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In "The Novel of the Future," Anais Nin explores the act of creation in literature, film, art, and dance to arrive at a new synthesis for the young artist struggling against the sterility, formlessness, and spiritual bankruptcy afflicting much of modern fiction. Identifying those trends which she finds most destructive in modern fiction (reportage, the substitution of violence for emotion, and the growing cults of ugliness, toughness, and caricature), Nin offers, instead, an argument for and synthesis of the poetic novel. Drawing upon such related arts as filmmaking, painting, and dance, Nin discusses her own efforts in this genre as well as the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself."… (más)
A great book that introduced me to several authors I had never even heard of before and I will always be eternally grateful to Nin for having introduced me to them: Marianne Hauser, Margarite Young, Maude Hutchins, Anna Kavan (to name my favorites). "If one's conscious life is too rigid, too regimented, then the surface may crack at times, and we are unprepared for the strange emotions or sensations we experience." Nin objects to what she views as the current trends of "sterility" and "reportage" in modern art/writing. ( )
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
Our psychological reality, which lies below the surface, frightens us because it endlessly surprises us and drives us in a direction which society's rules and organizations define as wrong or dangerous.
If one's conscious life is too rigid, too regimented, then the surface may crack at times, and we are unprepared for the strange emotions or sensations we experience.
In "The Novel of the Future," Anais Nin explores the act of creation in literature, film, art, and dance to arrive at a new synthesis for the young artist struggling against the sterility, formlessness, and spiritual bankruptcy afflicting much of modern fiction. Identifying those trends which she finds most destructive in modern fiction (reportage, the substitution of violence for emotion, and the growing cults of ugliness, toughness, and caricature), Nin offers, instead, an argument for and synthesis of the poetic novel. Drawing upon such related arts as filmmaking, painting, and dance, Nin discusses her own efforts in this genre as well as the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself."
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