The Experimental Novel (1880) is an essay by French author Émile Zola. Written at the height of his career as a leading proponent of Naturalism, The Experimental Novel serves to illuminate the author’s approach to the practice and purpose of writing while advocating for a revolution of style among artists of his era. Read as a reaction against Romanticism, The Experimental Novel proves a convincing counterpoint to the excesses and failures of nineteenth century art, illustrating the need for literature to draw inspiration from other sources of human understanding—such as science, history, and the social sciences—in order to effectively explore the themes of everyday life. “The return to nature, the naturalistic evolution which marks the century, drives little by little all the manifestation of human intelligence into the same scientific path. Only the idea of a literature governed by science is doubtless a surprise, until explained with precision and understood. It seems to me necessary, then, to say briefly and to the point what I understand by the experimental novel.” Rather than imitate reality, a writer must attempt a scientific investigation of the nature of everyday life. For Zola, plot must be secondary to character, and character must be subject to the laws and limitations of a particular society. As a writer interested in the relationships between rich and poor, citizen and state, culture and economy, and personal and public life, Zola found it necessary to write experimental fiction—literally, fiction which experiments with its object of inquiry. Blending science and art, he revolutionized not only the idea of what a novel is and can do, but the responsibility of the artist to society. The Experimental Novel is a masterful essay for readers interested in Zola’s work and in the history and philosophy of literature. With a beautifully designed cover and professionally typeset manuscript, this edition of Émile Zola’s The Experimental Novel is a classic work of French literature reimagined for modern readers.

Since the nineteenth century, the Western realistic novel has persistently represented the addict as a morally toxic force bent on destroying the institutions, practices, and ideologies that historically have connoted reason, order, civilization. Addiction, Representation undertakes an investigation into an alternative literary tradition that unsettles this limited portrayal of the addict. The book analyzes the practices and politics of reading the experimental addiction novel, and outlines both a practice and an ethics of reading that advocates for a more compassionate response to both diegetic and extra-diegetic addicts—an approach that, at its core, is focused on understanding.

Delving into how the traumatic experience of the Second World War formed – or perhaps malformed – the post-war experimental novel, this book explores how the symbolic violence of post-war normalization warped societies' perception of reality. Andrew Hodgson explores how the novel was used by authors to attempt to communicate in such a climate, building a memorial space that has been omitted from literatures and societies of the post-war period. Hodgson investigates this space as it is portrayed in experimental modern British and French fiction, considering themes of amnesia, myopia, delusion and dementia. Such themes are constantly referred back to and posit in narrative a motive for the very broken forms these books often take – books in boxes; of spare pages to be shuffled at the reader's will; with holes in pages; missing whole sections of the alphabet; or books written and then entirely scrubbed out in smudged black ink. Covering the works of B. S. Johnson, Ann Quin, Georges Perec, Roland Topor, Raymond Queneau and others, Andrew Hodgson shows that there is method to the madness of experimental fiction and legitimizes the form as a prominent presence within a wider literary and historical movement in European and American avant-garde literatures.

The Experimental Novel (1880) is an essay by French author Émile Zola. Written at the height of his career as a leading proponent of Naturalism, The Experimental Novel serves to illuminate the author's approach to the practice and purpose of writing while advocating for a revolution of style among artists of his era. Read as a reaction against Romanticism, The Experimental Novel proves a convincing counterpoint to the excesses and failures of nineteenth century art, illustrating the need for literature to draw inspiration from other sources of human understanding--such as science, history, and the social sciences--in order to effectively explore the themes of everyday life. "The return to nature, the naturalistic evolution which marks the century, drives little by little all the manifestation of human intelligence into the same scientific path. Only the idea of a literature governed by science is doubtless a surprise, until explained with precision and understood. It seems to me necessary, then, to say briefly and to the point what I understand by the experimental novel." Rather than imitate reality, a writer must attempt a scientific investigation of the nature of everyday life. For Zola, plot must be secondary to character, and character must be subject to the laws and limitations of a particular society. As a writer interested in the relationships between rich and poor, citizen and state, culture and economy, and personal and public life, Zola found it necessary to write experimental fiction--literally, fiction which experiments with its object of inquiry. Blending science and art, he revolutionized not only the idea of what a novel is and can do, but the responsibility of the artist to society. The Experimental Novel is a masterful essay for readers interested in Zola's work and in the history and philosophy of literature. With a beautifully designed cover and professionally typeset manuscript, this edition of Émile Zola's The Experimental Novel is a classic work of French literature reimagined for modern readers.

Traces the development of the modern Arabic novel from the 1960s to the present.