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- W157103042 abstract "TpiROM the very beginning critics had some difficulty placing Per J^ Olof Sundman. When he appeared on the literary scene in 1957, he was immediately recognized as a writer with a style and stature distinctly his own. seemingly simple and straightforward prose of brief, affirmative sentences, the extreme economy of expression, the unadorned concentration of style and the terse, laconic dialogue were reminiscent of the Icelandic saga and of Par Lagerkvist's Cubism. But there was also an astonishing precision and accuracy of observation with an unhurried accumulation of facts and details of indisputable authenticity that lent weight and immediacy to objects and characters. With subsequent books Sundman consolidated his position and in a number of articles and interviews he offered comments on his particular technique and defended himself against charges of being a theoretician of the Thus he writes in 1963: Jag tror inte jag hâller mig med nâgot sa exklusivt som en romanteori. mitt fall ror det sig snarare om en mycket enkel teknik att beratta, en sorts enkel litterar metod.1 In the same year, 1963, Alain Robbe-Grillet published his collection of literary essays under the title Pour un nouveau roman (English translation For a New Novel, 1965). In the opening essay, The Uses of Theory, Robbe-Grillet too begins with an emphatic I am not a theoretician of the novel. Despite the author's protestations, For a New Novel became the work that best summed up the aims and methods of the new generation of French writers who for all their differences in temperament and style had a common point of departure in their rejection of many of the established views on what a novel should be. Robbe-Grillet's own novel Erasers of 1953 had marked the be-" @default.
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- W157103042 date "2016-01-01" @default.
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- W157103042 title "PER OLOF SUNDMAN AND THE FRENCH NEW NOVEL—INFLUENCE OR COINCIDENCE?" @default.
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