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- W2488343478 abstract "Stoppard told Giles Gordon in 1968 that, of the countless books he had read and plays he had sat through, there were very, very few which offered an experience differing from all the other experiences to be expected from books and plays: There are very few books which seem to me to get away from what everybody else is doing. I think that a book like At Swim-Two-Birds is going to influence writers for a century.… How far back can one go?’ he wondered, ‘Tristram Shandy, Ulysses, At Swim-Two-Birds?’1 Stoppard’s yardstick for measuring the value of a novel is, then, the same as he had used in Scene for assessing a play: the remark restates his preoccupation with the need to shake the reader or spectator out of his deep, detached sense of familiarity with what is set before him. The work he admires is that which, by an act of criticism, distances itself from its background; his praise of Tristram Shandy emphasises his closeness to the Formalists in this respect: Shklovsky was fascinated with the way that Sterne freed himself from the conventions of the novel by parodying them.2 Stoppard’s list of books which ‘get away from what everybody else is doing’ (and which, paradoxically, themselves become models for duplication) is also an implicit acknowledgement of the debt he owes to Flann O’Brien, whose At Swim-Two-Birds has a direct influence upon Stoppard’s only novel to date, Lord Malquist and Mr Moon (1966).KeywordsBlack CapeColour HorseSecret KnowledgeStudent NarratorDouble CancellationThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves." @default.
- W2488343478 created "2016-08-23" @default.
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- W2488343478 date "1988-01-01" @default.
- W2488343478 modified "2023-09-26" @default.
- W2488343478 title "The Novel as Hinged Mirror" @default.
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- W2488343478 doi "https://doi.org/10.1007/978-1-349-18970-0_3" @default.
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