Novels About Substance Abuse

A novel is a relatively long work of narrative fiction, typically written in prose and published as a book. The present English word for a long work of prose fiction derives from the for "new", "news", or "short story of something new", itself from the la, novella, a singular noun use of the neuter plural of ''novellus'', diminutive of ''novus'', meaning "new". Some novelists, including Nathaniel Hawthorne, Herman Melville, Ann Radcliffe, John Cowper Powys, preferred the term "romance" to describe their novels.

According to Margaret Doody, the novel has "a continuous and comprehensive history of about two thousand years", with its origins in the Ancient Greek and Roman novel, in Chivalric romance, and in the tradition of the Italian renaissance novella.Margaret Anne Doody
''The True Story of the Novel''
New Brunswick, NJ: Rutgers University Press, 1996, rept. 1997, p. 1. Retrieved 25 April 2014. The ancient romance form was revived by Romanticism, especially the historical romances of Walter Scott and the Gothic novel. Some, including M. H. Abrams and Walter Scott, have argued that a novel is a fiction narrative that displays a realistic depiction of the state of a society, while the romance encompasses any fictitious narrative that emphasizes marvellous or uncommon incidents.

Works of fiction that include marvellous or uncommon incidents are also novels, including ''The Lord of the Rings'', ''To Kill a Mockingbird'', and ''Frankenstein''. "Romances" are works of fiction whose main emphasis is on marvellous or unusual incidents, and should not be confused with the romance novel, a type of genre fiction that focuses on romantic love.

Murasaki Shikibu's ''Tale of Genji'', an early 11th-century Japanese text, has sometimes been described as the world's first novel based on its early use of the experience of intimacy in a narrative form, but there is considerable debate over this — there were certainly long fictional prose works that preceded it. Spread of printed books in China led to the appearance of classical Chinese novels by the Ming dynasty (1368–1644) and Qing dynasty (1616-1911). An early example from Europe was written in Muslim Spain by the Sufi writer Ibn Tufayl entitled ''Hayy ibn Yaqdhan''. Later developments occurred after the invention of the printing press. Miguel de Cervantes, author of ''Don Quixote'' (the first part of which was published in 1605), is frequently cited as the first significant European novelist of the modern era.''Merriam-Webster's Encyclopedia of Literature''. Kathleen Kuiper, ed. 1995. Merriam-Webster, Springfield, Mass. Literary historian Ian Watt, in ''The Rise of the Novel'' (1957), argued that the modern novel was born in the early 18th century.

Recent technological developments have led to many novels also being published in non-print media: this includes audio books, web novels, and ebooks. Another non-traditional fiction format can be found in some graphic novels. While these comic book versions of works of fiction have their origins in the 19th century, they have only become popular more recently.

Defining the genre

A novel is a long, fictional narrative. The novel in the modern era usually makes use of a literary prose style. The development of the prose novel at this time was encouraged by innovations in printing, and the introduction of cheap paper in the 15th century.

Several characteristics of a novel might include:

*Fictional narrative: Fictionality is most commonly cited as distinguishing novels from historiography. However this can be a problematic criterion. Throughout the early modern period 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. Several novels, for example Ông cố vấn written by Hữu Mai of southern France, especially those by Chrétien de Troyes (late 12th century), and in Middle English (Geoffrey Chaucer's (c. 1343 – 1400) ''The Canterbury Tales''). Even in the 19th century, fictional narratives in verse, such as Lord Byron's ''Don Juan'' (1824), Alexander Pushkin's '' Yevgeniy Onegin'' (1833), and Elizabeth Barrett Browning's ''Aurora Leigh'' (1856), competed with prose novels. Vikram Seth's '' The Golden Gate'' (1986), composed of 590 Onegin stanzas, is a more recent example of the verse novel.
* Experience of intimacy: Both in 11th-century Japan and 15th-century Europe, prose fiction created intimate reading situations. Harold Bloom characterizes Lady Murasaki's use of intimacy and irony in '' The Tale of Genji'' as "having anticipated Cervantes as the first novelist." On the other hand, verse epics, including the ''Odyssey'' and ''Aeneid'', had been recited to 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 novella. 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 philosopher and literary critic György Lukács argued that the requirement of length is connected with the notion that a novel should encompass the totality of life.

East Asian definition

East Asian countries, like China, Korea, Vietnam and Japan, use the word 小說 (pinyin: ''xiǎoshuō''), which literally means "small talks", to refer works of fiction of whatever length. In Chinese, Japanese and Korean cultures, the concept of novel as it is known in the Western/Anglophone world was and still is termed as "long length small talk" (長篇小說), novella as “medium length small talk” (中篇小說), and short stories as "short length small talk" (短篇小說). However, in Vietnamese culture, the term 小說 exclusively refers to 長篇小說 (long-length small talk), i.e. standard novel, while different terms are used to refer to novella and short stories.

Such terms originated from ancient Chinese classification of literature works into "small talks" (tales of daily life and trivial matters) and "great talks" ("sacred" classic works of great thinkers like Confucius). In other words, ancient definition of "small talks" merely refer to trivial affairs, trivial facts, and can be different from the Western concept of novel. According to Lu Xun, the word "small talks" first appeared in the works of Zhuang Zhou, which coined such word. Laters scholars also provided similar definition, such as Han dynasty historian Ban Gu categorized all the trivial stories and gossips collected by local government magistrates as "small talks". Hồ Nguyên Trừng classified his memoir collection Nam Ông mộng lục as "small talks" clearly with the meaning of "trivial facts" rather than the Western definition of novel. Such classification and also left strong legacy in several East Asian interpretations of Western definition of novel at the time when Western literature was first introduced to East Asian countries. For example, Thanh Lãng and Nhất Linh classified the epic poems such as The Tale of Kiều as "novel", while Trần Chánh Chiếu emphasized the "belongs to the commoners", "trivial daily talks" aspect in one of his work.

Early novels

The earliest novels include classical Greek and Latin prose narratives from the first century BC to the second century AD, such as Chariton's ''Callirhoe'' (mid 1st century), which is "arguably the earliest surviving Western novel", as well as Petronius'', Lucian's '' True Story'', Apuleius' ''The Golden Ass'', and the anonymous '' Aesop Romance'' and '' Alexander Romance.'' The style of these works was later adapted in later Byzantine novels such as ''Hysimine and Hysimines'' by Eustathios MakrembolitesJohn Robert Morgan, Richard Stoneman, ''Greek fiction: the Greek novel in context'' (Routledge, 1994), Gareth L. Schmeling, and Tim Whitmarsh (hrsg.) ''The Cambridge companion to the Greek and Roman novel'' (Cambridge University Press 2008). Narrative forms were also developed in Classical Sanskrit in the 5th through 8th centuries, such as ''Vasavadatta'' by Subandhu, ''Daśakumāracarita and Avantisundarīkathā'' by Daṇḍin, '' Kadambari'' by Banabhatta.

Urbanization and the spread of printed books in Song Dynasty (960–1279) China led to the evolution of oral storytelling into fictional novels by the Ming dynasty (1368–1644). Parallel European developments did not occur until after the invention of the printing press by Johannes Gutenberg in 1439, and the rise of the publishing industry over a century later allowed for similar opportunities. The modern European novel is often said to have begun with ''Don Quixote'' in 1605.

Medieval period 1100–1500

Chivalric romances

Romance or chivalric romance is a type of narrative in prose or verse popular in the aristocratic circles of High Medieval and Early Modern Europe. They were marvel-filled adventures, often of a knight-errant with heroic qualities, who undertakes a quest, yet it is "the emphasis on heterosexual love and courtly manners distinguishes it from the ''chanson de geste'' and other kinds of epic, which involve heroism." In later romances, particularly those of French origin, there is a marked tendency to emphasize themes of courtly love.

Originally, romance literature was written in Old French, Anglo-Norman and Occitan, later, in English, Italian and German. During the early 13th century, romances were increasingly written as prose.

The shift from verse to prose dates from the early 13th century. The ''Prose Lancelot'' or ''Vulgate Cycle'' includes passages from that period. This collection indirectly led to Thomas Malory's ''Le Morte d'Arthur'' 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 ironic, satiric or burlesque intent. Romances reworked legends, fairy tales, and history, but by about 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in ''Don Quixote'' (1605). Still, the modern image of the medieval is more influenced by the romance than by any other medieval genre, and the word "medieval" evokes knights, distressed damsels, dragons, and such tropes.

The novella

The term "novel" originates from the production of short stories, or novella 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 exemplum 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 Boccaccio's ''Decameron'' (1354) and Geoffrey Chaucer's ''Canterbury Tales'' (1386–1400). The ''Decameron'' was a compilation of one hundred novelle told by ten people—seven women and three men—fleeing the Black Death by escaping from Florence to the Fiesole hills, in 1348.

Renaissance period: 1500–1700

The modern distinction between history and fiction did not exist in the early sixteenth century and the grossest improbabilities pervade many historical accounts found in the early modern print market. William Caxton's 1485 edition of Thomas Malory's ''Le Morte d'Arthur'' (1471) was sold as a true history, though the story unfolded in a series of magical incidents and historical improbabilities. Sir John Mandeville's ''Voyages'', written in the 14th century, but circulated in printed editions throughout the 18th century, was filled with natural wonders, which were accepted as fact, like the one-footed Ethiopians who use their extremity as an umbrella against the desert sun. Both works eventually came to be viewed as works of fiction.

In the 16th and 17th centuries two factors led to the separation of history and fiction. The invention of printing immediately created a new market of comparatively cheap entertainment and knowledge in the form of chapbooks. The more elegant production of this genre by 17th- and 18th-century authors were ''belles lettres—''that is, a market that would be neither low nor academic. The second major development was the first best-seller of modern fiction, the Spanish '' Amadis de Gaula'', by García Montalvo. However, it was not accepted as an example of ''belles lettres''. The ''Amadis'' eventually became the archetypical romance, in contrast with the modern novel which began to be developed in the 17th century.

Chapbooks

A chapbook is an early type of popular literature printed in early modern Europe. 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 woodcuts, which sometimes bore no relation to the text. When illustrations were included in chapbooks, they were considered popular prints. The tradition arose in the 16th century, as soon as printed books became affordable, and rose to its height during the 17th and 18th centuries. Many different kinds of ephemera and popular or folk literature were published as chapbooks, such as almanacs, children's literature, folk tales, nursery rhymes, pamphlets, poetry, and political and religious tracts.

The term "chapbook" for this type of literature was coined in the 19th century. The corresponding French and German terms are ''bibliothèque bleue'' (blue book) and ''Volksbuch'', 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 chapbooks and high market expensive, fashionable, elegant belles lettres. The '' Amadis'' and Rabelais' ''Gargantua and Pantagruel'' 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 ''Don Quixote''.

The term "chapbook" is also in use for present-day publications, commonly short, inexpensive booklets.

Heroic romances

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-bucolic form, and the celebrated ''L'Astrée'', (1610) of Honore d'Urfe (1568–1625), which is the earliest French novel, is properly styled a pastoral. 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 Marin le Roy de Gomberville (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 chivalrous actions of the heroes, it was always hinted that they were well-known public characters of the day in a romantic disguise.

Satirical romances

Stories of witty cheats were an integral part of the European novella with its tradition of fabliaux