Quiet in time and narrative
in The quiet contemporary American novel
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter examines the discrepancy between the prize-winning success of quiet fiction and repeated critical surprise at the trend's existence. Through analysis of texts by Marilynne Robinson and Paul Harding, the chapter makes two propositions about what quiet fiction might be in its contemporary American form. First, it defines quiet as a narrative aesthetic through analysis of Robinson's Gilead and its partner novels, Home and Lila. Building on the aesthetic conditions, the author reads each text for four quiet criteria and argues that a quiet text privileges the depiction of quiet characters, locations and interior life. The second strand deals with time and temporality in Robinson's and Harding's quiet texts. A quiet novel where narrative duration is based on the movement of thought and the invocation of memory is liberated, the author argues from the linear representation of time and otherwise committed to the portrayal of subjective experience.


All Time Past Year Past 30 Days
Abstract Views 51 11 0
Full Text Views 22 5 1
PDF Downloads 14 4 1