Losing the plot

 

In Adam’s school, some enterprising publisher has given away a bunch of new kid’s books and the teacher has assigned the task of reviewing them to the kids. To help the kids figure out what “review” means, they have a helpful sheet that asks questions about the plot, the pictures, and even what the parents think of the book – clever, that one.

These are all fictional books. The question about the plot is: in a few sentences, describe the story  in the book – Resume l’histoire dans quelques lignes. The story – here  l’histoire – is, I take it, a proxy for plot. In the very convenient Dictionary of Untranslateables, the section on plot is under the entry “erzaehlen”.  The entry, like all of the entries, goes muchly into the etymology and philology of key words, and sorts out the diegesis from narration:

“If diegesis is the recounted world as it appears in a fiction, narration is the universe in which one recounts, that is, the set of acts and narrative procedures that give rise to and govern this fictive universe. This distinction, analytic in nature, requires that we do not confuse the different instances and levels of a narrative fiction…”

This quietly imposes a set theoretical imprint on the analysis of composition, and is handy, although, as the entry emphasizes, language dependent – and dependent on the historical epoch. The Greeks, the standard philological reference, have many words related to telling a story, but lack the set theoretical bias: “In addition, récit is one of the possible translations of a certain number of Greek words, in particular muthos [μῦθος], which, when distinguished from logos [λόγος] ( rational language ), can also be rendered in French by mythe; when distinguished from ergon [ἔϱγον] ( act ), by parole; when distinguished from diêgêsis [διήγησις] ( simple narration ), by récit dialogué; when distinguished from êthos [ἦθος] ( character ), by fable; when distinguished from historia [ἱστοϱία] ( narrativeof facts ), by fiction.”

Now that we have made things clear as mud, these are, in effect, the concepts set in motion when you ask a child – or anybody else – to give in shortened form an account of a story. Myself, I had to do this often when I wrote small reviews for Publishers Weekly (the rule was make the review between 260 and 300 words, as I remember it – with 300 being discouraged. In that space we were supposed to give an account of the muthos, the logos, the diegesis, the ethos, and tell the reader if it was thumbs up or down). I had difficulty with all those elements, partly because it is hard to cover all the twists and turns in most novels or short story collections, partly because thumbs up or down doesn’t really cut it – I could dislike a book that I thought was good, for instance.

In 1980, Penelope Fitzgerald, who knew more about writing for a living than most people, wrote an essay, “Following the plot” for the London Review of Books. It is a fascinating essay, beginning with a recit about her trip to Mexico – a trip that has puzzled her biographers (Lucy Scholes wrote a nice piece about this for Granta: https://granta.com/peripatetic-penelope-fitzgerald/). At the end of this fascinating digression (etymologically, a stepping away from the path – which is precisely not “following”), Fitzgerald reflects on the reason that she did not use this material for a story: “I take it that the novel proceeds from truth and re-creates truth, but my story, even at this stage, gives me the impression of turning fiction into fiction. Is it the legacy, or the silver, or the Latin American background, testing ground of so many 20th-century writers? I know that in any case I could never make it respectable (by which I mean probable) enough to be believed as a novel. Reality has proved treacherous. ‘Unfortunate are the adventures which are never narrated.’

Reality, here, has quietly parted company with belief, respectability and the probable. Who is the believer here who turns atheist at this potential novel?

Fitzgerald, who fell through the class system like a stone, and bounced back because she was not a stone, knew very well that what is probable for one set is improbable for another – for instance, the set that actually lives and writes in Mexico, as opposed to London. The treacherousness of reality cannot be sieved out of the novel, but it can be domesticated.

The last paragraph of Fitzgerald’s essay is, I believe, a brilliant piece of English prose that wraps up the problem of the plot in terms of family class and money – which is always what it is about.

“In the novel’s domain, plots were the earliest and the poorest relations to arrive. For the last two hundred years there have been repeated attempts to get them to leave, or, at least, to confine themselves to satire, fantasy and dream. Picaresque novels, however, both Old and new, are a kind of gesture towards them, acknowledging that although you can easily spend your whole life wandering about, you can’t do so in a book without recurrent coincidences and, after all, a return. And the readers of books like plots. That, too, is worth consideration.”