Earlier today John pointed toward Nigel Beale’s cleverly-titled criticism of my post “Tiny Shocks: Uncovering the Reductive Plot of James Wood’s How Fiction Works.” I’m looking forward to Nigel’s longer criticism; in the meantime I thought I’d reply regarding the mistakes Wood makes in his readings of Viktor Shklovsky and William H. Gass, since Nigel asked specifically about them:
Does Wood ‘misunderstand’ Gass? Is his reading of Shklovsky ‘demonstrably wrong’? Are these ‘intellectual errors’ or are they mischievous ploys to argue (successfully I’d say) points which you just don’t agree with? Who’s being Ad hominem here?
(Nigel, I hope you don’t mind my calling you by your first name; since we’re Facebook friends now, and I hope you’ll call me Adam. It keeps things friendlier!)
And let me say that it’s certainly fair for Nigel to take issue with my calling Wood’s account “smug and small” etc. Those are critical words, granted. I stand by them, however, as fitting descriptions of Wood’s argument and the manner in which he makes it: Wood’s reading of fiction in How Fiction Works is reductive, and I believe that a critic of his stature is capable of far better. (He studied with Frank Kermode!)
OK, on to the formalists.
Nigel Beale, a “writer, broadcaster, bibliophile,” and, it appears, fan of and apologist for James Wood, insults Big Other’s contributors and commenters in a post that can be found HERE. Without a semblance of critical thinking, he calls A D Jameson’s essay, “Tiny Shocks: Uncovering the Reductive Plot of James Wood’s How Fiction Works”, a “lengthy eructation of ill conceived, frequently picayune argument contra James Wood’s How Fiction Works.” But he follows this with nothing that would back up his dismissal.
A pleasant looking book.
[Update: As if this post weren’t long enough, there’s now a Part 2.]
On January 22, I read Shya Scanlon’s post “The Dull King”; on January 25 I read his second post “Cover Your Tracks.” Both were about reading James Wood’s How Fiction Works. Before that I’d heard of James Wood but hadn’t read anything by him; I knew some people liked him and some didn’t like him. I myself had no opinion about the guy. Nor did I have any real plan to read How Fiction Works. But still I posted a couple of comments on Shya’s posts, and Shya wrote back, and I wrote back, and before I knew it I’d written a very long comment that I turned into my own post, “Uncover Your Tracks.”
Then I thought what the hell and trudged through the snow to Columbia College. That was a fun trip; the library elevators weren’t working, and a security guard had to escort me up to the fifth floor. It felt like the normal world had gotten broken, and something exciting was taking place. I took that as a sign that I was on the right track. I went home right away and read the book from cover to cover….
Who knows what all is down there?
Shya posted something two days ago about James Wood’s How Fiction Works, in which Wood advocates the use of “free indirect style”:
The entire book is built around a concept he calls “free indirect style,” which essentially refers to a prose style for which Gustave Flaubert is largely responsible. One of the hallmarks of this style is that the language is most often experienced by the reader to be that of the book’s narrator or protagonist. Cases, therefore, where a description or word choice does not suit the narrator, and therefor invokes the author, are seen by James Wood as essentially a flaw. Well, at least an inferior style.
A bunch of people posted responses, and I posted a couple of responses, and Shya posted a couple of responses. And then this morning I was going to post yet another response. But then it got long-winded (a weakness of mine), and went off on a few tangents, and then I realized I wanted to embed some pictures and YouTube videos (another weakness). So I made it a post. I made it this post!