Читать книгу The Women Who Make Our Novels онлайн

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“There are three things a novelist has to do to prove himself,” she declared. “First, he must show an ability to create personalities; second, he must exhibit a sincerity of style; and third, he must evince the capacity for an intelligent criticism of life. Without these he is not worth very much in a serious, big way. To contribute to the knowledge and understanding of life—that should be his motive in writing, not primarily to create a pleasant impression.

“There have been several stages in our growth since the special type of fiction was evolved. There was the sentimentality of Richardson; then came my favorite, Fielding, our first realist; and finally arrived the critical period with its early representative in Jane Austen and more recent upholder in Meredith. We had to pass through stages far from real life before we reached the time of direct dealing with life, of real criticism of life. Take such men as Wells and Galsworthy—and maybe Arnold Bennett;—are they not trying to see life through and through? I do not believe in the realism that merely depicts for the picture. Realism of the kind I mean not only depicts, but interprets as well.”