In this peculiar sense, it is common to call Wolf an impressionist, and yet it nails his novelistic craft. He is a resident of the mind. And later “and later” in the mind “Mrs.”The waves“(1931), is a luminous antenna tuning in and out of the frequencies of life, sometimes overlaid in its luminous halo. As critic J. Hillis Miller once put it, the reader gets the most. More often, it is revealed that she is “immersed within an individual mind that is being understood from the inside by an omnipotent, omniscient mind.”
This is not clear to us from the novel’s immortal beginnings – “Mrs Dallay said that she would buy flowers herself” – but shortly thereafter, which acts as the first mirror, tipped us that It must be understood as something other than objective: “For Lucy she was cut out for him.” Suddenly, with a mild colloquial “cut out for her,” we are not a omnipotent narrator, but a character – the mind of Clarissa Dalloy. Is in, as the successful lines illustrate. The reader stops thinking that she is being told what Mrs. Dallay had said about receiving flowers, and instead begins to think that Mrs. Dallay Just commenting on that fact, like myself. And that changes everything.
This narrative technique, known as free-indirect speech, was part of Wolf’s quiet revolution. Although he did not invent it – arguably the first time Austen, Flaubert and Edith Wharton got there – Wolf completed the genre, coloring it with concern for the modern subject. Open any novel from the last 50 years, and you’ll get ideas for narrative reporting, which can only be of one character for reasons of fantasy and tension. With varying degrees of indebtedness, each of these is the successor of Wolf and his narrators, who, as Clarissa Dallay, enter the world of her relations, “enters the world of her relations,” one among the people. Layed like a mist she knew best. That a narrator does not have to fuss over chess pieces, but can thunder like a cloud in a foggy mind, is a feature of modernity, as it was from then on, corrupted literature.
As opposed to the eccentricities of work such as “Ulysses” or “The Waste Land”, we have “Mrs.” Dulay “innovating a permanent, deep structure – something resembling a geometric perspective in painting, which contributes to the development of technology, rather than To run it to a dead end. So it’s “In Our Time,” with “Manhattan Transfer” and “Great Gatsby.” The final story of Hemingway’s collection, with “Big Two-Hearted River”, is on both sides of the Atlantic. The authors learned about the power of the economy in writing. As if from Revelation, it became clear that the solution to the problem of representing mass trauma such as World War I was not merely eruption, but vice versa.
“I always try to write on the theory of the iceberg,” Hemingway told the Paris Review in 1958. The “iceberg” technique became not only the calling card of North American writers such as Raymond Carver and Cormac McCarthy, but also an influential cadre. French existential novelists include Céline, Malax, Sartre and de Beauvoir. Most important, however, Hemingway became an exemplary stylist for MFA programs that spread across America after the war, and through which many of our canonized poets and novelists have come to pass. As scholar Mark McGirl wrote in his book “The Program Era”, “Hemingway’s influence on postwar writers will be hard to ignore, and … it is very easy to forget that his medium of influence has been school.”