Gustave Flaubert recalled in a letter that the critic Sainte-Beuve compared his style to a surgeon’s scalpel, an image taken from 'Madame Bovary'. This was not a compliment: Sainte-Beuve was anxious about the ambition of Flaubert’s ‘realism’ to cut to the bone of its characters and society at large. Karl Marx, on the other hand, praised realist writers who ‘issued to the world more political and social truths than have been uttered by all the professional politicians, publicists, and moralists put together’.
In the first episode of his new series, James Wood considers the fears and criticisms that have dogged realism from its emergence in the 19th century through its long history of transformations up to the present day. He examines the ways in which Flaubert used detail (both significant and significantly insignificant), impersonal narration, lifelike dialogue and free indirect style to create realism’s essential grammar.
This is part one of Wood’s analysis of 'Madame Bovary', going up to the moment that Emma meets Rodolphe Boulanger. He uses Geoffrey Wall's translation, published by Penguin Classics.
This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:
Apple Podcasts: https://lrb.me/applecrwaor
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Read more in the LRB:
Julian Barnes: Flaubert at Two Hundred https://lrb.me/realismep101
Two Letters from Flaubert to Colet: https://lrb.me/realismep102
Tim Parks on Flaubert's life: https://lrb.me/realismep103
