Synopses & Reviews
Do we still know how to read a novel?” John Sutherland, Chairman of the 2005 Booker Prize Committee, asks. His answer is an unequivocal, No.” But Sutherland has not given up hope. With acerbic wit and intellect, he traces the history of what it used to mean to be well-read and tells readers what it still means today while reminding readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating. On one level this is a book about novels but at a deeper level, this is a book in which one of the most intimate tête-à-têtes is describedone in which a reader meets a novel. However, in order for the relationship to take its proper course, a reader must know
how to read it! Sutherland helps readers:
--Pick the right book for them among the cattle call of pre-packaged blurbs and enticing cover art--Recognize a misleading title at first glance--Look beyond the politics of book reviewers--Learn to read the extrasepigraphs, forewords, afterwordsto understand themes only hinted at in the main text--Find real aspects of the author cleverly hidden in the narrative structure--And much more
In a book that is as wry and humorous as it is learned and opinionated, John Sutherland tells you everything you always wanted to know about how to read fiction better than you do now (but, were afraid to ask). John Sutherland is a professor at University College London who has published and edited numerous books. He writes for The Guardian, The New York Times Book Review, and London Review of Books. He was the 2005 Man Book Prize committee chairman. He lives in London, England. John Sutherland, Chairman of the 2005 Booker Prize Committee, traces the history of what it used to mean to be well-read and explains what it still means today while reminding readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating. This is a book about novels, but it is also a book in which one of the most intimate tête-à-têtes is describedone in which a reader meets a novel. Sutherland aims to help readers choose the right books for them, recognize a misleading title or cover, look beyond the politics of book reviewers, learn to read and appreciate the value of epigraphs, forewords, afterwordsto understand themes only hinted at in the main text, and find real aspects of the author hidden in the narrative structure."According to the oft-cited survey 'Reading at Risk,' which was published by the National Endowment for the Arts in 2004 . . . the number of American adults who spend their free time reading literary fiction is rapidly sinking . . . How to Read a Novel sets out to remind readers . . . how much enlightening fun it can be to take one apart, starting with its dedication, font and copyright date."Maureen Corrigan, The Washington Post "There may not be time to read everything, but at least there is some hope of doing it well."Los Angeles Times "Sutherland, a columnist for the London Guardian, has written a quick and lively view of the novel that mixes practical wisdom and theory. He gives a 'four-minute' history of fiction using exemplary texts; provides their titles, publication dates, author photographs, fonts, and epigraphs; and discusses first sentences, style, and truth vs. fiction. In fact, he gives you everything you need to know to become a successful and happy novel reader. Sutherland has the ability to lightly discuss both classic and modern novelists (e.g., D.H. Lawrence, Zadie Smith) and can also do a fast deep reading . . . He explains the importance of the novel in exploring forbidden themes; the nature of prizes, reviews, and best sellers; and the practical side of publication. His brief mention of the nature and influences of different types of libraries is illuminating. The major piece of wisdom to be gained? It's probably that you can get what you need for yourself, your life, and your happiness from the novel, what D.H. Lawrence called the 'one bright book of life.' Highly recommended for literature collections."Gene Shaw, New York Public Library, Library Journal "With the literary forest growing by 10,000 novels per year, readers have long needed the kind of map Sutherland provides here. Some of the guidance he offers is cautionary: warnings against the snares in deceptive covers, misleading reviews, and best-selling groupthink. But Sutherland equips readers for the tasks of actually selecting a novel, understanding its text, and tracing the connections linking fiction to the real world around it. Readers thus learn how to negotiate the boundaries between various fictional genres, how to tease interpretive insights out of a book's dedication, and how to recognize the allusions tying one fictional narrative to others. But readers will thank Sutherland most for heightening their appreciation for a literary form through which bold writers confront bigotry, expose corruption, and illuminate history. It is truly an exceptional tutorial that opens a path into the politics in le Carre's taut plotting, the artistry of Flaubert's subtle portraiture, and the metaphysics of Dostoevsky's probing psychology."Bryce Christensen, Booklist
Review
"How to Read a Novel is a lighthearted, often funny book. And oddly calming. There may not be time to read everything, but at least there is some hope of doing it well."--The Los Angeles Times"A quick and lively view of the novel that mixes practical wisdom and theory...highly recommended."--Library Journal"Informed, wise, witty, urbane, sententious by turns...a relaxing but stimulating read."--Public Library Journal (UK)
Synopsis
“Do we still know how to read a novel?” John Sutherland, Chairman of the 2005 Booker Prize Committee, asks. His disheartened answer is an unequivocal, “No.” But Sutherland has not given up hope. With acerbic wit and intellect, he traces the history of what it used to mean to be well-read and tells readers what it still means today. Using this delightful book as a means to an end, he reminds readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating.
On one level this is a book about novels: how they work, what they’re about, what makes them good or bad, and how to talk about them. At a deeper level, this is a book in which one of the most intimate tête-à-têtes is described—one in which a reader meets a novel. Will a great love affair begin? Will the rendezvous end in disappointment? Who can say? In order for the relationship to take its appropriate course all the details must be clearly acknowledged and understood for their complexities: plot, point of view, character, style, pace, first and last sentences, and even beauty.
Still, Sutherland knows a true understanding of fiction is more than a flirtation with text and style—it is a business. Taking his readers on a trip to the bookshop, he helps them judge a book by its cover based on design and color, wondering aloud what genre might be best, even going so far as to analyze one of the latest American bestsellers to further help the buying reader choose the novel that is right for him or her.
In a book that is as wry and humorous as it is learned and opinionated, John Sutherland tells you everything you always wanted to know about how to read fiction better than you do now (but, were afraid to ask).
Synopsis
"Do we still know how to read a novel?" John Sutherland, Chairman of the 2005 Booker Prize Committee, asks. His answer is an unequivocal, "No." But Sutherland has not given up hope. With acerbic wit and intellect, he traces the history of what it used to mean to be well-read and tells readers what it still means today while reminding readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating. On one level this is a book about novels but at a deeper level, this is a book in which one of the most intimate tête-
Synopsis
"Do we still know how to read a novel?" John Sutherland, Chairman of the 2005 Booker Prize Committee, asks. His answer is an unequivocal, "No." But Sutherland has not given up hope. With acerbic wit and intellect, he traces the history of what it used to mean to be well-read and tells readers what it still means today while reminding readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating. On one level this is a book about novels but at a deeper level, this is a book in which one of the most intimate tête-
About the Author
JOHN SUTHERLAND is a professor at University College London who has published and edited numerous books. He writes for The Guardian, The New York Times Book Review, and London Review of Books. He was the 2005 Man Book Prize committee chairman. He lives in London, England.
Reading Group Guide
Helpful Questions for Any and Every Novel You Read
1) Famous first sentences: Read the first sentence, outside the world the author has created can it stand alone? Or is it only true within the context provided, and if so, how do you feel about statement in the fiction setting vs. a real world setting?
2) If reading an older work, what is the original publication date? How do you think being published during that period might have affected this particular title? Would it have been controversial, or was it period appropriate?
3) Discuss the author. How much of a role does the authors own personal history seem to intercede in his or her novel? Are there childhood themes that seem drawn on real life? How do you think the authors own experiences altered the way he or she developed this “world”?
4) Forewords, Epigraphs, and Afterwords: What did you learn from any extra content? Were there themes you hadnt thought of and if so, how might these have been better introduced in the main body of the work?
5) Was anyone tempted to write in the margins or underline key phrases? If so, look through your books and discuss what you felt compelled to highlight during your reading. Why did these certain phrases or moments resonate with you as a reader?
6) Fiction is a place where the unspeakable can often be spoken, like a subject that might be taboo to discuss openly, like race or homosexuality. What do you feel this novel brought to light and how do you think it might dictate perception? Do you feel differently about the subject brought up or do you think the author failed to make an impact?
7) Fiction has the unique ability to tell history without any sense of boundary, giving a feel for time or place or atmosphere. Did you gain a sense of history from your reading or do you think the history was “off” due to use of poetic license? If you have lived through that time period, do you think it was appropriate?
8) If there was a film of the book, and you have viewed it, how are they alike and different? Which appealed to you more and why? Do you feel something was lost in translation during the transition from page to screen?