By J. R. Hammond (auth.)
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Extra resources for H. G. Wells and the Modern Novel
Sample text
All actions are half-hearted, shot delightfully with wandering thoughts - about something else. All true stories are a felt of irrelevances. But James sets out to make his novels with the presupposition that they can be made continuously relevant. And perceiving the discordant things, he tries to get rid of them. He sets himself to pick the straws out of the hair of Life before he paints her. But without the straws she is no longer the mad woman we love. He talks of ' selection' and of making all of a novel definitely about a theme.
After remarking that Wells's work possesses 'a breadth with which it has been given no one of his 34 H. G. Wells and the Modern Novel fellow-craftsmen to enjoy anything' he lapses into what can only be described as damning with faint praise: Such things as 'The New Machiavelli,' 'Marriage,' 'The Passionate Friends,' are so very much more attestations of the presence of material than of interest in the use of it that we ask ourselves again and again why so fondly neglected a state of leakage comes not to be fatal to any provision of quantity, or even to stores more specially selected for the ordeal than Mr.
G. Wells and Henry James over the nature and purpose of fiction constitutes one of the most famous literary quarrels of the twentieth century. The quarrel has done immense harm to Wells's reputation, partly because James is widely assumed to have been the victor, and partly because in the course of the debate Wells was stung into making a series of disingenuous statements about his approach to art in order to distance himself from what he regarded as James's excessive pedantry. Yet the debate was much more than a personal dispute between two novelists.