Aspects of the Novel - Classic Text | Alexandria
Aspects of the Novel, a seemingly straightforward title for E.M. Forster's seminal work, conceals a deceptively complex exploration into the art of fiction. More than just a guide, it is an invitation to consider the novel not as a rigid form, but as a living entity, shaped by its author yet ultimately existing independently, a point inviting challenge. Derived from a series of lectures delivered at Trinity College, Cambridge in 1927, the book provides an accessible, often humorous, yet deeply insightful look into the elements that constitute a novel.
The lectures themselves were, in a way, a product of their time, emerging from a post-war literary landscape grappling with modernism and searching for new ways to understand narrative. Virginia Woolf's "Mr. Bennett and Mrs. Brown," a direct critique of realist traditions, had stirred up heated debate only a few years prior. This backdrop emphasizes Forster's desire to synthesize, rather than dismantle, the established conventions of the novel. His analysis, however, proved both enduring and surprisingly adaptable.
Forster dissects fiction into seven core "aspects": Story, Plot, People, Character, Pattern and Rhythm. Although his emphasis on character, suggesting that "flat" characters are sometimes as vital as "round" ones, remains particularly influential, debates persist regarding his prioritization of character over plot, especially in relation to modernist and postmodernist narratives. Interestingly, Forster omits any explicit discussion of point of view, a decision some critics see as a significant oversight, while others argue it's a calculated choice, reflecting his emphasis on a more organic, authorial presence.
"Aspects of the Novel" continues to influence literary criticism and creative writing. Its accessible style has made it a staple for students and readers alike, while its subtle provocations encourage ongoing re-evaluation. Does Forster's framework still adequately address the experimental narratives of contemporary fiction, or does the evolving nature of the novel demand a new set of aspects entirely?