By Nick Hornby
A new number of nonfiction writing on tradition from the bestselling writer of High Fidelity.
Books, video clips, Rhythm, Blues brings jointly the simplest of Nick Hornby's non-fiction items on movie and television, writers and painters and tune, and together with one unprecedented fragment of autobiography. With material starting from the Sundance pageant to Abbey street Studios, from P.G. Wodehouse to The West Wing, those are items that 'were written for enjoyable, or simply because I felt I had issues to assert and time to claim them, or as the commissions have been strange and inventive, or simply because ... i used to be being requested to head someplace I had by no means been before.'
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Extra info for Books, Movies, Rhythm, Blues: Twenty Years of Writing About Film, Music and Books
The Jamesian formalist tradition places the representation of consciousness – and ultimately the problem of point of view – at the heart of novel studies. ’’ And at times it seems that this is the only quality James requires the novel to possess. ’’6 In an odd way, James and Shklovsky thus both imagine the same origin for prose fiction: human perception. But whereas Shklovsky’s notion of human perception is essentially social, grounded in norms established through the shared experience of habituation, James thinks of perception as radically individualistic, based in his belief that each person’s ‘‘impression of life’’ is unique.
Compare, for example, James’s informal discussion of the difference between romance and realism with Frye’s. For James the use of one mode over another is purely a matter of authorial temperament;16 but for Frye the two modes are symmetrical corners in the perfect square of fictional possibilities: romance and the novel are carefully defined as systematic inversions of one another, with confession and anatomy closing the square. All four categories are in turn defined as degrees of one another, nodal points in a closed system: the novel is extroverted and personal; romance introverted and personal; confession introverted and intellectualized; and the anatomy extroverted and intellectual.
Reis (1917; Lincoln: University of Nebraska Press, 1965) 5. 3 Ibid. 12. 4 Quoted in Henry James, ‘‘The Art of Fiction’’ (1888), in The Future of the Novel: Essays on the Art of Fiction, ed. Leon Edel (New York: Vintage, 1956) 11. 5 Ibid. 5. 2005 4:17pm page 30 6 Ibid. 9. 7 James, Henry James to the Deerfield Summer School (1889), The Future of the Novel: Essays on the Art of Fiction 29. 8 James, ‘‘The Art of Fiction’’ 26. 9 Ibid. 12. 10 James, Roderick Hudson Preface, in The Art of the Novel: Critical Prefaces, ed.
Books, Movies, Rhythm, Blues: Twenty Years of Writing About Film, Music and Books by Nick Hornby