THE NOVEL AS STORYTELLING

by Kaylee Ficklin

TABLE OF CONTENTS

5 11 13

Introduction Images Annotated Bibliography

Ficklin 3

4 The Novel as Storytelling

INTRODUCTION
Walter Benjamins work The Storyteller eulogizes the end of storytelling. Benjamin focuses on the novel specifically and remarks that the earliest symptom of a process whose end is the decline of storytelling is the rise of the novel (79). Benjamin argues that because the novel can only be disseminated with the invention of printing, it lacks the oral aspect of more traditional storytelling. In addition to this, novels do not require the memory that traditional storytelling forces. Finally, Benjamin argues that the novelist has isolated himself, and therefore, the novel lacks the community relationship in traditional storytelling that occurs between listener and speaker (80). Benjamin is generally accepted and well-received by literary scholars. For example, Bill Solomon, like many other literary critics, praises Benjamins ideas about the nature of storytelling and the novel genre. Solomon employs Benjamins idea about the nature of the storytelling in his article The Novel in Distress to explicate the Sherwood Andersons short story collection Winesburg, Ohio. He concludes that not only does Benjamins essay and Andersons work define the novel in opposition to a no longer feasible, decidedly obsolete sociocultural ideal, but also other works reflect and project Benjamins ideas (124). While Solomons article title is based on Susan Stewarts Crimes of Writing: Problems in the Containment of Representation, he seems to not take into account that Stewarts and Benjamins works are fundamentally different. Stewart uses the term distress in the same way as she would in
In this passage, John Buchan employs a narrative technique that involves the reader. In this scene, the narrator describes the difficult situation he was in. He worries about whether or not he made the right assumption, but expresses this concern casually without rehearsal. It is a spontaneous interjection by the narrator that familiarizes the narrator to the reader. It is significant because this passage reflects an interaction between the narrator and the reader. The words that Buchan uses create an image of a narrator speaking directly to a reader. The words are informal and familiar. The narrator seems as if he is speaking to another human being. This type of involvement is significant. It illustrates general storytelling principles and creates a bond between the narrator and reader because the narrator has addressed the reader so casually. The informality of traditional storytelling is present, and it seems as if the reader is allowed to enter the same space as the narrator, thus creating a relationship between the two. There seemed only one thing to dogo forward as if I had no doubts, and if I was going to make a fool of myself to do it handsomely. John Buchan, The Thirty-Nine Steps

Ficklin 5

referring to antiquing furniture. She incorporates the idea of distressing furniture to show that the
I know that you could be neither happy nor respectable, unless you truly esteemed your husband; unless you looked up to him as a superior. Your lively talents would place you in the greatest danger in an unequal marriage. You could scarcely escape discredit and misery. My child, let me not have the grief of seeing you unable to respect your partner in life. You know not what you are about. Jane Austen, Pride and Prejudice

novel is a distressed genre in that it is new but strives to imitate and incorporate the past (Stewart 6768). One of Benjamins main arguments is that the novel neither comes from oral tradition nor goes into it (79). If the novel is a distressed genre, it must come from somewhere and go into something. Robert Caserio comments that our totalizing impulse in regard to literature is often attached to the idea that fiction, paradoxically, in truth represents what is not fictive, and supplementally, expresses am extensive segment of cultural or even a cultural whole. (Caserio 3).

Jane Austens narrator often interjects her viewpoint into the story that she is narrating. These viewpoints usually teach a lesson or some small truth. However, in this scene, Mr. Bennet is providing the advice. Austen subtly weaves in advice about marital felicity. She imperceptibly advises the reader to not marry unless you truly esteem your partner. This advice teaches a lesson and shows how novels are able to efficiently counsel readers without being overt. Like stories, novels produce a teaching and a interaction experience between the narrator and the reader, but they do so subtly in order for the reader to have his or her own experience with the work. Teaching is a fundamental principle of storytelling, and in this passage, Austen is clearly teaching her readers an important life lesson: marrying without truly respecting your partner will result in misery. Anybody who reads this novel would clearly be able to see the lesson taught her and would be able to apply it in the same ways as if they had heard the story instead of only reading it.

In order to imitate, the novel must have some foundation, and I argue that contrary to Benjamins ideas, the novel can be a form of storytelling. The aspects of the storytelling genre point to the novel as a natural progression of the storytelling genre. William Cronon addresses the first aspect of storytelling that relates the novel: its ability to teach. Cronon worries that the ability to concentrate and sustain ones attention on arguments and narratives for many hours is at risk (4). He worries that the students decreased attention span will lead to the decline of study, in particular, in his field of history. Cronons proposed solution to combat this problem is to encourage scholars to tell stories to their students. In an effort to increase students understanding and interest, Cronon highlights storytelling as an avenue for how to teach students. While Cronon clearly refers to teaching history, he underlines an essential attribute of the storytelling genre. Stories help teach lessons. Likewise, novels can teach as well, for when idle storybooks get into the house, political economy is at risk. The world is seen in a new way, and uneconomical activities of fancying and feeling are both represented and, worse still,

6 The Novel as Storytelling

enacted (Nussbaum 356). Individuals do not immediately turn to a novel for moral guidance, but they are able to learn from it without realizing that they are doing it. Benjamin also argues that storytelling is the art of repeating stories, and this art is lost when the stories are no longer retained (82). For Benjamin, part of the story telling genre involves memory, the ability for a story to be impressed upon ones mind and for that story to be repeated to others. According to Nancy Alder, The best stories have a built in retention module and stay in the subconscious mind and heart of the listener, returning when needed (1). Novels are also able to perform this function. Readers are able to extract the information they receive from novels, and they remember these lessons. In addition to this, in case a reader only has a vague memory of one of a novels ideas, he or she is able to return to that work over and over again in order to help himself or herself or to repeat the idea to others. Novels are not a solitary experience. Novels carry ideas that travel in the same way that Benjamin believes stories travel: repetition. The novels ideas are remembered and repeated just as a story is remembered and repeated. The issue of oral versus written communication is also an aspect of storytelling. In Tony Jacksons work Technology of the Novel: Writing and Narrative in British Fiction, he addresses this idea. He acknowledges that humans have to learn written language; spoken language is much more innate. In addition to this, he recognizes that humanity could have indeed survived without writing. However, he also says, But it is unarguable that we have got along quite differently with writing than we would have without it. . . . Its unique nature and effects have enabled or required the appearance of a vast array of other kinds of human ideas and practices (Jackson 3). While Ficklin 7

Whether, said Gradgrind, pondering with his hands in his pockets, and his cavernous eyes on the fire, whether any instructor or servant can have suggested anything? Whether Louisa or Thomas can have been reading anything? Whether, in spite of all precautions, any idle storybook can have got into the house? Because, in minds that have been practically formed by rule and line, from the cradle upwards, this is so curious, so incomprehensible. Charles Dickens, Hard Times In this scene, Mr. Gradgrind is concerned about his children getting a hold of literary material that is outside of his approved reading list. He uses the term storybook to describe works that are not wholly academic and are, frankly, boring. There are two important points to this passage: the imagination that storybooks inspire and Mr. Gradgrinds use of the term storybook. First, Mr. Gradgrinds fear of storybooks inspiring imagination reveals an important aspect of storytelling. Stories are able to ignite the imagination of anyone who listens to them or reads them. Stories inspire and kindle creativity. There is an aspect of fantasy or whimsy with stories. Novels function similarly. No one can deny J.R.R. Tolkiens influence in inspiring creativity and imagination. Other authors are able to do this as well. Novels, like stories, work with the readers intellect and create a new world. The second point of this passage is Mr. Gradgrinds use of the word storybook. By combining story and book, Mr. Gradgrind implies that there is a relationship between the two words. A book may contain a story and a story may exist in the form of a book. Novels are an excellent example of this. Novels appear in the book format, but they also contain stories. They apply the characteristics of both books and stories and use this application to reach an audience. Thus, this quotation reveals two important aspects of novels and storytelling.

spoken language is essential, written language has added a variety of unique possibilities to our human experience. Novels, although not disseminated orally, are unique in that their written communication has helped shape the world. Finally, stories exhibit change over time. Because the speaker can never tell the same story in the exact same way, stories evolve and mean different things at different times. Listeners are able to draw different conclusions and experience different things. Novels function similarly. Franz Stanzel claims that we are all storytellers. It is the reader who at least partly supplements the texts and fills in the missing parts, whoin other wordsadds to the novel or short story his own complementary story. (Stanzel 203). No reader ever has the same experience as another reader. Similarly no story listener ever has the same experience as another listener. Individuals experiences are unique and varied. Some may argue that because the novel is written down the author controls the message that the reader receives, but it is language which speaks, not the author (Barthes 254). The speaker or writer does not determine the experience. Even if we never write a short story or a novel, every day we make an effort to shape our experience of reality in conversations, reports, and above all, in recollections, whether articulated silently or aloud (Stanzel 203). We are the storytellers. We are the interpreters of stories. Novels provide each reader with his or her own unique experience, which thus helps them function similarly to stories. While the novel may not contain every aspect of traditional storytelling, it does contain some important aspects of it. The novel functions similarly to storytelling, and while it does do things in its own way, it still uses storytelling features in order to tell a story. The novel expands

8 The Novel as Storytelling

the readers world and allows them to experience a story. The reader is exposed to a story that teaches, is repeatable, and above all, allows him or her to create his or her own experience. The novel is storytelling.

Dear reader! It rests with you and me, whether, in our two fields of action, similar things shall be or not. Let them be! We shall sit with lighter bosoms on the hearth, to see the ashes of our fires turn gray and cold.Charles Dickens, Hard Times This passage illustrates two important aspects of storytelling: interaction with the reader and teaching a lesson. At the beginning of this quote Dickenss narrator directly addresses the reader. He literally calls out to him or her. He shouts, Hey! Pay attention! This is important. By addressing the reader, the narrator creates a bridge between the novel world and reality. This creates a relationship between the narrator and the reader that was not there previously. Thus, it creates an interaction between the storyteller and the listener (or in this case, the reader). The interaction mimics that of more traditional storytelling techniques. This shows how novels can function as stories and how they use similar patterns/modes of structure. Second, the novel teaches a lesson. While the narrator is addressing the reader, he or she is also working at teaching a lesson. Hard Times is a fairly didactic novel in which the purpose of the novel specifically addresses the problems of social class. Throughout the novel, the narrator adds teaching lessons through which the reader learns. The passage culminates in the final lesson that the narrator would like the reader to know. It finishes saying, It rests with you and me, whether, in our two fields of action, similar things shall be or not. The reader learns that he or she can make choices that can change others lives. The reader learns the lesson that his or her personal decisions can make a difference. Hence, this passage reflects the novel as a story because it teaches and interacts with the reader.

Ficklin 9

10 The Novel as Storytelling

IMAGES

All that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men. Theres no initiation either into such mysteries. He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abominationyou know. Imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate. Joseph Conrad, Heart of Darkness

Picture of Congo River

In this quotation, Marlow (the narrator) describes the world around him as he travels down the Congo River. Marlow uses heavy, descriptive imagery to convey to the readers what the setting is like and what feelings the setting creates in an observer. This is significant because Marlows narrative techniques stem from the fact that he is telling his current shipmates about something that happened to him in the past. Marlow is telling a story. Marlow is telling a story, and Joseph Conrad has written Marlows story. Thus, Marlows narrative techniques reflect more traditional storytelling practices. Conrad has effectively combined storytelling and the novel and shows how the novel can mirror the same attempts that storytelling makes. Conrads use combines the two genres and shows how novels can, in fact, be stories. Because Marlow uses a familiar tone and mimics the storytelling process, Heart of Darkness becomes intertwined with storytelling. The novel and the storytelling process cannot be separated without losing the story.

Ficklin 11

Kiera Knightley in Pride and Prejudice (2005)

Cover of John Buchans The Thirty-Nine Steps 12 The Novel as Storytelling

ANNOTATED BIBLIOGRAPHY
Alder, Nancy.The Glory of Story. Farnsworth Juvenile Literature Library, Harold B. Lee Library, Brigham Young UniversityPrint. This is a short introduction. It talks about stories and fairy tales. It would not be helpful in understanding the novel genre unless the researcher was specifically applying the novel genre to storytelling.

Barthes, Roland. The Death of the Author. Falling into Theory: Conflicting Views on Reading Literature. 2nd ed. Boston: Bedford/St. Martins, 2000. 253-57. Print. This focuses on how individuals read or rather how we should read. This is not about the novel genre but discusses reading and literarture in general.

Benjamin, Walter. The Storyteller. Selected Writings: Volume 3, 1935-1938. Ed. Howard Eiland and Michael W. Jennings. Cambridge: Harvard Belknap, 2002. 143-66. This talks about how the art of storytelling has disappeared. In particular, how the rise of the novel was the descent of storytelling.

Booker, M. Keith. The Other Side of History: Fantasy, Romance, Horror, and Science Fiction. The Cambridge Companion to the Twentieth-Century English Novel. Eds. Robert L. Caserio. Cambridge, UK; New York: Cambridge University Press, 2009. Print. Ficklin 13

This book is a compilation of critical essays that shows the progression of the novel in the twentieth century. If you are looking at the particular development of the novel genre during this time period and at how the novel functions in the real world this book would be helpful.

Caserio, Robert L.The Novel in England, 1900-1950 : History and Theory. Ed. Robert L. Caserio. New York: Twayne Publishers; London: Prentice Hall, 1999. Print. This book was written to help readers navigate critical theories, important works, and the broad historical contexts of literary history.

Etsy, Jed. The British Novel Empire and the English Modernist Novel. The Cambridge Companion to the Twentieth-Century English Novel. Eds. Robert L. Caserio. Cambridge, UK; New York: Cambridge University Press, 2009. Print. This book is a compilation of critical essays that shows the progression of the novel in the twentieth century. If you are looking at the particular development of the novel genre during this time period and at how the novel functions in the real world this book would be helpful.

Hale, Dorothy J. The Art of English Fiction in the Twentieth Century. The Cambridge Companion to the Twentieth-Century English Novel. Eds. Robert L. Caserio. Cambridge, UK; New York: Cambridge University Press, 2009. Print. This book is a compilation of critical essays that shows the progression of the novel in the twentieth century. If you are looking at the particular development of the novel genre during this time period and at how the novel functions in the real world this book would be helpful.

14 The Novel as Storytelling

Jackson, Tony E., 1951.The Technology of the Novel : Writing and Narrative in British Fiction. Ed. Tony E. Jackson. Baltimore: Johns Hopkins University Press, 2009. Print. This talks about how speaking, writing, and storytelling relate. The rest of the chapters work through specific texts to see how writing functions within those texts.

Kantor, Elizabeth. The Politically Incorrect Guide to English and American Literature. Ed. Elizabeth Kantor. Washington, DC: Regnery Pub.; Lanham, MD: Distributed to the trade by National Book Network, 2006. Print. This book tries to move past traditional theories of how to read works of literature. It is not helpful as a guide to the English novel in general, but for someone looking to understand literature as a whole it gives an overview.

Moore, Steven, 1951.The Novel : An Alternative History : Beginnings to 1600. Ed. Steven Moore. New York: Continuum, 2010. Print. This book discusses origins of the novel outside of British and American history. Probably not super helpful for an English novel class.

Moretti, Franco. History of the Novel, Theory of the Novel.Novel: A Forum on Fiction43.1 (2010): 1-10. Print. This talks about prose and verse used in novels and discusses the rise of the Chinese novel.

Ficklin 15

Nussbaum, Martha C. The Literary Imagination. Falling into Theory: Conflicting Views on Reading Literature. 2nd ed. Boston: Bedford/St. Martins, 2000. 356-65. Print. This looks at applying the teaching methods and feelings of novels to economic and political theories.

Solomon, Bill. The Novel in Distress.Novel: A Forum on Fiction43.1 (2010): 124-31. Print. This uses Susan Stewarts book to discuss the novel genre and compares Walter Benjamins essay The Storyteller and Sherwood Andersons short story collection Winesburg, Ohio.

Stanzel, Franz K. The Complementary Story: Outline of a Reader-Oriented Theory of the Novel.Style38.2 (2004): 203-20. Print. This presents an outline of a reader-oriented theory of a novel, the characteristics of a storyteller, and the role of the reader in the formation on a novel.

Stewart, Susan, 1952.Crimes of Writing : Problems in the Containment of Representation. Ed. Susan Stewart. New York: Oxford University Press, 1991. Print. Stewart focuses on specific cases of crimes of writingthe forgeries of George Psalmanazar, the production of fakelore, the ballad scandals of the eighteenth and nineteenth centuries, the imposture of Thomas Chatterton, and contemporary legislation regarding graffiti and pornography. In this way, she emphasizes the issues which arise once language is seen as a matter of property and authorship is viewed as a matter of originality.

16 The Novel as Storytelling

Ficklin 17

WE READ TO KNOW THAT WE ARE NOT ALONE.

William Nicholson, Shadowlands