The Conversational Circle

The Conversational Circle offers a model for exploring a range of novels that experiment with narrative patterns. It makes a compelling case that teleological approaches to novel history that privilege the conflict between the individual and society are, quite simply, ahistorical. Twentieth-century historians of the early novel, most prominently Ian Watt, Mikhail Bakhtin, and Terry Castle, have canonized fictions that portray the individual in sustained tension with the social environment. Such fictions privilege a strongly linear structure. Recent reexaminations of the canon, however, have revealed a number of early novels that do not fit this mold. Betty Schellenberg identifies another kind of plot, one that focuses on the social group—the "conversational circle"—as a model that can affirm traditional values but just as often promotes an alternative sense of community. Schellenberg selects a group of mid-eighteenth-century novels that experiment with this alternative plot structure, embodied by the social circle. Both satirical and sentimental, canonical and non-canonical, these novels demonstrate a concern that individualistic desire threatened to destabilize society. Writing that reflects a circular structure emphasizes conversation and consensus over individualism and conquest. As a discourse that highlights negotiation and harmony, conversation privileges the social group over the individual. These fictions of the conversation circle include lesser-known works by canonical authors (Henry Fielding's Amelia and Richards's Sir Charles Grandison as well as his sequel to Pamela), long-neglected novels by women (Sarah Fielding's David Simple and its sequel Volume the Last, and Sarah Scott's Millenium Hall), and Tobias Smollet's last novel, Humphrey Clinker. Because they do not fit the linear model, such works have long been dismissed as ideologically flawed and irrelevant.

Meetings in the round have become the preferred tool for moving individual commitment into group action. This book lays out the structure of circle conversation, based on the original work of the authors who have standardized the essential elements that constitute circle practice.

Excerpt from Our Conversational Circle The world which cares for such matters has been told so often that conversation is one of the lost arts that it has come to be taken for granted that this highest form of social expression must find its place, with chain armor and Watteau's shepherd esses, among the things of the past. Essay ists have hinted in many unmistakable ways that the generation which now dines and talks has parted with one of those finer resources which gave the society of a more fortunate time a charm which still imparts to certain memoirs and letters a delicate perfume. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

White women are one of the most influential demographics in America—we are the largest voting bloc, with purchasing power that exceeds anybody else's, and when we unify to demand change, we are a force to be reckoned with. Yet, so many of us sit idly on the sidelines, opting out of raising our hands to do, learn, and engage in ways that could make a difference. Why? White American women are no monolith. Yet, as Women's March national organizer Jenna Arnold has learned over the past few years criss-crossing the US in conversations with white women about their identity and role in the country, we do possess common characteristics—ones that get in the way of us becoming more engaged as citizens. We're so focused on checking off our to-do lists, or so afraid of getting it wrong, or so busy trying to avoid conflict, that we are actively avoiding the urgent conversations we need to have. We are confused about how we got here and unsure how to do better. Raising Our Hands is the reckoning cry for white women. It asks us to step up and join the new frontlines of the fight against complacency—in our homes, in our behaviors, and in our own minds. Consider Raising Our Hands your starting place, your "Intro to Being a White Woman in Today's World" freshman-year class. In these pages, Jenna peels back the history that's been kept out of textbooks and the cultural norms that are holding us back, so we can finally start really listening to marginalized voices and doing our part to promote progress. The American white woman is a powerful force—an essential participant—to mobilize alongside the rest of humanity on behalf of the world, and we can no longer make excuses for why we don't have time or don't know enough.