antinovel


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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.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

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
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

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.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
References in periodicals archive ?
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.
As noted in the "Preface," the novel (or antinovel) is composed of one long chapter and includes around 60 characters, 21 stories and 180 breaks in the narrative.
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).
For example, she claims that Arqueles Velas is a forerunner of the Latin American antinovel and antinovelists such as J.