Madame Bovary
I will be the first to admit that there are major gaps in my education, especially in terms of literature and specifically in terms of non-American literature. I try to correct that by a reading regimen that includes one fiction for every two nonfiction books I read (those mostly for academic purposes). I have a huge pile I am working on, but my most recent fiction read was Madame Bovary, or at least an English translation by Francis Steegmuller. I had heard this was the seminal novel, so it was time. I firmly believe only people who read great writing are permitted to write (although that is an unpopular view).
It is a great novel; whether it is the greatest ever written I don't know. I thought The Brothers Karamazov was more profound and Dickens more encompassing. What makes a great novel (or movie, or symphony, etc.) is that one can experience it many times and find something new in it each time, and yet the first time one is struck by its depth and quality. Ironically, all the how-to books about writing fiction are often negelcted, or even disobeyed outright, by these works of literature. For example, we are told to make sure our protagonist, even if a "sinner," is likeable; I really didn't like Emma Bovary, and I'm not sure what there is to like about her. But she is well drawn, yet I thought "when is this woman going to wise up? when is she going to appreciate what she has and stop whoring around?"
There are many ways to approach a novel in terms of criticism, and I don't go in for the modern schools. I was trained by New Critics, so if it's not on the page, it's not to be considered (a simplification, but I'll go with it). I see the key contrast here not between Emma Bovary and her husband, or her mother-in-law, or the good women of the town, but between her and Homais the pharmacist. Homais pursues what he wants to make him happy, but never is; he is even more ruthless, and uncaring, and devious, than Emma. Emma is selfish and hurts her husband and child in the pursuit of some kind of fantasy romance that she believes will make her happy; Homais is willing to have a disabled person committed to keep up his reputation. Emma sins for herself only; Homais sins to get approval of others for himself. "The devil himself doesn't have a greater following than the pharmacist."
John Gardner says to create a dream, a believable dream in fiction; Flaubert has done this with his realism. I would have had no trouble believing these people existed; my only stretch was her husband was that dumb about her adulteries.
It is a great novel; whether it is the greatest ever written I don't know. I thought The Brothers Karamazov was more profound and Dickens more encompassing. What makes a great novel (or movie, or symphony, etc.) is that one can experience it many times and find something new in it each time, and yet the first time one is struck by its depth and quality. Ironically, all the how-to books about writing fiction are often negelcted, or even disobeyed outright, by these works of literature. For example, we are told to make sure our protagonist, even if a "sinner," is likeable; I really didn't like Emma Bovary, and I'm not sure what there is to like about her. But she is well drawn, yet I thought "when is this woman going to wise up? when is she going to appreciate what she has and stop whoring around?"
There are many ways to approach a novel in terms of criticism, and I don't go in for the modern schools. I was trained by New Critics, so if it's not on the page, it's not to be considered (a simplification, but I'll go with it). I see the key contrast here not between Emma Bovary and her husband, or her mother-in-law, or the good women of the town, but between her and Homais the pharmacist. Homais pursues what he wants to make him happy, but never is; he is even more ruthless, and uncaring, and devious, than Emma. Emma is selfish and hurts her husband and child in the pursuit of some kind of fantasy romance that she believes will make her happy; Homais is willing to have a disabled person committed to keep up his reputation. Emma sins for herself only; Homais sins to get approval of others for himself. "The devil himself doesn't have a greater following than the pharmacist."
John Gardner says to create a dream, a believable dream in fiction; Flaubert has done this with his realism. I would have had no trouble believing these people existed; my only stretch was her husband was that dumb about her adulteries.
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