Abstract

For the last two centuries the novel has been the predominant literary genre; but the generic identity of the novel is far from established. Attempts to define the novel have focussed on formal features of particular types of texts, with the result that definitions of “the” novel have merely canonized one or another of the innumerable novelistic manifestations—Bildungsroman, eighteenth-century English novels, novels of the kind George Eliot or Henry James or Marcel Proust or Feodor Dostoevsky wrote, etc. By basing themselves upon such formal attributes, such definitions exclude a vast number of potential texts on essentially normative grounds. Further, the history of the novel has outgrown and contradicted those conceptions; no sooner than a theory has been formulated, the novel itself has moved forward, adapting to changing conditions and substituting for those formal properties a set of new ones, thus rendering the theories obsolete and revealing the inadequacy of formalist categories to define the genre. This predicament is certainly not unique to the theory of the novel but rather a necessary concomitant of any theoretical project; what makes any attempt to theorize about the novel particularly vulnerable is the genre's resistence to formalist analysis, its lack of precisely those organizing categories upon which a formalist theory of any genre can be built.