Challenge of the idea of 'the novel'
How, and to what extent, do the texts on this unit challenge the idea of “the novel‟?
The conventions of “the traditional novel” are almost completely disregarded in twentieth century avant-garde fiction. According to Hutcheon, a healthy piece of postmodern fiction ‘paradoxically uses and abuses the conventions of both realism and modernism, and does so in order to challenge their transparency’ (1988, p. 53). Despite this, what effectively happens with avant-garde literature is that each text becomes modelled on a previous avant-garde piece. Therefore, avant-garde itself becomes a genre of tradition and characteristics that the reader comes to expect. Kostelanetz’s concurs with this idea when he states ‘Because avant-gardes are customarily regarded as succeeding each other, they are equated with the world of fashion, in which styles also succeed each other’ (1982, p. 5). The idea raised here is that like fashion, avant-garde literature adapts and changes yet still remains conscious of what was produced before it. Therefore, when considering avant-garde, many immediately point towards an ‘experimental’ type of literature. ‘Experimental’ and avant-garde are, however, two separate genres, as experimental means trying something new. Avant-garde has become a ‘tradition’ in itself, thus suggesting that the challenge presented many of the later dated texts on this unit is apparent yet diluted. Avant-garde has seemingly weakened its challenging nature as decades go on, though an element of challenge still remains. What must be considered is what is “the novel” and have some pieces of contemporary avant-garde pieces become part of it. In essence, avant-garde as a genre definitely challenges the concept of “the novel” yet some texts within the genre are heavily influenced by previous ones, thus making them less experimental and/or challenging.
In order to be able to assess the extent at which “the novel” is challenged, a definition of “the novel” must be
The conventions of “the traditional novel” are almost completely disregarded in twentieth century avant-garde fiction. According to Hutcheon, a healthy piece of postmodern fiction ‘paradoxically uses and abuses the conventions of both realism and modernism, and does so in order to challenge their transparency’ (1988, p. 53). Despite this, what effectively happens with avant-garde literature is that each text becomes modelled on a previous avant-garde piece. Therefore, avant-garde itself becomes a genre of tradition and characteristics that the reader comes to expect. Kostelanetz’s concurs with this idea when he states ‘Because avant-gardes are customarily regarded as succeeding each other, they are equated with the world of fashion, in which styles also succeed each other’ (1982, p. 5). The idea raised here is that like fashion, avant-garde literature adapts and changes yet still remains conscious of what was produced before it. Therefore, when considering avant-garde, many immediately point towards an ‘experimental’ type of literature. ‘Experimental’ and avant-garde are, however, two separate genres, as experimental means trying something new. Avant-garde has become a ‘tradition’ in itself, thus suggesting that the challenge presented many of the later dated texts on this unit is apparent yet diluted. Avant-garde has seemingly weakened its challenging nature as decades go on, though an element of challenge still remains. What must be considered is what is “the novel” and have some pieces of contemporary avant-garde pieces become part of it. In essence, avant-garde as a genre definitely challenges the concept of “the novel” yet some texts within the genre are heavily influenced by previous ones, thus making them less experimental and/or challenging.
In order to be able to assess the extent at which “the novel” is challenged, a definition of “the novel” must be
Bibliography: Acker, K. (1982). Great Expectations. New York: Grove Press. Allen, C. (2007). Literary Adaptations: A Selection from 1960-1990. London: Cambridge University Press. Burroughs, W. (1961). The Soft Machine. Paris: Olympia. Dickens, C. (1860). Great Expectations. London: Penguin Modern Classics. Gelder, K Hardy, B. (1970) The Moral Art of Dickens. New York: Oxford University Press. Hutcheon, L. (1988). A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge. Kostelanetz, R. (1982). The Avant-Garde Tradition in Literature. New York: Prometheus. McKeon, M. (2000). Theory of the Novel: A Historical Approach. New York: Johns Hopkins University Press Poggioli, R Wollen, C. (2006). (Scholder, Harryman & Ronell ed.) Just For Life: On the Writings of Kathy Acker. New York: Verso. Waugh, P