Rachel Sykes
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781526108876
- eISBN:
- 9781526132444
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526108876.003.0002
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter maps the neglected history of quiet fictions and speculates about the potentiality of quiet as a literary aesthetic. It argues that the introvert was a disruptive presence in many ...
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This chapter maps the neglected history of quiet fictions and speculates about the potentiality of quiet as a literary aesthetic. It argues that the introvert was a disruptive presence in many nineteenth-century American texts, including those by Nathaniel Hawthorne and Herman Melville where quiet is associated with a failure to speak or an absence of mind. In the early twentieth century, quiet protagonists were integral to the ‘novel of consciousness’ favoured by many writers including Virginia Woolf and Marcel Proust who equated quietness of character with a rich and dramatic internal life. Yet, as the century developed, quiet became marginalised within a Western culture that seemed increasingly defined by its noise and sources of overstimulation. This chapter therefore concludes with a discussion of quiet’s potentiality as both an aesthetic and as a mode of engagement with contemporary fiction.Less
This chapter maps the neglected history of quiet fictions and speculates about the potentiality of quiet as a literary aesthetic. It argues that the introvert was a disruptive presence in many nineteenth-century American texts, including those by Nathaniel Hawthorne and Herman Melville where quiet is associated with a failure to speak or an absence of mind. In the early twentieth century, quiet protagonists were integral to the ‘novel of consciousness’ favoured by many writers including Virginia Woolf and Marcel Proust who equated quietness of character with a rich and dramatic internal life. Yet, as the century developed, quiet became marginalised within a Western culture that seemed increasingly defined by its noise and sources of overstimulation. This chapter therefore concludes with a discussion of quiet’s potentiality as both an aesthetic and as a mode of engagement with contemporary fiction.
