Very good list. I personally like ORU DESHATHINDE KATHA & Khasakkinte Ithihasam the most. Couple of simple suggestions. Surprised to see no books of C Radhakrishan are there. Added 2 of my favourites from him. Also, added couple of other books like 'Parinamam','Oru Vazhiyum Kure Nizhalukalum' etc 2.

• Malayalam Novels Pdf Download Free
• Malayalam Novels Pdf Free Download

Aadujeevitham by Benyamin - Download as PDF File (.pdf) or read online. Scribd is the world's largest social reading and publishing site. Search Search. Close suggestions. 100 Malayalam Books. NagaravasiyayaOruKutti SC. Anonymous DGq0O15nNz. Pathummade aadu. Its hard to get free malayalam ebooks. Below are some good sources. You can find a lot of books from the malayalam Google group PDF Library.Almost all classic novels.

Can we delete all the translated books? Like the ones from Paulo Coelho?

If needed, a separate list can be created for 'must-read' translated books in malayalam. This list can be kept for original malayalam books. Flag Abuse Flagging a post will send it to the Goodreads Customer Care team for review.

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. A novel is a relatively long work of, normally written in form, and which is typically published as a. The entire has been seen as having 'a continuous and comprehensive history of about two thousand years', with its origins in classical and, in and early, and in the tradition of the Italian renaissance.

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(Since the 18th century, the term 'novella', or 'novelle' in German, has been used in English and other European languages to describe a long or a short novel.) Murasaki Shikibu's (1010) has been described as the world's first novel. Spread of printed books in China led to the appearance of by the (1368–1644). Parallel European developments occurred after the., author of (the first part of which was published in 1605), is frequently cited as the first significant European of the., in The Rise of the Novel (1957), suggested that the modern novel was born in the early 18th century. Made a distinction between the novel, in which (as he saw it) 'events are accommodated to the ordinary train of human events and the modern state of society' and the romance, which he defined as 'a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents'. However, many such romances, including the of Scott, 's and 's, are also frequently called novels, and Scott describes romance as a 'kindred term'.

This sort of romance is in turn different from the love romance. Other European languages do not distinguish between romance and novel: 'a novel is le roman, der Roman, il romanzo.'

Spending her afternoon with a book (, 1756) A novel is a long, fictional narrative which describes intimate human experiences. The novel in the usually makes use of a literary prose style. The development of the prose novel at this time was encouraged by innovations in, and the introduction of cheap paper in the 15th century.

The present English (and Spanish) word for a long work of prose fiction derives from the novella for 'new', 'news', or 'short story of something new', itself from the novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning 'new'. Most European languages use the word 'romance' (as in French, Dutch, Russian, Slovene, Romanian, Danish, Swedish and Norwegian 'roman'; Finnish 'romaani'; German 'Roman'; Portuguese 'romance' and Italian 'romanzo') for extended narratives. A fictional narrative is most commonly cited as distinguishing novels from.

However this can be a problematic criterion. Throughout the authors of historical narratives would often include inventions rooted in traditional beliefs in order to embellish a passage of text or add credibility to an opinion. Historians would also invent and compose speeches for didactic purposes. Novels can, on the other hand, depict the social, political and personal realities of a place and period with clarity and detail not found in works of history. Literary prose While prose rather than verse became the standard of the modern novel, the ancestors of the modern European novel include verse epics in the of southern France, especially those by (late 12th century), and in ('s (c. 1343 – 1400) ). Even in the 19th century, fictional narratives in verse, such as 's (1824), 's (1833), and 's (1856), competed with prose novels.

's (1986), composed of 590, is a more recent example of the verse novel. Content: intimate experience Both in 12th-century Japan and 15th-century Europe, prose fiction created intimate reading situations. On the other hand, verse epics, including the and, had been recited to a select audiences, though this was a more intimate experience than the performance of plays in theaters. A new world of individualistic fashion, personal views, intimate feelings, secret anxieties, 'conduct', and 'gallantry' spread with novels and the associated prose-romance. Length The novel is today the longest genre of narrative prose fiction, followed by the. However, in the 17th century, critics saw the romance as of epic length and the novel as its short rival.

A precise definition of the differences in length between these types of fiction, is, however, not possible.The requirement of length has been traditionally connected with the notion that a novel should encompass the 'totality of life.' Early novels. Paper as the essential carrier: writing her in the early 11th century, 17th-century depiction Although early forms of the novel are to be found in a number of places, including, 10th– and 11th-century Japan, and, the European novel is often said to have begun with in 1605.

Early works of extended fictional prose, or novels, include works in like the by (c. 50 AD), and by (c. 150 AD), works in such as by (c.

Late second century AD), works in such as the 6th– or 7th-century by, and in the 7th-century by, 's 11th-century Japanese work, the 12th-century (or Philosophus Autodidactus, the 17th-century Latin title) by, who wrote in, the 13th-century by, another Arabic novelist, and, written in by (1283), and the 14th-century Chinese. Murasaki Shikibu's (1010) has been described as the world's first novel and shows essentially all the qualities for which 's novel (1678) has been praised: individuality of perception, an interest in character development, and psychological observation. Urbanization and the spread of printed books in (960–1279) China led to the evolution of oral storytelling into fictional by the (1368–1644). Parallel European developments did not occur until after the invention of the printing press by in 1439, and the rise of the publishing industry over a century later allowed for similar opportunities.

By contrast, Ibn Tufail's Hayy ibn Yaqdhan and Ibn al-Nafis' Theologus Autodidactus are works of didactic philosophy and theology. In this sense, Hayy ibn Yaqdhan would be considered an early example of a, while Theologus Autodidactus would be considered an early theological novel. Hayy ibn Yaqdhan, with its story of a human outcast surviving on an island, is also likely to have influenced 's (1719), because the work was available in an English edition in 1711. Exhibits some similarities with the novel, and the Western tradition of the novel reaches back into the field of verse epics, though again not in an unbroken tradition. The epics of Asia, such as the (1300–1000 BC), and such as the (400 BCE and 200 CE), and (4th century BC) were as unknown in as was the epic of (c. 750–1000 AD), which was rediscovered in the late 18th century and early 19th century.

Other non-European works, such as the, the, and the, are full of stories, and thus have also had a significant influence on the development of prose narratives, and therefore the novel. Then at the beginning of the 18th century, French prose translations brought Homer's works to a wider public, who accepted them as forerunners of the novel. Classical Greek and Roman prose narratives included a didactic strand, with the philosopher 's (c. 348 BC) dialogues; a satirical dimension with '; the incredible stories of; and ' proto-, as well as the heroic romances of the Greeks. Longus is the author of the Greek novel, (2nd century AD). Medieval period 1100–1500 Chivalric Romances. Reciting: early-15th-century manuscript of the work at Romance or chivalric romance is a type of in or popular in the aristocratic circles of.

They were marvel-filled, often of a with qualities, who undertakes a, yet it is 'the emphasis on heterosexual love and courtly manners distinguishes it from the and other kinds of, which involve heroism.' In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of. Originally, romance literature was written in, and, later, in,. During the early 13th century, romances were increasingly written as prose. The shift from verse to prose dates from the early 13th century. The or Vulgate Cycle includes passages from that period.

This collection indirectly led to 's of the early 1470s. Prose became increasingly attractive because it enabled writers to associate popular stories with serious histories traditionally composed in prose, and could also be more easily translated. Popular literature also drew on themes of romance, but with, or intent. Romances reworked, and history, but by about 1600 they were out of fashion, and famously them in (1605). Still, is more influenced by the romance than by any other medieval genre, and the word 'medieval' evokes knights, distressed damsels, dragons, and such tropes. Around 1800, the connotations of 'romance' were modified with the development. The novella.

Main article: The term 'novel' originates from the production of short stories, or that remained part of a European oral culture of storytelling into the late 19th century. Fairy tales, jokes, and humorous stories designed to make a point in a conversation, and the a priest would insert in a sermon belong into this tradition.

Written collections of such stories circulated in a wide range of products from practical compilations of examples designed for the use of clerics to compilations of various stories such as 's (1354) and 's (1386–1400). The (1354) was a compilation of one hundred told by ten people—seven women and three men—fleeing the by escaping from to the Fiesole hills, in 1348. Renaissance period: 1500–1700. Main article: A chapbook is an early type of printed in. Produced cheaply, chapbooks were commonly small, paper-covered booklets, usually printed on a single sheet folded into books of 8, 12, 16 and 24 pages. They were often illustrated with crude, which sometimes bore no relation to the text.

When illustrations were included in chapbooks, they were considered. The tradition arose in the 16th century, as soon as books became affordable, and rose to its height during the 17th and 18th centuries and Many different kinds of and popular or folk literature were published as chapbooks, such as, and political and religious. The term 'chapbook' for this type of literature was coined in the 19th century.

The corresponding French and German terms are (blue book) and, respectively. The principal historical subject matter of chapbooks was abridgements of ancient historians, popular medieval histories of knights, stories of comical heroes, religious legends, and collections of jests and fables. The new printed books reached the households of urban citizens and country merchants who visited the cities as traders. Cheap printed histories were, in the 17th and 18th centuries, especially popular among apprentices and younger urban readers of both sexes. The early modern market, from the 1530s and 1540s, divided into low and high market expensive, fashionable, elegant. The and ' were important publications with respect to this divide. Both books specifically addressed the new customers of popular histories, rather than readers of belles lettres.

The Amadis was a multi–volume fictional history of style, that aroused a debate about style and elegance as it became the first best-seller of popular fiction. On the other hand, Gargantua and Pantagruel, while it adopted the form of modern popular history, in fact satirized that genre's stylistic achievements. The division, between low and high literature, became especially visible with books that appeared on both the popular and belles lettres markets in the course of the 17th and 18th centuries: low chapbooks included abridgments of books such as ' (1605/1615) The term 'chapbook' is also in use for present-day publications, commonly short, inexpensive booklets. Heroic romances. Main articles: and Heroic Romance is a genre of imaginative literature, which flourished in the 17th century, principally in France. The beginnings of modern fiction in France took a pseudo- form, and the celebrated, (1610) of (1568–1625), which is the earliest French novel, is properly styled a.

Although its action was, in the main, languid and sentimental, there was a side of the Astree which encouraged that extravagant love of glory, that spirit of ' panache', which was now rising to its height in France. That spirit it was which animated (1603–1674), who was the inventor of what have since been known as the Heroical Romances. In these there was experienced a violent recrudescence of the old medieval elements of romance, the impossible valour devoted to a pursuit of the impossible beauty, but the whole clothed in the language and feeling and atmosphere of the age in which the books were written.

In order to give point to the actions of the heroes, it was always hinted that they were well-known public characters of the day in a romantic disguise. Satirical romances.

The English Rogue (1665) Stories of witty cheats were an integral part of the European novella with its tradition of. Significant examples include (1510), (1554), 's (1666–1668) and in England 's The English Rogue (1665). The tradition that developed with these titles focused on a hero and his life. The adventures led to satirical encounters with the real world with the hero either becoming the pitiable victim or the rogue who exploited the vices of those he met.

A second tradition of satirical romances can be traced back to 's Ring (c. 1410) and to ' (1532–1564), which parodied and satirized heroic romances, and did this mostly by dragging them into the low realm of the burlesque. Cervantes' (1606/1615) modified the satire of romances: its hero lost contact with reality by reading too many romances in the Amadisian tradition. Other important works of the tradition are 's Roman Comique (1651–57), the anonymous French Rozelli with its satire on Europe's religions, 's (1715–1735), 's (1742) and (1749), and 's (1773, printed posthumously in 1796). Histories. 1719 newspaper reprint of Robinson Crusoe A market of literature in the modern sense of the word, that is a separate market for fiction and poetry, did not exist until the late seventeenth century.

All books were sold under the rubric of 'History and politicks' in the early 18th century, including, political analysis, serious histories, romances, poetry, and novels. That fictional histories shared the same space with academic histories and modern journalism had been criticized by historians since the end of the Middle Ages: fictions were 'lies' and therefore hardly justifiable at all. The climate, however, changed in the 1670s.

The romance format of the quasi–historical works of, and, allowed the publication of histories that dared not risk an unambiguous assertion of their truth. The literary market-place of the late 17th and early 18th century employed a simple pattern of options whereby fictions could reach out into the sphere of true histories. This permitted its authors to claim they had published fiction, not truth, if they ever faced allegations of libel. Prefaces and title pages of 17th– and early 18th-century fiction acknowledged this pattern: histories could claim to be romances, but threaten to relate true events, as in the. Other works could, conversely, claim to be factual histories, yet earn the suspicion that they were wholly invented. A further differentiation was made between private and public history: 's was, within this pattern, neither a 'romance' nor a 'novel'. It smelled of romance, yet the preface stated that it should most certainly be read as a true private history.

Cervantes and the modern novel. See also: The rise of the novel as an alternative to the romance began with the publication of ' (1613). It continued with 's Roman Comique (the first part of which appeared in 1651), whose heroes noted the rivalry between French romances and the new Spanish genre.

Late 17th-century critics looked back on the history of prose fiction, proud of the generic shift that had taken place, leading towards the modern novel/novella. The first perfect works in French were those of Scarron and 's 'Spanish history' Zayde (1670). The development finally led to her (1678), the first novel with what would become characteristic French subject matter. Europe witnessed the generic shift in the titles of works in French published in Holland, which supplied the international market and English publishers exploited the novel/romance controversy in the 1670s and 1680s. Contemporary critics listed the advantages of the new genre: brevity, a lack of ambition to produce epic poetry in prose; the style was fresh and plain; the focus was on modern life, and on heroes who were neither good nor bad. The novel's potential to become the medium of urban gossip and scandal fuelled the rise of the novel/novella. Stories were offered as allegedly true recent histories, not for the sake of scandal but strictly for the moral lessons they gave.

To prove this, fictionalized names were used with the true names in a separate key. The set the fashion in the 1670s. Collections of letters and memoirs appeared, and were filled with the intriguing new subject matter and the grew from this and led to the first full blown example of scandalous fiction in 's (1684/ 1685/ 1687). Before the rise of the literary novel, reading novels had only been a form of entertainment.

However, one of the earliest English novels, 's (1719), has elements of the romance, unlike these novels, because of its exotic setting and story of survival in isolation. Crusoe lacks almost all of the elements found in these new novels: wit, a fast narration evolving around a group of young fashionable urban heroes, along with their intrigues, a scandalous moral, gallant talk to be imitated, and a brief, conciseness plot. The new developments did, however, lead to 's epic length novel, Love in Excess (1719/20) and to 's (1741). Some literary historians date the beginning of the English novel with Richardson's Pamela, rather than Crusoe. 18th century novels. Main article: The rising status of the novel in 18th-century can be seen in the development of philosophical.

Philosophical fiction was not exactly new. 's dialogues were embedded in fictional narratives and his is an early example of a. The tradition of works of fiction that were also philosophical texts continued with 's (1516) and 's (1602). However, the actual tradition of the came into being in the 1740s with new editions of More's work under the title Utopia: or the happy republic; a philosophical romance (1743). wrote in this genre in (1752, English 1753).

His (1747) and (1759) became central texts of the French and of the modern novel. An example of the is 's (1759–1767), with its rejection of continuous narration. In it the author not only addresses readers in his preface but speaks directly to them in his fictional narrative. In addition to Sterne's narrative experiments, there has visual experiments, such as a marbled page, a black page to express sorrow, and a page of lines to show the plot lines of the book. The novel as a whole focuses on the problems of language, with constant regard to 's theories in. The romance genre in the 18th century.

's (1741) The rise of the word novel at the cost of its rival, the romance, remained a Spanish and English phenomenon, and though readers all over Western Europe had welcomed the novel(la) or short history as an alternative in the second half of the 17th century, only the English and the Spanish had, however, openly discredited the romance. But the change of taste was brief and Telemachus (1699/1700) already exploited a nostalgia for the old romances with their heroism and professed virtue. Explicitly advertised her Exilius as 'A new Romance', 'written after the Manner of Telemachus', in 1715. Spoke of his own story as a 'romance', though in the preface to the third volume, published in 1720, Defoe attacks all who said 'that. the Story is feign'd, that the Names are borrow'd, and that it is all a Romance; that there never were any such Man or Place'.

The late 18th century brought an answer with the Movement's readiness to reclaim the word romance, with the, and the of. Robinson Crusoe now became a 'novel' in this period, that is a work of the new realistic fiction created in the 18th century. The sentimental novel. Main article: Sentimental novels relied on emotional responses, and feature scenes of distress and tenderness, and the plot is arranged to advance emotions rather than action.

The result is a valorization of 'fine feeling', displaying the characters as models of refined, sensitive emotional effect. The ability to display such feelings was thought at this time to show character and experience, and to help shape positive social life and relationships. An example of this genre is 's (1740), composed 'to cultivate the Principles of Virtue and Religion in the Minds of the Youth of Both Sexes', which focuses on a potential victim, a heroine that has all the modern virtues and who is vulnerable because her low social status and her occupation as servant of a libertine who falls in love with her. She, however, ends in reforming her antagonist. Male heroes adopted the new character traits in the 1760s.

's, the hero of the (1768) did so with an enormous amount of humour. 's (1766) and 's Man of Feeling (1771) produced the far more serious role models. Thees works inspired a - and of novels, for which Greek and Latin authors in translations had provided elegant models from the last century. Pornography includes 's (1748), which offered an almost exact reversals of the plot of novel's that emphasised virtue. The prostitute Fanny Hill learns to enjoy her work and establishes herself as a free and economically independent individual, in editions one could only expect to buy under the counter. Less virtuous protagonists can also be found in satirical novels, like 's English Rogue (1665), that feature brothels, while women authors like had offered their heroines alternative careers as precursors of the 19th-century. The genre evolves in the 1770s with, for example, Werther in 's (1774) realising that it is impossible for him to integrate into the new conformist society, and in (1782) showing a group of aristocrats playing games of intrigue and amorality.

The social context of the 18th century novel Changing cultural status By around 1700, fiction was no longer a predominantly aristocratic entertainment, and printed books had soon gained the power to reach readers of almost all classes, though the reading habits differed and to follow fashions remained a privilege. Spain was a trendsetter into the 1630s but French authors superseded, and in the 1640s.

As was to note in 1670, the change was one of manners. The new French works taught a new, on the surface freer, gallant exchange between the sexes as the essence of life at the French court. The situation changed again from 1660s into the 1690s when works by French authors were published in Holland out of the reach of French censors. Dutch publishing houses pirated of fashionable books from France and created a new market of political and scandalous fiction.

This led to a market of European rather than French fashions in the early 18th century. Intimate short stories: The Court and City Vagaries (1711). By the 1680s fashionable political European novels had inspired a second wave of private scandalous publications and generated new productions of local importance. Women authors reported on politics and on their private love affairs in The Hague and in London. German students imitated them to boast of their private amours in fiction. The London, the anonymous international market of the Netherlands, publishers in Hamburg and Leipzig generated new public spheres.

Once private individuals, such as students in university towns and daughters of London's upper class began write novels based on questionable reputations, the public began to call for a reformation of manners. An important development in Britain, at the beginning of the century, was that new journals like and reviewed novels. In Germany 's Briefe, die neuste Literatur betreffend (1758) appeared in the middle of the century with reviews of art and fiction. By the 1780s such reviews played had an important role in introducing new works of fiction to the public. Influenced by the new journals, reform became the main goal of the second generation of 18th-century novelists. The Spectator Number 10 had stated that the aim was now 'to enliven morality with wit, and to temper wit with morality to bring philosophy out of the closets and libraries, schools and colleges, to dwell in clubs and assemblies, at tea-tables and coffeehouses'). Constructive criticism of novels had until then been rare.

The first treatise on the history of the novel was a preface to Marie de La Fayette's novel Zayde (1670). A much later development was the introduction of novels into school and later university curricula. The acceptance of novels as literature The French churchman and scholar 's (1670) laid the ground for a greater acceptance of the novel as literature, that is comparable to the, in the early 18th century. The theologian had not only dared to praise fictions, but he had also explained techniques of theological interpretation of fiction, which was a novelty.

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Furthermore, readers of novels and romances could gain insight not only into their own culture, but also that of distant, exotic countries. When the decades around 1700 saw the appearance of new editions of the classical authors,. The publishers equipped them with prefaces that referred to Huet's treatise. And the it had established. Also exotic works of Middle Eastern fiction entered the market that gave insight into Islamic culture. Was first published in Europe from 1704 to 1715 in French, and then translated immediately into English and German, and was seen as a contribution to Huet's history of romances. The English, Select Collection of Novels in six volumes (1720–22), is a milestone in this development of the novel's prestige.

It included Huet's Treatise, along with the European tradition of the modern novel of the day: that is, novella from 's to 's masterpieces. 's novels had appeared in the 1680s but became classics when reprinted in collections. 's Telemachus (1699/1700) became a classic three years after its publication. New authors entering the market were now ready to use their personal names rather than pseudonyms, including, who in 1719 following in the footsteps of Aphra Behn used her name with unprecedented pride. 19th century novels Romanticism.

Image from a Victorian edition of 's The very word is connected to the idea of romance, and the romance genre experienced a revival, at the end of the 18th century, with, that began in 1746 with English author 's, subtitled (in its second edition) 'A Gothic Story'. Other important works are 's (1794) and 's (1795).

The new romances challenged the idea that the novel involved a depictions of life, and destabilized the difference the critics had been trying to establish, between serious classical art and popular fiction. Gothic romances exploited the, and some critics thought that their subject matter deserved less credit than the worst medieval tales of. The authors of this new type of fiction were accused of exploiting all available topics to thrill, arouse, or horrify their audience. These new novelists, however, claimed that they were exploring the entire realm of fictionality. And psychological interpreters, in the early 19th century, read these works as encounters with the deeper hidden truth of the human imagination: this included sexuality, and insatiable. Under such readings, novels were described as exploring deeper human motives, and it was suggested that such artistic freedom would reveal what had not previously been openly visible.

The romances of, (1785), 's (1840), (1818), and, (1815), would later attract 20th-century psychoanalysts and supply the images for 20th- and 21st-century horror films, novels, computer games, and the. The was also important at this time. But, while earlier writers of these romances paid little attention to historical reality, 's (1814) broke with this tradition, and he invented 'the true historical novel'. At the same time he was influenced by, and had collaborated in 1801 with on Tales of Wonder.

With his Scott 'hoped to do for the Scottish border' what and other German poets 'had done for the, 'and make its past live again in modern romance'. Scott's novels 'are in the mode he himself defined as romance, 'the interest of which turns upon marvelous and uncommon incidents'. He used his imagination to re-evaluate history by rendering things, incidents and protagonists in the way only the novelist could do. His work remained historical fiction, yet it questioned existing historical perceptions.

The use of historical research was an important tool: Scott, the novelist, resorted to documentary sources as any historian would have done, but as a romantic he gave his subject a deeper imaginative and emotional significance. By combining research with 'marvelous and uncommon incidents', Scott attracted a far wider market than any historian could, and was the most famous novelist of his generation, throughout Europe. The Victorian period: 1837–1901. See also: In the 19th century the relationship between authors, publishers, and readers, changed. Authors originally had only received payment for their manuscript, however, changes in, which began in 18th and continued into 19th century promised royalties on all future editions. Another change in the 19th century was that novelists began to read their works in theaters, halls, and bookshops.

Also during the nineteenth century the market for grew, and competed with works of literature. New institutions like the created a new market with a mass reading public. Another difference was that novels began to deal with more difficult subjects, including current political and social issues, that were being discussed in newspapers and magazines. The idea of social responsibility became a key subject, whether of the citizen, or of the artist, with the theoretical debate concentrating on questions around the moral soundness of the modern novel.

Questions about artistic integrity, as well as, including, for example. The idea of ', proposed by writers like and, were also important. Major British writers such as and were influenced by the romance genre tradition of the novel, which had been revitalized during the Romantic period. The were notable mid-19th-century authors in this tradition, with 's, 's and 's. Publishing at the very end of the 19th century, has been called 'a supreme 'romancer.' ' In America 'the romance.

Proved to be a serious, flexible, and successful medium for the exploration of philosophical ideas and attitudes.' Notable examples include 's, and 's. A number of European novelists were similarly influenced influenced during this period by the earlier romance tradition, along with the, including, with novels like (1831) and (1862), and with (1840). 's (1852) Many 19th-century authors dealt with significant social matters. 's novels depicted the world of the, which and 's non-fiction explores. In the United States slavery and racism became topics of far broader public debate thanks to 's (1852), which dramatizes topics that had previously been discussed mainly in the abstract. ' novels led his readers into contemporary, and provided first-hand accounts of.

The treatment of the subject of war changed with 's (1868/69), where he questions the facts provided by historians. Similarly the treatment of crime is very different in 's (1866), where the point of view is that of a criminal. Women authors had dominated fiction from the 1640s into the early 18th century, but few before so openly questioned the role, education, and status of women in society, as she did. As the novel became a platform of modern debate, were developed that link the present with the past in the form of the. 's (1827) did this for Italy, while novelists in Russia and the surrounding Slavonic countries, as well as, did likewise. Along with this new appreciation of history, the future also became a topic for fiction. This had been done earlier in works like 's (1733) and 's (1826), a work whose plot culminated in the catastrophic last days of a mankind extinguished by the plague.

's (1887) and 's (1895) were concerned with technological and biological developments., 's and Marx's theory of divisions shaped these works and turned historical processes into a subject of wide debate. Bellamy's Looking Backward became the second best-selling book of the 19th century after Harriet Beecher Stowe's. Such works led to the development of a whole genre of popular as the 20th century approached. The 20th century and later.

This section needs additional citations for. Unsourced material may be challenged and removed. ( February 2014) 's (1922) had a major influence on modern novelists, in the way that it replaced the 18th- and 19th-century narrator with a text that attempted to record inner thoughts, or a '. This term was first used by in 1890 and, along with the related term, is used by like,. Also in the 1920s went in a different direction with (1929), where interspersed non-fictional text fragments exist alongside the fictional material to create another new form of realism, which differs from that of stream-of-consciousness. Later works like 's trilogy (1951), (1951) and (1953), as well as 's (1963) and 's (1973) all make use of the stream-of-consciousness technique.

On the other hand, is an example of those authors who, in the 1960s, fragmented their stories and challenged time and sequentiality as fundamental structural concepts. Buffalo, 2008 The 20th century novels deals with a wide range of subject matter. 's (1928) focusses on young German's experiences of. The is explored by American, and the by fellow American. The rise of states is the subject of British writer. France's existentialism is the subject of French writers 's (1938) and ' (1942). The led to revived interest in 's (1927), and produced such iconic works of its own like 's and 's.

Novelist have also been interested in the subject of racial and in recent decades. Jesse Kavadlo of of St. Louis has described 's (1996) as 'a closeted critique'., were feminist voices during this period.

Furthermore, the major political and military confrontations of the 20th and 21st centuries have also influenced novelists. The events of, from a German perspective, are dealt with by ' (1959) and an American by 's (1961). The subsequent influenced popular. Latin American self-awareness in the wake of the (failing) left revolutions of the 1960s and 1970s resulted in a ', linked to with the names of novelists, and, along with the invention of a special brand of postmodern. Another major 20th-century social events, the so-called is reflected in the modern novel. 's had to be published in Italy in 1928; British censorship lifted its ban as late as 1960. 's (1934) created the comparable US scandal.

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Transgressive fiction from 's (1955) to 's (1998) entered a literary field that eventually led to more pornographic works such as ' (1954) to 's (1978). In the second half of the 20th century, authors subverted serious debate with playfulness, claiming that art could never be original, that it always plays with existing materials. The idea that language is self-referential was already an accepted truth in the world of. A postmodernist re-reads popular literature as an essential cultural production. Novels from 's (1966), to 's (1980) and (1989) made use of references. Genre fiction.

Main article: See also:, and While the reader of so-called will follow public discussions of novels, popular fiction production employs more direct and short-term marketing strategies by openly declarating of the work's genre. Popular novels are based entirely on the expectations for the particular genre, and this includes the creation of a series of novels with an identifiable brand name. The series by Popular literature holds a larger market share. Had an estimated $1.375 billion share in the US book market in 2007. /religious literature followed with $819 million, / with $700 million, with $650 million and then classic literary fiction with $466 million. Genre literature might be seen as the successor of the early modern.

Both fields share a focus on readers who are in search of accessible reading satisfaction. The 20th-century love romance is a successor of the novels, and wrote from the 1640s into the 1740s. The modern goes back to 's (1719) and its immediate successors.

Modern has no precedent in the chapbook market but originates in libertine and hedonistic belles lettres, of works like 's (1749) and similar eighteenth century novels. 's is a descendant of the anonymous yet extremely sophisticated and stylish narrator who mixed his love affairs with his political missions in La Guerre d'Espagne (1707).

's is influenced by, as well as, including its 19th-century successors. Modern also has no precedent on the market of chapbooks but goes back to the elitist market of early-19th-century. Modern popular science fiction has an even shorter history, from the 1860s. The authors of popular fiction tend to advertise that they have exploited a controversial topic and this is a major difference between them and so-called elitist literature., for example, discusses, on his website, the question whether his Da Vinci Code is an anti-Christian novel. And because authors of popular fiction have a fan community to serve, they can risk offending. However, the boundaries between popular and serious literature have blurred in recent years, with and, as well as by adaptation of popular literary classics by the film and television industries. 2010 Crime became a major subject of 20th and 21st century genre novelists and reflects the realities of modern industrialized societies.

Crime is both a personal and public subject: criminals each have their personal motivations; detectives, see their moral codes challenged. 's became a medium of new psychological explorations. 's (1985–1986) is an example of experimental literature based on this genre. Is another major area of commercial fiction, and a major example is 's (1954/55), a work originally written for young readers that became a major cultural artefact.

Tolkien in fact revived the tradition of European literature in the tradition of, the North Germanic and the., is another important type of genre fiction and it has developed in a variety of ways, ranging from the early, technological adventure had made fashionable in the 1860s, to 's (1932) about Western and technology. 's (1949) deals with and, among other matters, while, and produced modern classics which focus on the interaction between humans and machines. The surreal novels of such as explore the nature of reality, reflecting the widespread recreational experimentation with drugs and cold-war paranoia of the 60's and 70's. Writers such as and explore feminist and broader social issues in their works., author of the cult classic (1984), is one of a new wave of authors who explore post-apocalyptic fantasies. See also.