Introduction: “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
“On the Edge of Literariness: The Writing of Letters” by Claudio Guillén first appeared in 1994 in Comparative Literature Studies, published by Penn State University Press. In this article, Guillén examines the nuanced role of letter writing in bridging everyday communication with literary forms. He argues that the letter, while often not regarded as purely literary, holds the potential for what he terms “literariness”—a quality that emerges through the interplay of authenticity, style, and structure. By exploring historical practices and the evolution of letter writing from functional to poetic and even fictional, Guillén highlights how letters can embody a blend of factual narrative and imaginative expression. This fusion creates a unique space where personal voice and public dialogue intersect, reflecting both the individual and cultural ethos of their times. His insights contribute significantly to literary theory by challenging the boundaries between literary and non-literary genres, underscoring the letter as a site of creativity and intimacy that carries profound implications for understanding the development of narrative and epistolary fiction.
Summary of “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
Conceptual Boundaries of Literariness and Letter Writing
- Guillén explores how letters, while rooted in everyday communication, often exhibit qualities that border on literary art. He draws on historical examples to examine whether well-crafted letters could be seen as inherently “literary” (Guillén, p. 3).
- Madame de Sévigné’s letters serve as an example, where her style-oriented approach emphasizes crafting an impression of truthfulness, blending stylistic elegance with authentic expression (Guillén, p. 1).
Literacy, Literariness, and Poeticity in Epistolary Writing
- Guillén traces the evolution of epistolary genres, which he views as a continuum ranging from basic literacy to literariness and even poeticity. He discusses Garcia Berrio’s distinction between “literariness” as an intentional choice and “poeticity” as a symbolic value inherent to the writing process (Guillén, p. 2).
- The ancient transition from oral to written communication represented a crucial shift that required adherence to societal conventions, reflecting both cultural values and personal expression (Nagy, p. 3).
The Role of Genre in Defining Literariness
- Guillén underscores the importance of genre, noting that literary genres—like the familiar letter, verse epistle, and epistolary novel—evolve within historical contexts and shape their literariness. He argues that these forms adapt conventions to communicate deeply personal themes, such as love and friendship, as seen in Garcilaso de la Vega’s verse epistle to Boscán (Guillén, p. 14).
- A genre-centered approach allows for appreciating the nuances of letters that navigate between personal sincerity and public literary value, evident in Cicero’s letters and their blend of personal philosophy with literary stylization (Guillén, p. 12).
Interplay of Fictionality and Epistolary Illusion
- Guillén discusses the “fictional impulse” within letters, where even non-fictional writing can adopt literary techniques that imbue it with an aura of fictionality. This concept is demonstrated through Rousseau’s La Nouvelle Héloïse and Richardson’s Pamela, both of which use the letter format to craft immersive, narrative-driven experiences (Guillén, p. 19).
- The Lettres Portugaises, often believed to be authentic, exemplifies the allure of epistolary fiction, where readers were captivated by the perceived sincerity of the letters, blurring the line between fiction and reality (Guillén, p. 20).
Historical Evolution and Literary Reflection in Letters
- Guillén traces the role of letters from ancient Greek manuals to Renaissance works, noting how epistolary styles adapted to serve both practical and literary functions. Texts like Aretino’s letters broke with tradition by combining self-expression with structured spontaneity, influencing later European literary practices (Guillén, p. 16).
- Petrarch’s collection of letters shows a conscious structuring that bridges everyday correspondence with the artistic aspirations of a unified narrative, reinforcing how letters evolved as vehicles of literary exploration (Guillén, p. 13).
Letters as Vehicles of Emotional and Social Commentary
- Guillén emphasizes how letters express affection, friendship, and introspection. For instance, Donne’s letters to friends reflect an emotional and philosophical depth that positions the familiar letter as both a medium for intimate self-reflection and a piece of literary expression (Guillén, p. 22).
- Guillén notes that Dr. Johnson’s view on letters illustrates the tension between expressing genuine emotion and crafting it for public reception, reflecting the delicate balance between private sentiment and literary flair in epistolary writing (Guillén, p. 5).
Conclusion: The Enduring Appeal of the Epistolary Form
- Guillén concludes by highlighting the timelessness of letters as a literary form that lies “on the edge of literariness.” Even in their simplest forms, letters embody a blend of authenticity, style, and genre conventions that engage both personal and public audiences, making them a unique part of literary history (Guillén, p. 23).
Literary Terms/Concepts in “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
| Literary Term/Concept | Definition | Explanation in the Article |
| Literariness | The quality or characteristic of being literary or having literary value. | Guillén examines how letters, while rooted in practical communication, can exhibit elements of literary art, thus existing “on the edge of literariness” (Guillén, p. 3). |
| Epistolary Illusion | The concept that letters create an impression of authenticity and spontaneity, often blending fiction and reality. | Seen in works like Lettres Portugaises, where readers are led to believe in the sincerity of the letters, creating a blur between fiction and non-fiction (Guillén, p. 20). |
| Genre | A category of literary composition characterized by specific conventions and styles. | Guillén highlights the role of epistolary genres, including the familiar letter, verse epistle, and epistolary novel, which adapt conventions to suit emotional expression and communication (Guillén, p. 14). |
| Poeticity | The quality that brings out an imaginative, symbolic dimension in writing, going beyond literal meaning. | Based on Garcia Berrio’s concept, poeticity arises in letters when they express symbolic, often anthropological themes, making the writing resonate on multiple levels (Guillén, p. 2). |
| Fictionality | The constructed, imaginative aspect of a text that allows it to represent fictional events or realities. | Guillén notes how letters can contain a “fictional impulse,” where even personal correspondence may create fictionalized self-images and narratives (Guillén, p. 19). |
| Microlinguistic Analysis | A close examination of linguistic details, such as word choice and syntax, within a text. | Guillén discusses how such scrutiny may not always capture the full scope of meaning in letters, suggesting that genre and historical context also play crucial roles (Guillén, p. 3). |
| Formal Choices | Deliberate stylistic decisions made by the writer regarding structure, language, and genre conventions. | In letters, formal choices impact the tone and purpose; for instance, Petrarch’s structured collection of letters showcases how intentional organization enhances literariness (Guillén, p. 13). |
| Intersubjectivity | The shared understanding and connection between individuals, often emphasized in personal writing. | Guillén highlights that letters like those by Donne emphasize intersubjectivity, as the writer crafts a narrative for a specific recipient, fostering emotional and intellectual connection (Guillén, p. 22). |
| Brevitas | The quality of conciseness or brevity in writing. | A valued quality in epistolary writing, where writers often aim for clarity and brevity while conveying emotional depth, as in Ben Johnson’s verse epistles (Guillén, p. 11). |
| Self-Reflexivity | When a text reflects on its own creation, form, or status as a work of literature. | Seen in Donne’s letters, which not only convey friendship but also reflect on the nature of epistolary communication itself (Guillén, p. 9). |
| Monothematic Tradition | The focus on a single subject within a piece of writing, especially common in letters. | This tradition, emphasized by Aretino, allowed letters to explore a single theme deeply, creating an illusion of spontaneity despite meticulous planning (Guillén, p. 16). |
| Epistolary Form | The format and stylistic conventions of letter writing as a literary genre. | Guillén discusses the evolution of the epistolary form, which conveys intimacy and immediacy, even in structured, literary compositions like Richardson’s Pamela (Guillén, p. 19). |
| Conditional Literariness | The idea that some texts are considered literary based on their formal qualities and historical context. | Genette’s theory posits that works like historical texts or letters become literary not by nature but by readers’ appreciation of their style and form (Guillén, p. 18). |
| Sincerity in Expression | The appearance of genuine, heartfelt communication in writing, often sought in letters. | Guillén explains how letters, especially in familiar genres, prioritize an expression of true sentiment, creating an “illusion of truth” for readers, as with Marianne’s letters in Lettres Portugaises (Guillén, p. 1). |
| Rhetorical Style | The use of persuasive or decorative language to enhance the impact of writing. | Madame de Sévigné’s letters exemplify a rhetorical style that combines affectionate language with a crafted structure to engage her audience and convey credibility (Guillén, p. 1). |
| Theoretical Metalanguage | Language used to reflect on or critique the nature and function of a text itself. | Guillén notes how letters like those of Cicero incorporate theoretical musings on epistolary form and appropriateness, blending literary analysis with practical communication (Guillén, p. 10). |
| Illusion of Non-Fictionality | The perception that a fictional letter or novel is based in reality, often used to enhance authenticity. | In Lettres Portugaises, readers believed in the letters’ authenticity, a technique that later influenced epistolary novels, creating a blend of fictional narrative and realistic presentation (Guillén, p. 20). |
| Social Function of Letters | The role of letters in maintaining social norms and relationships, such as friendship and affection. | Guillén discusses how letters serve social functions, guided by norms of courteous expression, thus enabling the cultivation of interpersonal relationships, as seen in Petrarch’s collection (Guillén, p. 22). |
Contribution of “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén to Literary Theory/Theories
| Literary Theory | Contribution | References |
| Theory of Literariness | Guillén differentiates between literariness, poeticity, and literacy, establishing a continuum of communication that illustrates how letters can embody literary qualities while remaining functional forms of communication. He posits that literariness is a conscious choice by writers. | “The epistolary process of communication can be viewed as moving along a continuum that may reach or shift or combine three main levels or categories of achievement: literacy, literariness, and poeticity.” (p. 2) |
| Epistolary Theory | The article underscores the epistolary genre’s historical development, from ancient rhetorical training to modern expressions. Guillén discusses how letters have been influenced by literary conventions while maintaining their unique communicative purposes. | “A letter should be written rather more carefully than a dialogue. Dialogue imitates impromptu conversation, whereas a letter is a piece of writing and is sent someone as a kind of gift.” (p. 10) |
| Poetics of Communication | Guillén emphasizes the communicative aspect of letters, suggesting that their primary function is to convey personal sentiments and establish relationships. This highlights the social dynamics at play within the epistolary form and how letters serve as a medium for both personal and public expression. | “The principal message then is the act of communication itself or the will-to-communication.” (p. 9) |
| Genre Studies | The article positions letters within the context of literary genres, discussing how they interact with and are influenced by established forms like poetry and prose. Guillén argues for a nuanced understanding of genre that recognizes the blending of literary and non-literary aspects in letters. | “Literary genre has been the combat zone in illlo tempore, the locus of choice, tension, and encounter between the writer and the genres embodied in models.” (p. 12) |
| Rhetorical Theory | By analyzing the rhetorical strategies employed in letters, Guillén points out how authors like Cicero and Madame de Sévigné shaped their correspondence to reflect specific styles and audiences, illustrating the blend of formality and personal touch in epistolary writing. | “The beauty of a letter is in the expression of affection and courtesy.” (p. 10) |
| Narrative Theory | Guillén explores the fictional elements of letters, discussing how even non-fictional correspondence can possess narrative qualities. He highlights how letters can create self-constructed identities for the writers, merging fiction with reality and exploring the fluidity of self-representation. | “To compose a letter may lead the writer toward fiction before he even begins to approach literature.” (p. 5) |
| Self-Reflexivity in Writing | The article discusses how letters often reflect on their own status and function, leading to an awareness of their literary qualities. Guillén connects this reflexivity with the broader tradition of letters in literature, positioning it as a space for both personal and theoretical exploration. | “The more the letter writer enters the regions of literariness the more he frets and worries about what he is doing.” (p. 9) |
| Theoretical Metalanguage | Guillén engages with the concept of a theoretical metalanguage, emphasizing how authors reflect on their own writing processes and styles, thus creating a critical discourse around the act of letter writing itself. | “The rich tradition of the theory of the letter makes its appearance in all the epistolary genres since Greece and Rome.” (p. 9) |
Examples of Critiques Through “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
| Literary Work | Critique Through Guillén’s Framework | Relevant Aspects from Guillén |
| Lettres Portugaises by Guilleragues | Guillén examines the illusion of nonfictionality in Lettres Portugaises, where the protagonist’s passionate letters create a fictionalized world while still appearing personal and authentic. The epistolary form enhances the emotional realism, bridging fiction and lived experience. | “The epistolary illusion of non-fictionality” allows for a unique narrative that appears to be genuine correspondence while subtly blurring fiction and reality. (p. 19) |
| La Nouvelle Héloïse by Jean-Jacques Rousseau | Guillén critiques how Rousseau’s epistolary novel embodies genre-specific literariness, using letters to convey inner emotional landscapes that reflect on societal ideals and personal conflicts. The novel illustrates Rousseau’s exploration of love and morality through letter-writing as a narrative device. | Guillén describes how the epistolary novel uniquely reflects both private sentiment and public moral debates, offering intimate yet socially reflective storytelling. (p. 18) |
| Pamela by Samuel Richardson | Pamela utilizes letters to give readers access to the protagonist’s private thoughts, embodying Guillén’s idea of the blurred line between fiction and reality. Richardson’s letters generate an authentic voice, inviting readers to experience the character’s personal growth as authentic communication. | Guillén discusses how letters can appear “natural and convincing” while creating fictional self-image and events within the daily reality. (p. 7) |
| Letters to Atticus by Cicero | Cicero’s letters are critiqued for their historical and rhetorical qualities; Guillén analyzes how these letters establish a complex dynamic between personal reflection and public discourse, showing how letters reveal private perspectives while engaging in broader philosophical debates. | Guillén emphasizes the duality of letters as both personal reflections and public statements, highlighting the genre’s complex balance of privacy and audience. (p. 10) |
Criticism Against “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
- Overemphasis on Literariness and Formal Structure
Guillén’s focus on “literariness” and formal qualities may overlook the emotional and cultural functions of letter-writing, limiting the analysis to structural aspects rather than thematic depth or historical context. - Insufficient Attention to Non-Western Epistolary Traditions
The study largely centers on Western epistolary genres, neglecting the rich letter-writing traditions in other cultures, which might offer alternative perspectives on literariness and genre. - Assumption of a Clear Boundary Between Fiction and Nonfiction
Guillén suggests a “razor’s edge” between fact and fiction, but this binary may be overly simplistic, especially given the complex ways letters can blend personal truth and artistic expression. - Neglect of Reader-Response Dynamics
Guillén focuses on the writer’s intent and stylistic choices, but does not deeply explore how readers interpret and interact with letters, particularly in cases where letters are read as private communications or as public texts. - Limited Engagement with Contemporary Theoretical Perspectives
While Guillén references figures like Genette and Derrida, the piece might lack engagement with more contemporary theories of epistolary studies or digital media, which could offer fresh insights into literariness in letter writing. - Idealization of the Epistolary Genre’s Aesthetic Value
Guillén’s analysis sometimes assumes an inherent aesthetic or literary value in the epistolary form, potentially overlooking how some letters function primarily as pragmatic or utilitarian communications, rather than as literary expressions. - Lack of Interdisciplinary Approach
The study could benefit from an interdisciplinary approach that incorporates psychology, sociology, or anthropology to enrich understanding of the personal and relational dimensions of letters beyond their literary qualities.
Representative Quotations from “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén with Explanation
| Quotation | Explanation |
| “Literariness is an option to which the writer and the reader may commit themselves from the beginning.“ | Guillén highlights the concept of “literariness” as a conscious choice in the writing and reading of letters, underscoring that letters can be crafted with literary intention rather than serving as mere practical communication. |
| “A letter should be written rather more carefully than a dialogue.“ | This quote points to the unique stylistic requirements of letter writing, suggesting that letters demand a deliberate tone and structure that goes beyond casual conversation, marking their distinct literary potential. |
| “The epistolary process of communication can be viewed as moving along a continuum…“ | Guillén introduces the idea of letters existing on a continuum from mere literacy to high levels of literariness and poeticity, emphasizing the fluid, dynamic nature of letters within literary theory. |
| “The writing of letters as a practical task, unmindful of literature, immersed in daily life…“ | Here, Guillén discusses how letter writing often operates outside literary intentions, embedded in everyday practices, but has the potential to cross into literariness through style, purpose, or emotional weight. |
| “There is hardly an act in our daily experience…as likely as the writing of a letter to propel us toward inventiveness and transformation of fact.“ | Guillén suggests that letters naturally encourage imaginative and interpretative transformations, serving as a bridge between personal expression and fiction. |
| “This convergence of privacy and publicity is not an exclusive feature of literary letters.“ | This quote reflects on the dual nature of letters as both personal, private acts and potential public documents, a trait that adds complexity to their literary analysis and understanding. |
| “The letter does not offer all-enveloping alternative environments as a narrative will…“ | Guillén contrasts letters with narrative forms, suggesting that letters create fictional elements within everyday reality rather than crafting entirely fictional worlds, thus positioning them uniquely in literary theory. |
| “What pretends to be available for reading by that second person is actually reread…by another public at another point in historical time.“ | This illustrates how letters, though written for a specific recipient, are often recontextualized by different readers, giving them layers of meaning that evolve with time and audience. |
| “There is a norm that we encounter in practically all writings in the itinerary of the theory of the letter: the need for brevitas.“ | Guillén emphasizes “brevitas” (brevity) as a guiding principle in letter writing, suggesting that conciseness is often valued in letters and serves as an aesthetic element marking their literary quality. |
| “The literariness of the familiar letter, arising as it does from everyday non-literary writing, poses the most difficult problems.“ | Guillén addresses the challenge of defining the literariness of personal letters, as they straddle the line between practical and aesthetic purposes, making them complex subjects for literary categorization. |
Suggested Readings: “On the Edge of Literariness: The Writing of Letters” by Claudio Guillén
- Guillén, Claudio. “On the Edge of Literariness: The Writing of Letters.” Comparative Literature Studies, vol. 31, no. 1, 1994, pp. 1–24. JSTOR, http://www.jstor.org/stable/40246915. Accessed 5 Nov. 2024.
- “Front Matter.” Comparative Literature Studies, vol. 31, no. 1, 1994. JSTOR, http://www.jstor.org/stable/40246914. Accessed 5 Nov. 2024.
- “Back Matter.” Tulsa Studies in Women’s Literature, vol. 13, no. 2, 1994, pp. 410–26. JSTOR, http://www.jstor.org/stable/464129. Accessed 5 Nov. 2024.