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The Seven Basic Plots : Why We Tell Stories
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Détails sur le produit
Broché: 736 pages
Editeur : Continuum International Publishing Group Ltd. (10 novembre 2005)
Langue : Anglais
ISBN-10: 0826480373
ISBN-13: 978-0826480378
Dimensions du produit:
15,5 x 6,1 x 22,9 cm
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The first half of this book gets 5 stars without qualification. It is a clear explanation of the archetypes that appear in the most fundamental stories, how they work together, and the ultimate purpose for telling stories. He then uses this archetypal system to analyze stories through the ages, down to very recent years. I found his analysis of Shakespeare, for instance, very helpful. This is what I bought the book for, and I am not at all disappointed.In some ways this book is not as immediately useful as, say, 'Save the Cat' and others like it are useful for screenwriting. However, I think this book delivers the groundwork for stories--the groundwork beyond which we cannot go. Its information is more fundamental than the 'Save the Cat' types. If I were a literature professor, this might well be the book I started with.As he moves into how stories have gone rogue, trying to escape from the archetypal patterns, the book begins to become repetitive, and the tone begins to change from that of confident lecturer to exasperated preacher. But these chapters are still valuable.Then he applies the archetypes to history, and things become not only repetitive, especially if you already know something about history in general and the history of religion in particular, but also without clear focus. I'm not sure he is always correct with either his facts or his analysis, although generally I consider him authoritative. It also seems to me that he is projecting the archetypes onto history, which is one of the things he warns against.Still, I find his thesis very useful, which in short is that as we lose touch with our religious ties to God, and therewith our ties to the Self (Jung), we become isolated and egotistical, on both the individual level as well as the national level. And, furthermore, that story structure can tell us how we are deficient if only we have the humility to look for it, again, both as groups, even nations, and as individuals. Ultimately these could be the most profound and important chapters of the book, but a good editor would have been useful to sort them out. For me, they were a bonus: not what I bought the book for, but a welcome introduction to the possibility of using stories to heal ourselves.
This is an incredibly fascinating book. As an English major in my former life (i.e. 40 years ago), I was intrigued by the seven basic plots that drive most stories, whether those stories are told in books or movies. It is simply a delight to see how the books I have read and loved fit into these seven categories. In addition to explaining and illustrating these categories, Booker gives an interesting overview of the historical development of comedy and shows how literature in the twentieth century developed in response to world events (i.e. WWII) and the cultural movements. One of the take-aways I particularly loved was Booker's explanation of why happy endings (a man and woman happily in love after overcoming great obstacles) is so satisfying and ubiquitous. Booker writes: “No idea is more central to storytelling, as we have seen, than that of one generation succeeding to another, and of the need for the hero to reach true maturity so that this can be achieved in the right way.†This is a long book (750 pages) but it is well worth a thoughtful read.
This book is actually many things:- An introduction to the seven basic plots and their many associated archetypes that work in combination.- A system. It can be applied to any story you know (and it’s fun to do so).- A tool. An almost obligatory read for anyone who invents stories. If you don’t tap on this 37 years research you’re simple on disadvantage. It’s not that everyone should follow the author's guidance in order to write stories that fulfill the self and not the ego, on the contrary, a writer might find herself not wanting to do so, but the structure the book provides is a map to decide when and how to move away or within the Self archetypical path.- A partial and moral history of literature, and an even more partial and equally moral history of Western culture.- A psychoanalis of our modern western culture, throughout the stories we invent and the ones we tell ourselves. And it's, indeed, a moralistic analysis, something that can pull the nerves of a grownup reader.- A compendium of great and diverse stories.- A source of unexpected spoilers (if you read the book be very careful with this, for it reveals the plot of so many stories and books, that chances are it will spoil something you want to read. I had to overlook several paragraphs when reading).The Odyssey versus Ulysses, E.T. versus Encounters of the Third Type, Terminator versus Frankenstein… in each comparison the author prefers the first and rejects the second option. Interestingly, this framework (or as I called it: system) allows strange and yet consistent and justifiable comparisons, such as Jaws versus Gilgamesh (borrowing a famous gedankenexperiment from Chomsky, if someone told these two stories to a martian, it will think they are just two slightly different versions of the same). It’s refreshing to see how the author jumps without loss of continuity from Hollywood B movies to universal classics. And this tool's lack of respect for the boundaries between high and low cultures (the below-the-line and the above-the-line archetype), which is itself a moral construct, compensates, in my opinion, its otherwise unbearable moralism regarding other aspects (ego versus self).In summary: vaccinate yourself against moralism, enjoy this awesome construction and the many stories it contains, be aware of spoilers, and use what you learned to write great new stories.
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