By Northrop Frye
This 13th and ultimate quantity of formerly unpublished writings by way of Northrop Frye gathers jointly autobiographical reflections, brief tales, an unfinished novel, and remark on a variety of issues from Canadian tradition to faith. Drawn from holdings within the Frye records – holograph notebooks, typed notes, and typescripts – those writings were mostly inaccessible to Frye students until eventually now.
a few of the contents of this quantity, Frye’s early fiction, for instance, will come as a shock to these familiar essentially along with his released feedback. All of his fables and dialogues are incorporated right here, as are a half-dozen units of notes within which he speculates on kinds of fiction and numerous literary tasks he deliberate to at least one day adopt. those miscellaneous writings provide additional proof of Frye’s fertile brain, speedy wit, expansive mind's eye, and eloquence. Frye continuously claimed that the method of writing used to be for him a look for right formulation in which to speak. the fabric during this quantity, which seldom fails to tutor and enjoyment, discloses the method of that search.
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Additional info for Northrop Frye’s Fiction and Miscellaneous Writings
The notebooks reveal that there were to be eight chapters in one projection (NB 30m, par. 1) and nine in another (NB 30m, par. 19), and there is a sufficient body of notes—another 9500 words—to suggest that Frye could have fleshed the story out into a full-blown novel. As best we can tell, it would have been a novel in the tradition of nineteenth-century realism, though, again, with a heavy dose of satire. The genre would be about as far as he could move from his later preference for romance. Frye recognizes that the central tradition of fiction, beginning with Richardson and continuing through Bennett, Wells, and Maugham, is realism, and his nascent story takes place, as we learn from his notes, in the late nineteenth century.
The portraits of these characters are sketchy at best, but the extensive notes Frye made for The Locust-Eaters, beginning with those from as early as his final year at Oxford (1939), round out the Introduction xxxi characters somewhat, and the vignettes found in these notes give a sense of the direction that the plot—a matter that seems to have given Frye the most difficulty—would take. In the notes we gain more insight into several of the characters that appear in the typescript chapters, such as Aunt Haggie and the church pianist Helen Grodenus, and some who do not, such as Formius, the shadowy father of John Goremont.
60). Anything that would so integrate would have to be mock-pedantic, intellectual slapstick as I call it. I feel that the Locust-Eaters, though clever, is mediocre, fits a too-well-established pattern, & would embarrass my friends. It’s xxxii Introduction crotch-bound: it hasn’t the Frye swing & confident brilliance, & represents the sort of careful synthetic wit I should have been producing at twenty & couldn’t. As a novelist I suffer from abnormally arrested development. I’d do better in something closer to Waugh than Forster, closer to Surtees, Borrow, Peacock & Lever than to Thackeray or Trollope: something more bookish than Rabelais and less so than Burton: something that strikes a glancing blow at fiction but is fundamentally a reader’s synthesis of life.