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Full download The Grounds of the Novel 1st Edition Wright file pdf all chapter on 2024
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Th e G r o u n d s o f
the Novel
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The Grounds of
the Novel
c
Daniel Wright
Pr eface
The Truth of Earth vii
Introduction
On What There Is in the Novel 1
1 Groundwork 32
2 Underground 69
A fterwor d
Basement 177
Acknowledgments 187
Notes 191
Bibliography 209
Index 223
This page intentionally left blank
P R E FA C E
vii
viii Preface
breaks him. Does he only borrow his reality from the horses I have
seen and known, and must he pay it back? Or is Primrose’s being
his own, sufficient, even unto death?
I can only find the ground that I seek, the ground upon which
Primrose breaks his knees, by reading Daniel Deronda closely. It is
only there in that novel that it can be found.
“Would have been”? Pater shies away into the conditional tense,
and I wonder why. Perhaps it’s that while Plato does write fic-
tion, it’s only as a counterpoint, a bass line, to his metaphysics.
Strangely, fiction, even in all its unreality, makes a solid ground for
philosophy. Plato paints the details of his fictional world “as if on
the margin of his high philosophical discourse, himself scarcely
aware, as the monkish scribe set bird or flower, with so much truth
of earth, in the blank spaces of his heavenly meditation.”3
To turn in that way, to make myself turn that way, away from the
people and places of the novel and toward its being, is an erotic
training. I train my desires as Pater says that Plato trained his, to
x Preface
become “a lover of the invisible, but still a lover, and therefore, lit-
erally, a seer, of it, carrying an elaborate cultivation of the bodily
senses, of eye and ear . . . into the world of intellectual abstractions;
seeing and hearing there too, . . . filling that ‘hollow land’ with de-
lightful colour and form.”4
I desire the hollow land that the world of the novel fills. I seek to
hollow the novel and see what remains.
I seek to know how the novel, like Plato’s dialogues, gives “an il-
lusive air of reality or substance to the mere nonentities of meta-
physic hypothesis.”6 When Cather calls the novel a room, when she
says that if the room were emptied it would become like an empty
stage: those are metaphors of fictional being. An air of substance:
that is a metaphor of fictional being too. By the art of metaphor
we give the nonentities of the novel something like substance; we
ground them; we make substance of an air.
out to her, until finally we’re told that “she distinguished no part
of the scene,” which is maybe a way of saying that suddenly she
can only see its disorienting wholeness, details stripped away, what
we’ll see Hardy later on calling a “form without features,” only the
ground upon which she and Darcy both stand, or the empty stage
upon which “the scene” is playing out.7
thoughts, or maybe by which they make him real, giving him an air
of substance, even when he exists only in their thoughts. Why can’t
he float free? Why put him on the spot?
There is the spot where Mr. Darcy is. There is the ground and
Primrose breaking his knees. There is the truth of earth. There is.
Or as Emmanuel Levinas says, “This impersonal, anonymous, yet
inextinguishable ‘consummation’ of being, which murmurs in the
depths of nothingness itself we shall designate by the term there
is. The there is, inasmuch as it resists a personal form, is ‘being in
general.’ ”9
I seek the support of the novel’s ground, but I am alien to its way
of being. Is it like a yoga class, when I’m told to lay on my back
and feel the earth rising up to meet my breath? How difficult it is
to follow that instruction truly, what efforts of careful but relaxed
attention it requires, what guilty admission of how often I spurn
the ground by ignoring its solidity, or assuming that its support is
passive rather than active. There are those times, too, when I in-
tellectualize, keenly aware that it’s not the earth I’m lying on but a
floor on the second story of a building that holds me suspended in
midair. And after all, it’s some more pervasive but invisible energy,
the force of gravity, that only barely holds me flat. Isn’t it strange,
this precarious balance between pressure and ease that allows
me to lie there, a whole and breathing body, without becoming
crushed, and without simply floating upward, gasping for air?
1
2 On Wh at Ther e Is in the Novel