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- W2056588290 abstract "Abstract The narrative form of linked profiles in which I wrote The first Moderns can tempt one's historical conscience. Reviewing a recent book by Christopher Benfey the critic Roger Shattuck, something of a non-fiction master himself, noted that Benfey had employed, not quite harmoniously, ‘four recognized and unrelated literary techniques, two traditional and two modern or “postmodem”’. The first two are the didactic historical guidebook and the Dickensian trick of separately introducing sets of characters so they can be brought together later with the illusion of inevitability. The second two are the bringing of ‘apparently unrelated events and lives ... close in time and space’ so that the closeness alone will imply genuine historic significance, and the mixing of fiction with history that gives license to speculate on motives. The resulting book, Shattuck notes, keeps ‘transitions and explanations between sections to a minimum [so that] the bare juxtaposition of elements gives the impression that the materials were simply there, and that, once conceived, the book assembled and wrote itself [with] the reader [supplying] needed connections’. Shattuck correctly labels this style as montage, the quintessential production technique of the movies. Like Tom Stoppard's Travesties and E. L. Doctorow's novel Ragtime (both also set at the tum of the century), it relies on a sort of ragtime of chronological coincidence, and a willingness, perhaps even a habit, on the part of the reader of filling in the transitions, explanations, and connections herself." @default.
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- W2056588290 date "1999-03-01" @default.
- W2056588290 modified "2023-09-25" @default.
- W2056588290 title "Writing intellectual history" @default.
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- W2056588290 doi "https://doi.org/10.1080/15615324.1999.10426690" @default.
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