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Showcase: DailyLit

Stephanie at So many Books has been using DailyLit, which I only heard of through her. Several of her readers say they prefer a book in the hand, mostly because the instalment was too short: they just couldn’t wait!

I decided to go for Anna Karenina. But when the confirmatory email came through, I got the option to order the first episode straight away, which I felt compelled to do. Though the intro to AK is so often quoted

Happy families are all alike; every unhappy family is unhappy in its own way

I forgot how funny the first few paragraphs were.

Experiencing such a small dose of Tolstoy it is obviously not going to suit many ardent readers. But there is something to be said for having to wait. Let the small, enjoyable dollop stew for 24 hours. Build up the anticipation for the next part. Spend some time reading around the book and author while waiting. In any case you read so much about so many things, the next episode will be there before you know it. (Actually, in advanced settings you can chose from three size settings to get more per email or even get the next episode straight away…). Let’s face it, this is for people who are meant to be working, trawling through the emails first thing in the morning.

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For an inexperienced writer puzzling over which narrative voice to use, the first part of Anna Karenina could be as a reminder to how an intimate tone can created from the limited omniscient point of view. No need to be Tolstoy to see setting off in the first person can end up with too much of the author in the narrator.

I mentioned alter ego in the last post. There has been a study of avatars and their authors in gaming, called Alter Ego, which may have something to offer to the perennial questions about the author insinuating himself/herself in his/her own fiction.

Here are two over-views of Philip Roth’s oeuvre from on alter ego {1} {2}.

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November 6, 2007 Posted by | alter ego, fiction, First lines, literary persona, Literature, narrative style, Novel, Novelist, Openings, Writing | , , | 3 Comments

The persona in literature



This short NPR interview with Dr. Wayne Flynt, retired professor of history, on whether Truman Capote wrote Harper Lee’s To Kill a Mockingbird, presents as evidence a letter by Capote about the book (he was his friend of Lee’s) but also asserts ‘writers simply do not assume other literary personas’. Which is another way of saying it is possible to identify someone as the author of a set of books. To avoid muddle, this is not about a character being identified as an alter ego of the author, but what features of the text on the page makes someone say this is by a certain writer.

It’s not that they can’t, but don’t in the main, write in a way that might make you think the books were written by different people. This begs the question whether the voice of the author is just there, like a finger print, or whether it is a conscious effort to maintain consistency. Academic analyses abound. Winifred Gérin’s biography of Charlotte Bronte, illustrates how a writer develops to a mature style. This doesn’t mean to say some don’t write from the beginning as if how they write was built in.

W hat I am interested in is the authorial voice set against the narratorial voice.
A nub is in the wiki: The persona in Literature, where it writes of the mens auctoris.

There is the question of upfront parody. Most book saturated readers with above average writing skill can throw together a reasonable Jane Austin. What are they doing to make it seem pretty close if recognisably an imitation?

If it were possible to epoché the detailed knowledge of the author’s works – all the passages they know by heart which identify it – how easy would it be for the professional literary analyst to say they were the work of one author? If Jane Austin wrote a novel about the immigrant community in East London in 21 century London, would it be immediately recognisable as a Jane Austin novel?

The answer to all this might be not in any fingerprint of the author detectable in the works but that superior writers are consistently superior in their writing (when they get to it, so to speak).

When unknown score by a long dead composer appears some bright spark always pops up to say it can’t be by {insert a famous composer}.

This all reminds me of the Andre Previn Morecambe and Wise Show. This is the straight one on YouTube {1}. But in another version with commentary {2}. A certain jjo2 comments in the shorter version:

One beautifully subtle joke in the sketch – Eric is in fact playing the right notes, in the right order, but in the wrong rhythm.

Which might be the point in the business of the authorial voice in a novel.

November 6, 2007 Posted by | fiction, literary persona, Novel, Novelist, Writing | , , | Leave a comment