We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
Giving the lie to a critical crutch.
Illustration: Robert Ingpen
Copies of Donna Tartt’s The Goldfinch now bear an impressive gold foil sticker declaring it the “WINNER of the PULITZER PRIZE.” Before that accolade, though, critics had already branded the novel by using and abusing the adjective that’s launched a thousand blurbs—Dickensian. Despite, or perhaps because of, the ubiquity of the word in appraisals of the novel, such assessments are rarely issued without caveats. NPR’s Maureen Corrigan apologetically notes that the term “is one of those literary modifiers that’s overused”; in the New York Times Book Review, Stephen King somewhat ruefully acknowledged that he wouldn’t be the last to employ Dickensian to describe Tartt’s novel. He was right.
For all this critical concurrence, it’s less than clear what we mean by Dickensian, or, for that matter, by any adjective with a particular author at its root. Francine Prose leads her review of The Goldfinch with this very question: “What do people mean when they call a novel ‘Dickensian’?” As Prose notes, a number of answers present themselves—Dickensian can signify sentimentality, an attentiveness to the social conditions, a cast of comically hyperbolic characters, a reliance on plot contrivances, or even simply a book’s sheer length. (I suspect one rarely means the relatively slim A Tale of Two Cities or Hard Times when one labels a novel Dickensian.) In other words, the proliferation of the senses of Dickensian makes one wonder if it, or other such words, are critically useful at all. As Cynthia Ozick has recently complained with regard to Kafkaesque—another perennial—the word “has by now escaped the body of work it is meant to evoke.” Read More >>
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