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Aspects of the Novel

3.83  ·  Rating details ·  3,448 ratings  ·  315 reviews

ASPECTS OF THE NOVEL is a unique attempt to examine the novel afresh, rejecting the traditional methods of classification by chronology or subject-matter.

Forster pares down the novel to its essential elements as he sees them: story, people, plot, fantasy, prophecy, pattern and rhythm. He illustrates each aspect with examples from their greatest exponents, not hesitating a

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Kindle Edition, 194 pages
Published February 4th 2016 by Hodder & Stoughton (first published 1927)
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3.83  · 
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 ·  3,448 ratings  ·  315 reviews


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Paul Bryant
Oct 18, 2007 rated it really liked it  ·  review of another edition
Shelves: litcrit
They said to me "Do you do Twitter?"

I said no, I have Goodreads.

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I said no, I have Goodreads - this is funny, someone said it should be called Bookface.

They didn't get that.

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I said well, no, I do Goodreads.

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I said yeah, you heard right.

They said "Don't tell us, you have Goodreads."

I said "Now you're making fun of me."

They said "Huh, we don't need
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Riku Sayuj

Towards a Poetics of The Novel

Here is a nice pseudo-scholarly jaunt through what 'aspects' go towards the creation of the Novel-form. Forster isolates a few of these aspects and discusses them, but the the 'rhythm' of the lectures, to use his own terminology, is one of insufficiency. It is as if Forster knows that the framework would collapse ever so easily with the slightest departure from his selected story-line or plot-structure or lecture-structure.

As I said, there is much jauntiness here,
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Bruce
Oct 14, 2009 rated it really liked it  ·  review of another edition
This fascinating book is a series of lectures (and, taking its tone from that format, is delightfully conversational) that Forster gave at Trinity College, Cambridge, in 1927. In his “introductory” he makes this statement, “The final test of a novel (is) our affection for it.” He proposes to discuss several aspects of the novel.

The most common denominator of all novels is this: the novel tells a story. This alone does not make a novel good, but without a story a novel cannot exist. Therefore, ti
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نعیمه بخشی
فورستر بهطور خاص درباره رمان و این قالب خاص صحبت نمیکنه. بیشتر داره تعدادی از رمانها رو براساس چند ویژگی که خودش درنظر گرفته بررسی میکنه. چیزهایی میشه ازش گرفت اما اندک. ...more
Richard Derus
Dec 24, 2016 rated it it was amazing  ·  review of another edition
Rating: 5* of five

One of the best books I've read about writing novels. A truly inspirational guide to a complex and daunting effort. It is scary enough to make the decision to write a novel. To face the prospect without a reliable guide? UNTHINKABLE!!
Helle
As much as I absolutely love some of Forster’s novels, there was something about this book which failed to reach me entirely. In about half of it, he was lucid and original, using text examples that I knew, and lifting their meanings to new heights; introducing his famous ‘flat’ and ‘round’ characters. But in the other half (or so), I felt that he was unnecessarily allegorical and metaphysical, and he lost me at times.

The book is divided into chapters about The Story, People, The Plot, Fantasy,
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Eleanor
I enjoyed it to some extent, especially the laugh-out-loud moments where he points out how utterly ridiculous a plot is, or quotes a parody of Henry James by H G Wells. But many of the books of which he speaks are ones I have never even heard of and so I must confess that there were times when he lost me and I would rather have been elsewhere.
Jennifer
Not exactly a how-to guide or a critique, Forster very basically explains different aspects of the novel through a series of lectures he gave in the late 1920s. A lot of the books that he refers to I’ve never read and probably never will (Les Faux Monnayeurs, not so much interested in), but he usually includes enough detail of the story or character that you get his point.
The tone is pretty casual, which makes it an easy read and while the aspects he covers are very basic - the story, the plot,
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Richard
Mar 01, 2017 rated it really liked it  ·  review of another edition
I first read "Aspects of the Novel" shortly after I entered College at a time when my reading was predominately in science fiction. I found Forster’s book very exciting and it stimulated me to the point where I began reading more widely and finally became an English major.

Well, time has passed since then and my views have moderated somewhat though I still think this is a book anyone interested in the novel should look through at last once.

The first two chapters are quite engaging and help explai
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Mohit Parikh
E M Forester is a remarkable man. Astute. And that's what makes Aspects of the Novel so compelling.

The book is a compilation of lectures, delivered in Trinity College, Cambridge in 1927, on what he considers universal aspects of the novel: story, characters, plot, fantasy, prophecy, pattern, and rhythm.
The lectures are unique and insightful. Had I not lost my book immediately after finishing it I would have loved to quote several of his shrewd, profound and appealing conclusions here.
What stil
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Biron Paşa
Roman Sanatı, E. M. Forster'ın 1927 yılında romanları, ağırlıklı olarak İngiliz edebiyatını, incelediği kitabı. Roman nedir, ne değildir, romanlara nasıl yaklaşmak gerekir, nasıl yaklaşmak tehlikeli olabilir sorularına cevap veriyor. Bunu yaparken de kesinlikle "kasıntı" olmayan bir dille, son derece şakacı, hatta geyikçi bir şekilde yapıyor ve ortaya okuması keyifli bir kitap çıkıyor.

Okuması keyifli, fakat pek aydınlatıcı değil. Bundan neredeyse 100 yıl önce yazılmış bir kitabın bizim romanlar
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Bryan
Aug 21, 2012 rated it did not like it  ·  review of another edition
Like many exponents of "literary" fiction, Forster has no appreciation for the craft, difficulty, or art of story. Consider this ridiculous observation:

"Curiosity is one of the lowest of the human faculties. You will have noticed in daily life that when people are inquisitive they nearly always have bad memories and are usually stupid at bottom. The man who beings by asking you how many brothers and sisters you have, is never a sympathetic character, and if you meet him in a year’s time he will
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Zeineb Nouira
Sep 01, 2018 rated it really liked it  ·  review of another edition
There is not much to be said about this book apart from the fact that it is a pillar in the field of literary criticism.

One will surely learn many valuable things about the craft of fiction thanks to Forster's witty and straightforward style which, unfortunately, did not remain consistent near the end of the book.I had the impression that Forster's choice of certain works to illustrate his opinions was made out of personal taste and stance towards a few of his contemporaries. Nevertheless, what
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Afaf Afaf
Dec 25, 2016 rated it really liked it  ·  review of another edition
I liked the book. it is really helpful for those who are interested especially in literature.
i liked the language . It's simple, in the same time, it has some sophisticated vocabulary.

Well, E.M.Forster talks about the aspects of the novel. there are about 5 chapters; each chapter contains a certain aspect:
1 story
2 people (A&B)
3 plot
4 fantasy & prophecy
5 pattern & rhythm

I'm about to demonstrate the general idea in each of them:

STORY:
the story is a narrative of events arranged in
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Gypsy
Jul 05, 2015 rated it it was ok  ·  review of another edition

فک میکنم واسه زمان خودش خوب بوده. خیلی هم مجمل و خلاصهس؛ نصف ِ بیشترش مثال و تحلیل آثار موفّق دیگهس. درسته که گاهی باید از مثال استفاده کرد. ولی نه اینکه نصف بیشتر کتاب، همینمثالها باشن. تازه، من خیلیاشونو نخونده بودم و صرف ِ تحلیل ِ مولّف، نمیتونستم باهاش همراهی کنم. شاید نکاتش بهزور چل صفحه هم بشن.
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Armin
Apr 11, 2017 rated it liked it  ·  review of another edition
Herrliche Analyse des anglo-amerikanischen Kanons vom 18. Jahrhundert bis Ulysses (+Dostojewski, Tolstoj, Gide, Proust) mit zahlreichen trefflichen Bonmots. Aber zwischen den etlichen bemerkenswerten Sprüchen zum Einrahmen gibt es auch allerlei Seichtigkeiten oder Kamingeplauder.
Morteza Bahrami
با اینکه اقای یونسی انسان دانشمند و مترجم توانایی هستند اما بسیار پیچیده و دور از فهم بود. البته کتاب متن سخنرانی فورستر است که دستی مثلا به سر رویش کشیده اند و کتاب شده است.
Shane
May 05, 2015 rated it liked it  ·  review of another edition
This is a rather dated study of the novel that Forster delivered in a series of lectures at the Cambridge Arts Theatre in 1927, but some elements are still of interest.

Forster limits his study to about a dozen novels and their authors: The Brothers Karamazov, Moby Dick, Ulysses, Wuthering Heights, Madame Bovary, Moll Flanders, Emma, Tristram Shandy, The White Peacock, War and Peace, Bleak House and the Ambassadors. He breaks his areas of study into Story, Plot, People, Fantasy, Prophesy, Patter
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Alina Cătărău
Feb 15, 2018 rated it really liked it
Today’s post will be a little different from my usual content because I’ll try my best to review E.M. Forster’s Aspects of the Novel, a collection of lectures he held at Trinity College in 1927. This book comprises of the author’s note, an introduction, a chapter on the story, two on characters, one on plot, fantasy, prophecy, patterns and rhythm and a conclusion.

http://alinasbookishhideout.com/revie...
A.J.
Apr 01, 2017 rated it liked it  ·  review of another edition
This is the book version of a series of lectures Forster gave at Cambridge the year my grandmother was born, i.e 1927. I found it interesting, and Forster's casual style (since he was speaking rather than writing) and self-awareness of the slipperiness of the subject causing his inability to really grasp it in a masterful way made it a refreshing read despite the 90 years between him saying these things and me reading them.

That said, I think it was a bit muddled and I think sometimes he assumed
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Chris Dietzel
The author of 'Howard's End' and 'A Room With A View' provides his thoughts on the elements that make up stories. Parts of this were great and other parts I skimmed through because they didn't seem relevant in this day and age.

I particularly enjoyed:
- His take on commercially successful writers versus those who create works of art.
- His take on other writers of his day (loved Tolstoy and Dostoevsky, didn't care for Sir Walter Scott, thought Gertrude Stein failed in writing execution, liked Auste
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Linda Robinson
Mar 24, 2014 rated it it was amazing  ·  review of another edition
There is a Note at the front of this edition (1954) that sets the tone for the remainder: a series of lectures at Trinity College Cambridge. One longish paragraph that, like a proper appetizer, creates a hunger for what will follow. Foster tells us that words like 'of course,' 'curiously enough,' and 'so to speak,' have been left where each appeared which may distress the sensitive reader, but asks the reader to remember that 'if these words were removed others, perhaps more distinguished, might ...more
Perry
Jan 12, 2014 rated it really liked it  ·  review of another edition
Shelves: circle
This collection of lectures Forster gave at Cambridge Univ in 1927 is published in book form and provides a decent look at how a novelist of some critical acclaim a century ago viewed the Aspects of the Novel, both from a reader's and a writer's perspective.

Forster defines the novel as "any fictitious prose work over 50,000 words." The seven aspects he discusses are story, people, plot, fantasy, prophecy, pattern, and rhythm. He compares the novel's texture and form to those of a symphony and be
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Michael Ryan
I like E.M. Forster novels in the same way I like fancy restaurants.

I appreciate them, but more often than not they are outside of my comfort zone, I don't really fit in with them, and I think they are overpriced and overrated.

Reading this book you get the sense that E.M. Forster is a bit of an opinionated prick. The saving grace here is that he definitely has the skills to back up being an opinionated prick. But I found the book useless as a guide to writing or as a portal into the mind of th
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Ksenia Anske
Jul 11, 2016 rated it really liked it  ·  review of another edition
Politely sarcastic, I would call this. Lots of enlightening truths about writing a novel mixed in with quiet jabs at societal conventions blown up in novels to startling proportions, like eating, for example, and the fact that most novels end in death or marriage, all of this illustrated with examples from English novels of the last two centuries, with a mention of some French and some Russian giants like Tolstoy and Dostoyevsky. In that way, it's a limited but quite accurate view on what a nove ...more
Nandakishore Varma
An avowed classic on literary craft which somehow did not resonate with me. Due for a re-read.
Lara Lee
Jun 03, 2018 rated it it was amazing  ·  review of another edition
Aspects of the Novel by E.M. Forster is not a how-to-write book. It is a collection of lectures delivered in the 1920's by Forster at King's College in Cambridge. The point of the book is to discuss what makes a good fiction novel work. I was introduced to this book from multiple directions at the same time. The primary place that piqued my curiosity was in Ursula Le Guin's Steering the Craft where she used it as a debate partner. I am thrilled I did read it, and I think there is a good reason w ...more
Wilsonn
Forster is very early twentieth century, if not entirely High Modernist, in his approach to fiction; but while he may frequently date himself in this book, his arguments in themselves cast and should cast long shadows. This is an essential and fun read for anyone interested in how contemporary books tick.

‘If you ask one man, "What does a novel do?" he will reply placidly: "Well—I don't know—it seems a funny sort of question to ask—a novel’s a novel—well, I don’t know—I suppose it kind of tells a
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Megan Clark
did I actually finish all of this? no. (*but I did read some chapters!)
am I gonna act like I did to help out my Goodreads challenge? yes
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2,118 followers
Edward Morgan Forster, generally published as E.M. Forster, was an novelist, essayist, and short story writer. He is known best for his ironic and well-plotted novels examining class difference and hypocrisy in early 20th-century British society. His humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect".

He had five
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“Long books, when read, are usually overpraised, because the reader wishes to convince others and himself that he has not wasted his time.” 226 likes
“We move between two darknesses.” 32 likes
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