Ratings8
Average rating3.6
"How lovely to discover a book on the craft of writing that is also fun to read . . . Alison asserts that the best stories follow patterns in nature, and by defining these new styles she offers writers the freedom to explore but with enough guidance to thrive." ―Maris Kreizman, Vulture A Publishers Weekly Best Book of 2019 | A Poets & Writers Best Books for Writers As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: “For centuries there’s been one path through fiction we’re most likely to travel― one we’re actually told to follow―and that’s the dramatic arc: a situation arises, grows tense, reaches a peak, subsides . . . But something that swells and tautens until climax, then collapses? Bit masculosexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?" W. G. Sebald’s Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc--or, in nature, wave. Other writers of nonlinear prose considered in her “museum of specimens” include Nicholson Baker, Anne Carson, Marguerite Duras, Gabriel García Márquez, Jamaica Kincaid, Clarice Lispector, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison. Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let’s leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.
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I am all for the experimental, for tearing up the standard forms when necessary to deliver something that is unique. The uniqueness should not be the point, though. Jane Alison's exploration of the variety and possibilities in form, seems to push against the notion of linear narrative. Any story, in whatever fragmented form, progresses linearly. It is how we experience things, whether it's the line across the page or time itself. What succeeds in the telling of story, what's required of fiction, is some sort of transition. We start in one place and end up in another. This can be done in any number of ways, as the author shows in many examples, but let's not believe that we're locked into some hierarchical form, some trace of the millennia of patriarchy, that we should now throw aside. We will always have Freytag's triangle, because it is how we experience things, because this way of storytelling is fundamental to our human needs. So, rip it up, cut it up, mix it up, but don't think that we can escape human nature.
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