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Nine Tales of Crises in “All That Man Is”

For many contemporary writers of fiction, The Novel looms balefully, a rigid school from which we should all be desperate to play hooky. That impulse is not especially new. For at least a century, in recurrent spasms of correction, The Novel has been blamed for ossified convention: the codified palaver of plot, character, dialogue, conflict, development, epiphany, closure; the deluded transparency of realism.
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