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The Seven Basic Plots: Why We Tell Stories »

Book cover image of The Seven Basic Plots: Why We Tell Stories by Christopher Booker

Authors: Christopher Booker
ISBN-13: 9780826480378, ISBN-10: 0826480373
Format: Paperback
Publisher: Continuum International Publishing Group
Date Published: January 2006
Edition: (Non-applicable)

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Author Biography: Christopher Booker

Book Synopsis

In this arduous undertaking, 34 years in the making, Booker attempts to the tell the story of all stories, from Beowulf to The Texas Chainsaw Massacre. Referring to every genre, including folktales, films, operas and soap operas, Booker describes seven basic plots, which he contends share basic character types and present different views of the same central preoccupation. He then discusses the shift in the last 200 years to darker and less satisfactory endings, a move he deplores, preferring instead stories such as The Lord of the Rings in which all seven plots are combined in a single narrative. Booker concludes that the propensity to tell stories that conform to the basic plots is essential to human psychology. Annotation ©2004 Book News, Inc., Portland, OR

The New York Times - Michiko Kakutani

In laying out these archetypes, Mr. Booker - a British newspaper columnist and the founding editor of the satirical magazine Private Eye - does a nimble job of collating dozens of stories, using the 34 years he says it took him to write this volume to identify and explicate all sorts of parallels and analogies that might not occur to the casual reader. He shows us how "The Terminator" and its sequel "Judgment Day" adhere to traditional narrative tropes, moving inexorably if violently toward the ideas of rebirth and redemption. And he reminds us how the movie "E.T." embodies classic coming-of-age-story patterns: the boy hero Elliott's encounter with E.T., his alien alter ego, helps him to grow up, forces him to demonstrate leadership, and enables him to bring new harmony to his fragmented family.

Table of Contents

Ch. 1Overcoming the monster21
Ch. 2The monster (II) and the thrilling escape from death31
Ch. 3Rags to riches51
Ch. 4The quest69
Ch. 5Voyage and return87
Ch. 6Comedy107
Ch. 7Comedy (II) : the plot disguised131
Ch. 8Tragedy (I) : the five stages153
Ch. 9Tragedy (II) : the divided self173
Ch. 10Tragedy (III) : the hero as monster181
Ch. 11Rebirth193
Ch. 12The dark power : from shadow into light215
Epilogue to part one : the rule of three (the role played in stories by numbers)229
Ch. 13The dark figures241
Ch. 14Seeing whole : the feminine and masculine values253
Ch. 15The perfect balance267
Ch. 16The unrealised value277
Ch. 17The archetypal family drama289
Ch. 18The light figures297
Ch. 19Reaching the goal311
Ch. 20The fatal flaw329
Ch. 21The ego takes over (I) : enter the dark inversion347
Ch. 22The ego takes over (II) : the dark and sentimental versions367
Ch. 23The ego takes over (III) : quest, voyage and return, comedy385
Ch. 24The ego takes over (IV) : tragedy and rebirth399
Ch. 25Losing the plot : Thomas Hardy - a case history413
Ch. 26Going nowhere : the passive ego : the twentieth-century dead end - from Chekhov to Close encounters425
Ch. 27Why sex and violence? : the active ego : the twentieth-century obsession : from de Sade to The terminator455
Ch. 28Rebellion against 'the one' : from Job to Nineteen eighty-four495
Ch. 29The mystery505
Ch. 30The riddle of the sphinx : Oedipus and Hamlet517
Ch. 31Telling us who we are : ego versus instinct543
Ch. 32Into the real world : the ruling consciousness571
Ch. 33Of Gods and men : reconnecting with 'the one'593
Ch. 34The age of Loki : the dismantling of the self645
Epilogue : the light and the shadows on the wall699

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