The shape of a novel, like that of a symphony, is conditioned by its length. But to speak of a shape, a form, a structure is to introduce the notion of artifice, which means artificiality. Whether we like it or not, a novel is essentially artificial. It is artificial in having a beginning, a middle, and an end. Real life is all middle, also muddle. The task of the novelist is to suggest that a slice of life has a shape, and shape is determined by a theme. Every novel is about something, and this something can sometimes be inscribed on the back of a postage stamp. A novel is sometimes no more than an extended anecdote. Its plot, no matter how complicated, is reducible to a simple statement. Madame Bovary is about bovarysme. Great Expectations is about great expectations. Pride and Prejudice is a very fair summary of content. Amis père shows in what way Jim is lucky. Amis fils wrote about money and could find no other title.
Craft and Crucifixion: The Writing of Fiction (1991)
Use the link below to visit THE INTERNATIONAL ANTHONY BURGESS FOUNDATION, an English-based organisation that 'encourages and supports public and scholarly interest in all aspects of the life and work of Anthony Burgess' in addition to operating a museum/performance space in his birthplace of Manchester:
https://www.anthonyburgess.org/
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