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MacKay - The Cambridge Introduction to the Novel (Cambridge Introductions to Literature)

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MacKay The Cambridge Introduction to the Novel (Cambridge Introductions to Literature)
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Beginning its life as the sensational entertainment of the eighteenth century, the novel has become the major literary genre of modern times. Drawing on hundreds of examples of famous novels from all over the world, Marina MacKay explores the essential aspects of the novel and its history: where novels came from and why we read them; how we think about their styles and techniques, their people, plots, places, and politics. Between the main chapters are longer readings of individual works, from Don Quixote to Midnights Children. A glossary of key terms and a guide to further reading are included, making this an ideal accompaniment to introductory courses on the novel.

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The Cambridge Introduction to The Novel
Beginning its life as the sensational entertainment of the eighteenth century, the novel has become the major literary form of modern times. Drawing on a wide range of examples of famous novels from all over the world, Marina MacKay explores the essential aspects of the novel and its history: where novels came from and why we read them; how we think about their styles and techniques, their people, plots, places, and politics. Between the main chapters are longer readings of individual works, from Don Quixote to Midnights Children . A glossary of key terms and a guide to further reading are included, making this an ideal accompaniment to introductory courses on the novel.
Marina MacKay is Associate Professor of English at Washington University in St. Louis. Her publications include Modernism and World War II (Cambridge, 2007) and, as editor, The Cambridge Companion to the Literature of World War II (2009).
Cambridge Introductions to
Authors
Margaret Atwood Heidi Macpherson
Jane Austen Janet Todd
Samuel Beckett Ronan McDonald
Walter Benjamin David Ferris
J. M. Coetzee Dominic Head
Joseph Conrad John Peters
Jacques Derrida Leslie Hill
Emily Dickinson Wendy Martin
George Eliot Nancy Henry
T. S. Eliot John Xiros Cooper
William Faulkner Theresa M. Towner
F. Scott Fitzgerald Kirk Curnutt
Michel Foucault Lisa Downing
Robert Frost Robert Faggen
Nathaniel Hawthorne Leland S. Person
Zora Neale Hurston Lovalerie King
James Joyce Eric Bulson
Herman Melville Kevin J. Hayes
Sylvia Plath Jo Gill
Edgar Allen Poe Benjamin F. Fisher
Ezra Pound Ira Nadel
Jean Rhys Elaine Savory
Edward Said Conor McCarthy
Shakespeare Emma Smith
Shakespeares Comedies Penny Gay
Shakespeares History Plays Warren Chernaik
Shakespeares Tragedies Janette Dillon
Harriet Beecher Stowe Sarah Robbins
Mark Twain Peter Messent
Edith Wharton Pamela Knights
Walt Whitman M. Jimmie Killingsworth
Virginia Woolf Jane Goldman
William Wordsworth Emma Mason
W. B. Yeats David Holdeman
Topics
The American Short Story Martin Scofield
Comedy Eric Weitz
Creative Writing David Morley
Early English Theatre Janette Dillon
English Theatre, 16601900 Peter Thomson
Francophone Literature Patrick Corcoran
Modern British Theatre Simon Shepherd
Modern Irish Poetry Justin Quinn
Modernism Pericles Lewis
Narrative (second edition) H. Porter Abbott
The Nineteenth-Century American Novel Gregg Crane
The Novel Marina MacKay
Postcolonial Literatures C. L. Innes
Postmodern Fiction Bran Nicol
Russian Literature Caryl Emerson
Scenography Joslin McKinney and Philip Butterworth
The Short Story in English Adrian Hunter
Theatre Historiography Thomas Postlewait
Theatre Studies Christopher Balme
Tragedy Jennifer Wallace
Victorian Poetry Linda K. Hughes
The Cambridge Introduction to The Novel
Marina MacKay
CAMBRIDGE UNIVERSITY PRESS Cambridge New York Melbourne Madrid Cape Town - photo 1
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Dubai, Tokyo, Mexico City
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521713344
Marina MacKay 2011
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2011
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
Library of Congress Cataloguing in Publication data
MacKay, Marina, 1975
The Cambridge introduction to the novel / Marina MacKay.
p. cm. (Cambridge introductions to literature)
Includes bibliographical references and index.
ISBN 978-0-521-88575-1 ISBN 978-0-521-71334-4 (pbk.)
1. FictionHistory and criticism. I. Title.
PN3353.M245 2010
809.3dc22.
2010034946
ISBN 978-0-521-88575-1 Hardback
ISBN 978-0-521-71334-4 Paperback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Acknowledgments
Writing this book would never have crossed my mind had it not first crossed the mind of Ray Ryan at Cambridge University Press. Its a real pleasure to express my gratitude to Ray for his truly extraordinary support over a number of years and projects. I would like also to thank his colleagues for their exemplary responsiveness, and to thank the Presss readers for reviewing the proposal with such insight and generosity. A number of collaborations and conversations in recent years helped me to figure out what I wanted to say, and my thanks to Miriam Bailin, Robert Caserio, Michael Gardiner, Andrzej Gasiorek, Allan Hepburn, Peter Kalliney, Pericles Lewis, Leo Mellor, Petra Rau, Neil Reeve, Wolfram Schmidgen, Lyndsey Stonebridge, and Steve Zwicker. Much older debts, unthinkingly incurred but gratefully remembered, are owed to Mr. Tony Ashe, Professor Jon Cook, Professor Robert Crawford, Dr. Michael Herbert, Dr. Ian Johnson, Dr. Paul Magrs, Mr. Phillip Mallett, the late Professor Lorna Sage, and Professor Victor Sage. Sincere thanks, too, to my senior colleagues David Lawton, Joe Loewenstein, and Vince Sherry for moral support and more, and to my wonderful undergraduates at Washington University in St. Louis for their braininess and sheer good will. My affectionate thanks, finally, to Lara Bovilsky and Donald MacKay for timely comic distraction, and to my best friend Dan Grausam for everything else.
St. Louis,
May 2009
About this book
Many of the eighteenth-century critics who observed the appearance of this new literary species would have been astounded to learn that the frivolous, fashionable novel so beloved of silly females would eventually be considered deserving of a scholarly introduction (with the Cambridge University Press imprimatur, no less!). And not even the novelists themselves could have imagined that they were contributing to what would ultimately become the major literary form of modern times, both inside and outside the university. This book begins by telling the story of that extraordinary rise, before going on to describe in more detail the particular formal characteristics and qualities we associate with the novel. Later chapters are concerned with types of novel: the genre novel, the experimental novel, the novel of nation and community.
Each chapter addresses a formal or historical aspect of the novel, drawing examples and illustrations from a range of novels often from very different times and places. Between these main chapters are more sustained readings of individual works, intended to suggest how the generalizations of the summary chapters might be put to specific uses. Arranged mostly in the order of their publication, these interchapters collectively offer, well, certainly not the story but one story of the novel running from Cervantes to Rushdie. But these should be considered optional reading, and, if the main chapters work as they were intended, student readers will be able to think of favorite novels with which to replace mine. Although the books broad drift is historical, moving closer to the present day as it proceeds, the main chapters are fairly self-contained, and can be read selectively and/or out of order.
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