thin material, but that is its very point: it is the first antinovel
Long live the antinovel
, built from scraps", announces David Shields in his much-quoted artistic manifesto Reality Hunger (2011: 115).
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
Part three shifts into an antinovel
with Intimate Diary of Solitude, which ends that series in Spanish.
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.
The project is underpinned by a lengthy opening chapter by Remo Ceserani and Pierluigi Pellini, which ambitiously raises many issues regarding the development of the Italian novel, including the late arrival of the novel in Italy, linguistic issues surrounding its evolution, and the simultaneous development of the novel and antinovel
traditions in Italy (with Foscolo's Ortis).
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.
For example, she claims that Arqueles Velas is a forerunner of the Latin American antinovel
and antinovelists such as J.