Text
Gone With The Wind
Gone with the Wind, Margaret Mitchell's debut – and only – novel, , has maintained an extraordinary popularity since its first publication in 1936. To date, more than 30 million copies have been sold worldwide. This is an extraordinary achievement. Popular appeal very rarely lasts this long; to maintain a readership a novel must offer something more than an intriguing story; more than vivid characters. It has to say something that speaks to millions of people in very different societies.
This novel has a message that is deeper than a love story or a coming-of-age-fable, and perhaps the greatest difficulty that I and many other readers have with it is that, although we may love the novel, we choke on its message. But the redeeming factor the reason I can love Gone with the Wind without guilt - is that I believe the author herself did not agree with her intended message: she undermines it even as she declares it.
All historical fictions are a combination of two forms of writing: history and the novel; and this troubles critics, readers and even authors. As with other hybrid forms of fiction, the content is described by name, but the style is always clearly that of a novel. “Science fiction' may discuss as much real science as a research thesis, but it is written as a fictional narrative with imaginary characters and dialogue. 'Crime fiction' can contain all the facts of a real-life crime, a just like a forensic report; but the style of the writing, with characters whose description is supplemented by fictitious detail and who speak invented dialogue, is that of the conventional novel. So too with 'historical fiction' - it is based on historical facts but written in novel form.
F03020/P/B/2017 | F/Mit/g | My Library | Tersedia |
Tidak tersedia versi lain