The Open Boat - Style and Genre

Style and Genre

Although autobiographical in nature, "The Open Boat" is a work of fiction; it is often considered a principal example of Naturalism, an offshoot of the Realist literary movement, in which scientific principles of objectivity and detachment are applied to the study of human characteristics. While a majority of critics agree that the story acts as a paradigm of the human situation, they disagree as to its precise nature. Some believe the story affirms man's place in the world by concentrating on the characters' isolation, while others—including those who call "The Open Boat" ideologically Symbolist—insist that the story questions man's place in the universe through metaphorical or indirect means.

Like other major works by Stephen Crane, "The Open Boat" contains numerous examples of symbolism, imagery and metaphor. Vibrant descriptions of color, combined with simple, clear writing, are also apparent throughout, and humor in the form of irony serves in stark opposition to the dreary setting and desperate characters. Editor Vincent Starrett stated in his introduction to the 1921 collection of Crane's work entitled Men, Women and Boats that the author keeps "down the tone where another writer might have attempted 'fine writing' and have been lost." Other critics have noted similarities between the story and shipwreck-related articles Crane wrote while working as a reporter for the New York Tribune earlier in his career. Articles such as "The Wreck of the New Era", which describes a group of castaways drowning in sight of a helpless crowd, and "Ghosts on the Jersey Coast" contain stark imagery that strongly prefigures that of "The Open Boat".

Read more about this topic:  The Open Boat

Famous quotes containing the words style and, style and/or genre:

    The history of all Magazines shows plainly that those which have attained celebrity were indebted for it to articles similar in natureto Berenice—although, I grant you, far superior in style and execution. I say similar in nature. You ask me in what does this nature consist? In the ludicrous heightened into the grotesque: the fearful coloured into the horrible: the witty exaggerated into the burlesque: the singular wrought out into the strange and mystical.
    Edgar Allan Poe (1809–1849)

    There are neither good nor bad subjects. From the point of view of pure Art, you could almost establish it as an axiom that the subject is irrelevant, style itself being an absolute manner of seeing things.
    Gustave Flaubert (1821–1880)

    We ignore thriller writers at our peril. Their genre is the political condition. They massage our dreams and magnify our nightmares. If it is true that we always need enemies, then we will always need writers of fiction to encode our fears and fantasies.
    Daniel Easterman (b. 1949)