The Seven Basic Plots: Why We Tell Stories
Many writing guides have suggested that fiction contains a limited number of basic plots, and Booker offers his version at great length. Furthermore, he claims all of these plots, from "overcoming the monster" to "rebirth," are variations on "the same great basic drama," a Jungian archetypal representation of the development and integration of the mature self. The meticulous detailing of this theory in plot summaries (of everything fromBeowulftoJaws,ancient comedy to modern tragedy, Western culture and Eastern) is an imposing enough task, but Booker is just warming up. In the book's second half, he explains how the psychological shortcomings of modern authors such as Shaw and Joyce led them to reject archetypal truth in favor of writing out their own sentimental and morbid fantasies. The biographical analysis is simplistic, however, and Booker makes numerous errors in the sections on film. The transition from literary criticism to Jungian psychology might be more bearable were it not saddled with an overabundance of academic cliché surprising in a writer of Booker's extensive journalistic background (he now contributes to England'sDaily Telegraph). Clearly striving for the intellectual respectability of Northrop Frye, he falls far short, and accusing those who disagree with him of suffering from "limited ego-consciousness" doesn't help his case.(Apr.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.--This text refers to an out of print or unavailable edition of this title.