Abstract

In a moment in which many critics are speaking of a new formalism, the recent appearance of three major anthologies of new and classic novel criticism bespeaks an unprecedented upsurge of interest in once-unfashionable questions of genre. And though these new books leave it unclear whether the novel is in fact a genre, they show that novel theory is: a genre defined at its core by an orientation toward totality. This essay examines the image of the canon of novel theory that emerges from Michael McKeon's Theory of the Novel: A Historical Approach and Dorothy J. Hale's, The Novel: An Anthology of Criticism and Theory, 1900–2000 before moving to a longer consideration of Franco Moretti's massive two-volume collection The Novel. The essay explores how the conclusions of the ambitious founding texts of Western novel theory (by writers like Mikhail Bakhtin and Georg Lukács, in particular) are revisited and revised in Moretti's collection, with its vast historical reach and its collection of materials from a large number of languages. These anthologies, despite their differences, suggest that the novel (as it is portrayed in novel theory at least) remains the paradigmatic form of modernity – and that novel criticism remains a crucial critical name for the ambition to come to grips with the contours of an increasingly globalized cultural scene.

DOI: 10.1111/j.1741-4113.2008.00590.x