antinovel


Also found in: Encyclopedia, Wikipedia.

an·ti·nov·el

 (ăn′tē-nŏv′əl, ăn′tī-)
n.
A fictional work characterized by the absence of traditional elements of the novel, such as coherent plot structure, consistent point of view, and realistic character portrayal.

an′ti·nov′el·ist n.

antinovel

(ˈæntɪˌnɒvəl)
n
(Literary & Literary Critical Terms) Also: anti-roman or nouveau roman a type of prose fiction in which conventional or traditional novelistic elements are rejected

an•ti•nov•el

(ˈæn tiˌnɒv əl, ˈæn taɪ-)

n.
a piece of prose fiction lacking elements of novel structure, as plot or character development.
[1955–60]
an′ti•nov`el•ist, n.
References in periodicals archive ?
On the other hand, relying on Michael Warner (who speaks about Thoreau's desire of new sensuality for yet unimaginable libidinous relationships, especially with other men, as well as about his erotics being equivalent to political liberation from the economic orientation of productivity) and Henry Abelove (who suggests that Thoreau's Walden is void of love, marriage, and domesticity and hence an antinovel never catering politically to reproductive heteronormativity), Azzarello argues that "Thoreau's turn to 'queer nature' is motivated more by political commitments" (48).
But Kundera rejects the kind of history that breaks with the past, criticizing the surrealists' denigration of the novel and the later glorification of the antinovel.
Not only does Austen mock the common cant by putting conventional antinovel sentiments into the mouth of the egregious John Thorpe, but more significantly, when Catherine apologizes to witty Henry Tilney for reading Udolpho, sadly conceding that "'gentlemen read better books,'" he cheerfully asserts, "'The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.
Manley", as Warner concludes, "recuperates the antinovel discourse for a distinctly novelistic pleasure" (Warner 1998:110).
It was Frank Kermode's suggestion that Snow was writing a kind of antinovel in reaction against the experimental fiction of pure form.
A good example of the consistent antinovel is Joyce's Ulysses.
In addition to the French antinovel, one can also see--as Debra Castillo argues--a new theory of language being worked out in Muerte por agua, on Campos's own terms.
Notwithstanding the unity lent by Nick Adams, In Our Time, to the extent that it concerns war, is not so much a novel as an antinovel, a work, in other words, that defies the narrative conventions established by "the great tradition" The anti-novel, as defined by A Handbook to Literature (4th edn.
He can do so, for example, by substituting, in his complementary story, the pattern of selection typical of the antinovel for that used in the story narrated in the novel; thus, he could substitute the Ulysses grid for that of Portrait of a Lady when reading James.
Antinovel, for example, is an incomplete translation of Jean-Paul Sartre's antiroman (though this term was used at least as early as 1627 by Charles Sorel) in which French roman is rendered by English novel, but in which the and remains unchanged.