I have been terrible at updating this site, and in being creatively generally, not only since the start of this year, this new decade, but a little while before. I’m not sure I believe in writer’s block exactly, it sounds like an excuse, but I’ve certainly had a dearth of creative output. Well, I’ve been writing my dissertation, but that’s only been here and there. No, I just haven’t been inspired for a while, and I’ve been busy, well, busyish. What have I been doing? I’m currently addicted to two games for a start: Forza Motorsport 3 and Dragon Age: Origins. The first is, as the name implies, a car game. I’m not even that into cars, a few months ago I couldn’t tell an R8 from a Veyron, a Dino from a Testarossa, but somehow I’ve been addicting to driving around in virtual sports cars, and it’s time-consuming. The second of those games is an epic fantasy game of the really geeky sort, with elves and dwarves and mages and such. I wouldn’t say I’m a fan of that sort of thing, though I like the Lord of the Rings movies, but it’s such a well-made game that can’t help but love it. Girlfriends take up time too, but I can hardly complain about that.

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This is an essay that I wrote as part of my university course, a little heavy-going perhaps, but it was something I enjoyed writing and I suppose some people may enjoy reading, so here it is:

Only one reason is shared by all of us [novelists]: We wish to create worlds as real as, but other than the world that is¹ – John Fowles

‘Real’ is subjective, changing from person to person and with the passing of time. Because of this indefinite nature, the representation of what is ‘real’ both in literature and in other art, has always been difficult. While all novelists may “wish to create worlds as real as, but other than the world that is,” absolute ‘realism’ has not been the primary goal of every novel ever written: Many seek only to create enough of an internal realism to sustain suspension of disbelief. For example, no one would mistake a fantasy novel such as The Fellowship of the Ring² or even a Magical-Realist novel such as One Hundred Years of Solitude³ as reality because of the implausible and fantastic aspects of them. But there have been various movements and individual novels over the last century-and-a-half that have sought to represent the most ‘realistic’ real possible, to get as close to life as art can.

Three movements for which this has been the goal are Realism, Modernism and Post-Modernism, and three novels that typify the objectives of these movements are George Eliot’s Middlemarch (1872), James Joyce’s Ulysses (1922) and Italo Calvino’s If on a Winter’s Night a Traveller (1979). Each of these movements and novels has sought to be ‘realistic’ in a different way.

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