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Realism is an aesthetic mode which broke with the classical demands of art to

show life as it should be in order to show life "as it is." The work of realist

art tends to eschew the elevated subject matter of tragedy in favour of the

quotidian; the average, the commonplace, the middle classes and their daily

struggles with the mean verities of everyday existence--these are the typical

subject matters of realism.

The attempt, however, to render life as it is, to use language as a kind of

undistorting mirror of, or perfectly transparent window to, the "real" is

fraught with contradictions. Realism in this simplified sense must assume a

one-to-one relationship between the signifier (the word, "tree" for example) and

the thing it represents (the actual arboreal object typically found in forests).

Realism must, in effect, disguise its own status as artifice, must try and force

language into transparency through an appeal to our ideologically constructed

sense of the real. The reader must be addressed in such a way that he or she is

always, in some way, saying, "Yes. That's it, that's how it really is."

Realism can never fully offer up the world in all its complexity, its

irreducible plenitude. Its verisimilitude is an effect achieved through the

deployment of certain literary and ideological conventions which have been

invested with a kind of truth value. The use of an omniscient narrator who gives

us access to a character's thoughts, feelings and motivations, for example, is a

highly formalized convention that produces a sense of psychological depth; the

characters seem to have "lives" independent of the text itself. They, of course,

do not; the sense that they do is achieved entirely by the fact that both the

author and the reader share these codes of the real. The consensual nature of

such codes is so deep that we forget that we are in the presence of fiction. As

Terry Eagleton notes,

The sign as "reflection," "expression" or "representation" denies the

productive character of language: it suppresses the fact that what we only

have a "world" at all because we have language to signify it. (136)

The realist novel first developed in the nineteenth century and is the form we

associate with the work of writers such as Austen, Balzac, George Eliot and

Tolstoy. According to Barthes, the narrative or plot of a realist novel is

structured around an opening enigma which throws the conventional cultural and

signifying practices into disarray. In a detective novel, for example, the

opening enigma is usually a murder, or a theft. The event throws the world into

a paranoid state of suspicion; the reader and the protagonist can no longer

trust anyone because signs--people, objects, words--no longer have the obvious

meaning they had before the event. But the story must move inevitably towards

closure, which in the realist novel involves some dissolution or resolution of

the enigma: the murderer is caught, the case is solved, the hero marries the

girl. The realist novel drives toward the final re-establishment of harmony and

thus re-assures the reader that the value system of signs and cultural practices

which he or she shares with the author is not in danger. The political

affiliation of the realist novel is thus evident; in trying to show us the world

as it is, it often reaffirms, in the last instance, the way things are.

As Catherine Belsey notes, classic realism is "still the dominant popular mode

in literature, film, and television drama" (67). It has been denounced as the

crudest from of the readerly text, and its conventions subverted and parodied by

the modern novel, the new novel and postmodern novel. However, the form, like

the capitalist mode of production with which it is historically coincident, has

shown remarkable resiliency. It will no doubt continue to function, if only

anti-thetically, as one of the chief influences on the development of hypertext

fiction.
 
 
 
 

(c) 1995 Christopher Keep, Tim McLaughlin, robin

robin.escalation@ACM