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Drawing on a wide range of nineteenth- and twentieth-century English, French, American, and Russian novels, Marianna Torgovnick demonstrates the variety and complexity of the process by which a work reaches an appropriate conclusion.

Originally published in 1981.

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Table of Contents

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  1. Cover
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  1. Title Page, Copyright, Dedication, Acknowledgments
  2. pp. i-viii
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  1. Contents
  2. pp. ix-2
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  1. Introduction
  2. pp. 3-19
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  1. 1. George Eliot and the "Finale" of Middlemarch
  2. pp. 20-36
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  1. 2. Closure in Dickens' Bleak House
  2. pp. 37-60
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  1. 3. "Open" and "Closed" Form in War and Peace
  2. pp. 61-79
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  1. 4. Communal Themes and the Outer Frame of the Scarlet Letter
  2. pp. 80-100
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  1. 5. Discomforting the Reader: The Confrontational Endings of Vanity Fair and L'Education Sentimentale
  2. pp. 101-120
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  1. 6. James's Sense of an Ending: The Role Played in Its Development by James's Ideas About Nineteenth-Century Endings
  2. pp. 121-142
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  1. 7. Gesture and the Ending of the Golden Bowl
  2. pp. 143-156
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  1. 8. Story-Telling as Affirmation at the End of Light in August
  2. pp. 157-175
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  1. 9. Virginia Woolf, the Vision of the Waves, and the Novel's Double Ending
  2. pp. 176-197
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  1. Conclusion
  2. pp. 198-210
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  1. Notes
  2. pp. 211-224
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  1. Bibliography
  2. pp. 225-232
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  1. Index
  2. pp. 233-238
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