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 is – 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 Ring or even a Magical-Realist novel such as One Hundred Years of Solitude 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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