The Literary-Agent Hyphothesis

A great blog (here) by ‘The Contented Librarian’ (and a great blog-name!), listing 40 literary terms ‘you should know’. I’m not quite sure who the ‘you’ is, since the list seems to veer from the latinate rhetorical terms I was expecting from the title (meiosis) to what seem to me to be everyday common-or-garden speech for people who read (bowdlerize).

But of course a list, any list, is fun, and one where you can score yourself is even better. I didn’t know four, which I think is pretty good. The one I like best, however, is a new one on me: ‘the literary-agent hypothesis’. Contrary to my immediate Paranoid Author Response, this does not indicate that my agent is planning to sack me, or that all the literary agents in London are in a room, and they Are Laughing At Us, but is instead a lit. crit. concept that the author is only the agent for the characters, who are in fact writing the novel, or, as I feel certain the people who discuss this theory say, the ‘text’.

‘Purple prose’, I would have thought, didn’t need a definition. It’s like porn, and everyone knows it when they see it. (In my own case, it is easily identified by the fact that my eyeballs roll so far back in my head that I can see my tonsils whenever I stumble across some.) But perhaps the Contented Librarian’s definition is better: ‘Any text referring to eyes as “orbs” without any sort of irony is automatically guilty of this linguistic sometimes-offense. No matter what. No exceptions. Also, every romance novel ever written. Even if a long-lost manuscript attributed to Bukowski ever materialized and proved a romance novel, it would still be made of purple prose.’

Works for me.

3 thoughts on “The Literary-Agent Hyphothesis

  1. My favourite discussion about clarity vs purple comes (unsurprisingly) from Stunk & White

    Here is another sentence, this one by a later Tom. It is not a famous sentence, although its author (Thomas Wolfe) is well known. “Quick are the mouths of earth, and quick the teeth that fed upon this loveliness.” The sentence would not take a prize for clarity, and rhetorically it is at the opposite pole from “These are the times.” Try it in a different form, without the inversions:

    The mouths of earth are quick, and the teeth that fed upon this loveliness are quick, too.

    The author’s meaning is still intact, but not his overpowering emotion. What was poetical and sensuous has become prosy and wooden; instead of the secret sounds of beauty, we are left with the simple crunch of mastication. (Whether Mr. Wolfe was guilty of overwriting is, of course, another question — one that is not pertinent here.)

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