Style
Unsworth's style is not heaped in historical minutiae, "I don't really care how many buttons someone had on his waistcoat. It would be good to get it right, but what really matters is trying to get hold of the spirit of the age, what it was like to be alive in that age, what it felt like to be…an ordinary person in the margins of history."
In regards to writing and growing old, Unsworth said, "With time I have grown more sparing with the words. I think less of fire-works and flourishes. I try to get warmth and color through precision of language. This is more difficult, I think, which may be why I find writing novels so challenging and exacting."
Some critics have attacked historical fiction as being un-literary, for example James Wood writing in The New Yorker called it a "somewhat gimcrack genre not exactly jammed with greatness." However Unsowrth defended the form, saying "The term historical fiction is a blunt instrument in literary criticism. When people ask, 'Is it a good historical novel?' they may as well ask, 'Is it a good Protestant novel?' or 'Is it a good transvestite novel?' I write stories that are set in the past. Fiction set in the past should be judged by the same criteria as any other fiction. Does the novel convey a sense of life, touch the reader's mind and heart? Does it belong to what D.H. Lawrence called the one bright book of life?"
Read more about this topic: Barry Unsworth
Famous quotes containing the word style:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“Everything ponderous, viscous, and solemnly clumsy, all long- winded and boring types of style are developed in profuse variety among Germans—forgive me the fact that even Goethe’s prose, in its mixture of stiffness and elegance, is no exception, being a reflection of the “good old time” to which it belongs, and a reflection of German taste at a time when there still was a “German taste”Ma rococo taste in moribus et artibus.”
—Friedrich Nietzsche (1844–1900)
“The habit some writers indulge in of perpetual quotation is one it behoves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c’est l’homme, what is likely to happen if l’homme is for ever eking out his own personality with that of some other individual?”
—Dame Ethel Smyth (1858–1944)