Most works in realism tell a succession of such abject truths; they are deeply in earnest, every detail is true, and yet the whole finally tumbles to the ground true but without significance. How did Jane Austen save her novels from that danger? They appear to be compact of abject truth. Their events are excruciatingly unimportant; and yet, with R. Crusoe, they will probably outlast all Fielding, Scott, George Elliot, Thackeray, and Dickens. The art is so consummate that the secret is hidden; peer at them as hard as one may; shake them; take them apart; one cannot see how it is done.
--
Thornton Wilder, A preface for Our Town (1938)Jane Austen
Jane Austen was born before those bonds which (we are told) protected women from truth, were burst by the Brontės or elaborately untied by George Eliot. Yet the fact remains that Jane Austen knew more about men than either of them. Jane Austen may have been protected from truth: but it was precious little of truth that was protected from her.
Jane Austen
Which brings us again, after this long way about, to Jane Austen and her novels, and that troublesome question about them. She was great and they were beautiful, because she and they were honest, and dealt with nature nearly a hundred years ago as realism deals with it to-day. Realism is nothing more and nothing less than the truthful treatment of material, and Jane Austen was the first and the last of the English novelists to treat material with entire truthfulness. Because she did this, she remains the most artistic of the English novelists, and alone worthy to be matched with the great Scandinavian and Slavic and Latin artists.
Jane Austen
Like the great European novelists of the 19th century, Kalki was a master of striking scenes and episodes. With some of the burning patriotic fervour of a Bankim Chandra and a Hari Narayan Apte, something too of the humour of Dickens and the gift of portraiture of a Thackeray Kalki spread out his novels in impressive sequence. Very often he is compared with Dickens and Thackeray for his sense of humour and his gift of portraiture respectively.
Kalki (R. Krishnamurthy) Krishnamurthy
These Chinese novels are not perfect according to Western standards. They are not always planned from beginning to end, nor are they compact, any more than life is planned or compact. They are often too long, too full of incident, too crowded with character, a medley of fact and fiction as to material, and a medley of romance and realism as to method, so that an impossible event of magic or dream may be described with such exact semblance of detail that one is compelled to belief against all reason
Pearl Buck
What Fielding was to the eighteenth century and Dickens to the nineteenth, Sinclair is to our own. The overwhelming knowledge and passionate expression of specific wrongs are more stirring, more interesting, and also more taxing than the cynical censure of Fielding and the sentimental lamentations of Dickens.
Upton Sinclair
Austen, Jane
Auster, Paul
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z