
Marías, Javier
Mating (Rush)
Maupassant, Guy de
Maxwell, Glyn
The Mayor of Casterbridge (Hardy)
McCarthy, Cormac
McCloskey, Robert
McEwan, Ian
Melville, Herman
Memento Mori (Spark)
Meredith, George
Metamorphosis (Kafka)
metaphors/similes
character-appropriate
free indirect style and
mixed
overuse of
Michelet, Jules
Middlemarch (Eliot)
Milton, John
mimesis. See realism
“Mr. Bennett and Mrs. Brown” (Woolf)
mnemonic leitmotifs
mock-heroic comedy
modernism. See also postmodernism; realism
Molière
Moody, Rick
The Moon and the Bonfire (Pavese)
Moral Luck (Williams)
moral philosophy
Mortals (Rush)
Munro, Alice
Murdoch, Iris
on characters
“Musée des Beaux Arts” (Auden)
Musil, Robert
My Brilliant Friend (Ferrante)
“My First Fee” (Babel)
My Struggle (Knausgaard)
Mythologies (Barthes)
Nabokov, Vladimir
characters of
detail depiction by
metaphor use by
Nagel, Thomas
Naipaul, V. S.
dialogue by
narration. See also free indirect style narration
first-person
via the flaneur
Flaubert and
mistakes in
using modern narrative
third-person free indirect style
third-person omniscient
village-chorus
The Nearest Thing to Life (Eliot)
Nelson, Maggie
A New Mimesis (Nuttall)
Nietzsche, Friedrich
Nixon-Kennedy debates
No Country for Old Men (McCarthy)
Nostromo (Conrad)
The Notebooks of Malte Laurids Brigge (Rilke)
Notes from Underground (Dostoevsky)
“novelism”
“The Novelist” (Auden)
Nuttall, A. D.
“Odour of Chrysanthemum” (Lawrence)
The Odyssey (Homer)
O’Faolain, Sean
Offill, Jenny
“The Old System” (Bellow)
One Hundred Years of Solitude (García Márquez)
On Trust (Josipovici)
Open City (Cole)
origins of the novel
Orwell, George
Pavese, Cesare
Paz, Octavio
“Peasants” (Chekhov)
La Peau de chagrin (Balzac)
Pedro Páramo (Rulfo)
Pericles (Shakespeare)
The Periodic Table (Levi)
Persuasion (Austen)
Pessoa, Fernando
Plato
plot
form’s variance from
Plutarch
Pnin (Nabokov)
Poe, Edgar Allan
Poetics (Aristotle)
poetry
mock-heroic
Pope, Alexander
A Portrait of the Artist as a Young Man (Joyce)
Portrait of a Lady (James)
The Possessed (Dostoevsky)
postmodernism
characters and
films and
self-reflexive
Potter, Beatrix
Pour un nouveau roman (Robbe-Grillet)
Powers, J. F.
“Preface to Shakespeare” (Johnson)
The Prelude (Wordsworth)
Pride and Prejudice (Austen)
The Prime of Miss Jean Brodie (Spark)
Pritchett, V. S.
Proust, Marcel
characters of
detail depiction by
Pushkin, Alexander
Pynchon, Thomas
The Radetzky March (Roth)
The Rainbow (Lawrence)
Rameau’s Nephew (Diderot)
The Rape of the Lock (Pope)
realism. See also characters; detail depiction
changing landscapes of
commercial
convention within
detail’s relation to
in fiction v. non-fiction
French language and perception of
“hypotyposis” and
lifeness as
moderate
self-reflective
truthfulness v.,
verisimilitude and
“The Reality Effect” (Barthes)
Reality Hunger (Shields)
The Red and the Black (Stendhal)
The Red Badge of Courage (Crane)
registers of language
“La Reine Hortense” (Maupassant)
Remains of the Day (Ishiguro)
repetition
ressentiment
Richardson, Samuel
Rilke, Rainer Maria
Robbe-Grillet, Alain
Robinson, Marilynne
Robinson Crusoe (Defoe)
Roth, Joseph
; Roth, Philip
registers used by
“Rothschild’s Fiddle” (Chekhov)
Rousseau, Jean-Jacques
Rulfo, Juan
Rush, Norman
Ruskin, John
Sabbath’s Theater (Roth)
Saint-Exupéry, Antoine de
Salerno-Sonnenberg, Nadja
Saramago, José
Sarraute, Nathalie
The Savage Detectives (Bolaño)
Sea and Sardinia (Lawrence)
Sebald, W. G.
The Secret Agent (Conrad)
Seize the Day (Bellow)
self-plagiarism
Sentimental Education (Flaubert)
Shaftesbury, Lord
Shakespeare, William
characters of
detail depiction by
metaphor/simile use by
Shields, David
Shklovsky, Viktor
“A Silver Dish” (Bellow)
similes. See metaphors/similes
A Simple Heart (Flaubert)
Sister Carrie (Dreiser)
Smith, Adam
Smith, Ali
Smith, Zadie
soliloquy
Spark, Muriel
characters of
Splendeurs et misères des courtisanes (Balzac)
“Spring” (Hopkins)
Stead, Christina
Stendhal
characters by
Stoner (Williams)
“The Storyteller” (Benjamin)
stream of consciousness
free indirect style and
style, literary. See also characters; detail depiction; form; language; narration
narrating’s ties to
“The Suffering Channel” (Wallace)
Svevo, Italo
sympathy
fiction’s influence on
moral philosophy and
Szalay, David
The Tailor of Gloucester (Potter)
temporal management
“flash-forwards” and
The Temptation of Saint Anthony (Flaubert)
terrorism
Terrorist (Updike)
Tess of the D’Urbervilles (Hardy)
Thackeray, William
Theophrastus
The Theory of Moral Sentiments (Smith)
The Theory of Prose (Shklovsky)
third-person narration. See also free indirect style narration; narration
Through the Olive Trees (film)
Tolstoy, Leo
characters of
detail depiction by
narration by
realism and
sympathy and
Tom Jones (Fielding)
To the Lighthouse (Woolf)
Train Dreams (Johnson)
Trollope, Anthony
Turgenev, Ivan
Twain, Mark
Ulysses (Joyce)
The Unfortunates (Johnson)
Updike, John
detail depiction by
narration by
Valéry, Paul
Vanity Fair (Thackeray)
Verga, Giovanni
village-chorus narration
Vitti, Monica
“The Voyage” (Mansfield)
Wall, Geoffrey
Wallace, David Foster
War and Peace (Tolstoy)
“Ward 6” (Chekhov)
Waugh, Evelyn
The Waves (Woolf)
Wells, H. G.
“What Is It Like to Be a Bat?” (Nagel)
What Maisie Knew (James)
“The Wheelbarrow” (Pritchett)
Whitman, Walt
“The Whitsun Weddings” (Larkin)
Williams, Bernard
Williams, John