E. M. Forster: Realist and Romancer

81 fallings of "Gaspar Ruiz" In relation to Nostromo. or see how the twisted thematic hints for which there was not enough room In "An Anarchist" and »The Informer" could be developed In The Secret Agent and Under Western Eyes. In Conrad's fiction there do not see m to be Intrinsic novelist Ic procedures as against short story techniques, and, according to Graver, Conrad was free in his novels, as he was not in the short stories, to work out his problems as he liked. Yet one knows of pressures and dead-lines which, too, certainly curtailed his freedom. Is the difference simply a matter of scale? The easier perfection of "Typhoon" in comparison to tne contortions of that loose and baggy monster, Npstromo. is certainly not a standard of literary significance. University of Zagreb Ivo Vidan 3, E. M. FORSTERs REALIST AND ROMANCER. Frederick P. W. McDowell, E. M. FÖRSTER. NYs Twayne Publishers, I969. Frederick McDowell is well known to students of Forster and especially well known to readers of ELT. In a field of study already thronged with contenders tor the critical prize, his E. M. Förster in the Twayne English Authors Series is of special value because it consistently takes account of previous criticism. But that is only the beginning of its virtues. First, there is a detailed chronology which anyone who has floundered about In search of even the simplest facts about Farster's career will appreciate. Next, there Is a long chapter on Forster's background, his career, and his essential ideas. Called "E. M. Forsters Writer, Moralist, and Thinker," the chapter Is substantial and conelse in its treatment , wide ranging in the scope of its references, well balanced and Judicious In its conclusions, In a word, the best short treatment of the subject to be found anywhere. Chapters 2 through 5 discuss Forster's fiction and chapter 6 his books of non-fiction. These are followed by a carefully selected bibliography of Forster studies which Includes all book-length works to January I969 and all those articles and essays which McDowell calls "Indispensable." Each item is annotated. For the most part the comments are generous, as might be expected since this Is a selection of the most worthwhile criticism, but where qualification is necessary or where, as is the case with a few of the books, condemnation Is in order. It is offered without apology. The bibliography Includes 15I Items, a substantial number, yet a review of the annotations appearing In EFT and ELT during the past ten years reveals how rigorously they have been chosen. In an enterprise of this kind, depending so much on experience and Judgment, 82 no two readers or critics can be expected to agree. That said, one can only praise McDowell's selection which is both careful and eclectic. The chronology, the chapter on Förster as "Writer, Moralist, and Thinker," and the bibliography, which together constitute between a quarter and a third of the book, may fairly be described as indispensable . The discussion of the novels and stories has precisely the same merits as the bibliography. It is careful in Its judgments and eclectic in Its sympathies. Since the analysis of the fiction Is confined to 83 pages, and since one of its principal virtues is the way It takes cognizance of the opinions of other critics there would be only the most limited value In my attempting to summarize McDowell 's discussion. I will attempt rather to say what qualities of mind characterize his approach. "In the last analysis, Howards End may be regarded highly for its fusion of character and situation with Idea; for the skill evinced in bringing all segments of the British middle class to bear upon each other; for the interweaving of social comedy with serious, often tragic, situations; for the connotatlve richness of its symbols; and for the freshness, wit, beauty, and polish of Its style" (p. 81). Of the five items In this catalogue, two are given special emphasis in the chapters on fiction: the fusion of character and situation with idea, and the connotatlve richness of the symbols. In other words, McDowell sets out to close...