About This Book
This essay challenges the notion that the essence of fiction lies chiefly in inventing convincing, external characters, arguing that shifts in social relations and perception around 1910 demand different narrative methods. The speaker critiques critics who prioritize character-creation above other elements, examines how changing human interactions alter what realism in fiction should mean, and recounts a close observational anecdote on a train to illustrate how fleeting impressions disclose complexity. The essay urges novelists to attend to consciousness, nuance, and the subtleties of inner life rather than rely on fixed, representative figures.
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