The Seven Basic Plots: Why We Tell Stories

by Christopher Booker

Overview

This remarkable and monumental book at last provides a comprehensive answer to the age-old riddle of whether there are only a small number of 'basic stories' in the world. Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling.

But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose.

Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.

This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.

Product Details

ISBN-13:	9781441116512
Publisher:	Bloomsbury Publishing
Publication date:	11/11/2005
Sold by:	Barnes & Noble
Format:	eBook
Pages:	736
File size:	3 MB

About the Author

Christopher Booker writes for the Sunday Telegraph and is the bestselling author of The Seven Basic Plots, The Real Global Warming Disaster, The Great Deception and Scared to Death (all published by Bloomsbury Continuum). He has been an author and journalist for nearly 50 years, and was the founding editor of the satirical magazine Private Eye.
Christopher Booker was a founding editor of Private Eye, to which he regularly contributed, and also wrote a longstanding column for the Sunday Telegraph. His bestselling books include The Seven Basic Plots: Why We Tell Stories, The Real Global Warming Disaster, The Great Deception, The Mad Officials, Scared to Death and The Neophiliacs. Booker died in July 2019.

Table of Contents

Part 1: Why Do We Tell Stories?
Chapter 1 - Overcoming the Monster - Beowulf - Red Riding Hood - Jaws
Chapter 2 - The Thrilling Escape from Death - The Pit and the Pendulum - Jonah - Journal of the Plague Year
Chapter 3 - Rags to Riches - The Ugly Duckling - Jane Eyre - The Gold Rush (Chaplin)
Chapter 4 - The Quest - The Odyssey - Exodus - The Aeneid - Moby Dick - Babar and Father Christmas
Chapter 5 - Voyage and Return - Alice in Wonderland - Peter Pan - Rasselas - The Third Man - Orpheus and Eurydice
Chapter 6 - Comedy - Aristophanes (The Wasps) - Plautus (The Pot of Gold) - Shakespeare (Love's Labours Lost, The Comedy of Errors etc) - Moliere (Le Bourgeois Gentilhomme) - Sheridan (The School for Scandal)
Chapter 7 - Comedy: The Plot Disguised - Fielding (Tom Jones) - Austen (Pride and Prejudice) - P.G Wodehouse - South Pacific - Four Weddings and a Funera
Chapter 8 - Tragedy Icarus - Macbeth - Don Giovanni - Anna Karenina - Bonnie and Clyde
Chapter 9 - Tragedy: The Divided Self
Chapter 10 - Tragedy: The Hero As Monster - Richard III - Dr Jekyll
Chapter 11 - Tragedies of Redemption and Fulfilment - King Lear - Tannhauser - Samson - The Snow Goose
Chapter 12 - From Shadow Into Light

Part 2: The Complete Happy Ending
Chapter 13 - The Dark Figures - Crocodile Dundee
Chapter 14 - Seeing Whole - The Jewel In the Crown
Chapter 15 - The Perfect Balance
Chapter 16 - The Unrealised Value
Chapter 17 - The Archetypal Family Drama
Chapter 18 - The Light Figures
Chapter 19 - Reaching the Goal - The Magic Flute - Lord of the Rings -Harry Potter
Chapter 20 - The Fatal Flaw

Part 3: Missing the Mark
Chapter 21 - Enter the Dark Inversion - Pere Goriot - Moby Dick
Chapter 22 - The Ego Takes Over: The Dark and Sentimental Versions - My Fair Lady - James Bond - Star Wars
Chapter 23 - The Ego Takes Over II Clarissa - Kafka - Catcher in the Rye
Chapter 24 - The Ego Takes Over III - Traviata - Tosca - Dorian Gray -You Only Live Twice
Chapter 25 - Losing the Plot - Thomas Hardy A Case History
Chapter 26 - Going Nowhere - Chekhov - Proust - Tender is the Night - Close Encounters of the Third Kind
Chapter 27 - Why Sex and Violence? Sade - Ulysses - Last Exit to Brooklyn - A Clockwork Orange
Chapter 28 - Rebelllion Against the One Job - 1984
Chapter 29 - The Mystery - Murders in the Rue Morgue - Sherlock Holmes - Citizen Kane
Chapter 30 - The Riddle of the Sphinx - Sophocles - Hamlet

Editorial Reviews

Booker, a British columnist who was founding editor of Private Eye, possesses a remarkable ability to retell stories. His prose is a model of clarity, and his lively enthusiasm for fictions of every description is infectious. He covers Greek and Roman literature, fairy tales, European novels and plays, Arabic and Japanese tales, Native American folk tales, and movies from the silent era on. He is an especially adept guide through the twists and characters of Wagner's operas. His artfully entertaining summaries jogged many warm memories of half-forgotten novels and films.
— The Washington Post

Denis Dutton

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.
— The New York Times

Michiko Kakutani

Many writing guides have suggested that fiction contains a limited number of basic plots, and Booker offers his version at great length. Furthermore, he claims all of these plots, from "overcoming the monster" to "rebirth," are variations on "the same great basic drama," a Jungian archetypal representation of the development and integration of the mature self. The meticulous detailing of this theory in plot summaries (of everything from Beowulf to Jaws, ancient comedy to modern tragedy, Western culture and Eastern) is an imposing enough task, but Booker is just warming up. In the book's second half, he explains how the psychological shortcomings of modern authors such as Shaw and Joyce led them to reject archetypal truth in favor of writing out their own sentimental and morbid fantasies. The biographical analysis is simplistic, however, and Booker makes numerous errors in the sections on film. The transition from literary criticism to Jungian psychology might be more bearable were it not saddled with an overabundance of academic clich surprising in a writer of Booker's extensive journalistic background (he now contributes to England's Daily Telegraph). Clearly striving for the intellectual respectability of Northrop Frye, he falls far short, and accusing those who disagree with him of suffering from "limited ego-consciousness" doesn't help his case. (Apr.) Copyright 2005 Reed Business Information.

Publishers Weekly

Booker, a regular contributor to the Sunday Telegraph and the Daily Mail, began work on this massive book over 30 years ago. It is an impressive achievement, in both its vast scope and its readability. Exploring all genres of storytelling-from the Bible and recurring folktales to high and low literature, as well as plays and movies-Booker manages to incorporate the work of such great minds as Dr. Johnson, Jung, and Freud without ever sounding dry. His treatment of the evolution of comedy (a genre notably resistant to explication) since ancient Greek plays is excellent. The third, very interesting chapter offers stories that fail to satisfy our often nebulous sense of good storytelling, showing precisely how and where they fail. Geared more to undergraduates than graduates, this useful overview will prove valuable to writers as well as scholars. Highly recommended for academic libraries, especially those supporting a literature and/or film studies program.-Felicity D. Walsh, Emory Univ., Decatur, GA Copyright 2005 Reed Business Information.

Library Journal

....remarkable parallels between the structure of the modern film Jaws and that of the Old English Beowulf.” —Writing Magazine

“If you have any interest in fiction and the way it works, you will enjoy this exploration of the seven basic plots and how they have been adapted and developed across the centuries.” —Writing Magazine

“This magisterial volume really does offer readers a genuinely fresh and exciting perspective on virtually every tale ever told. —Bookmark, July 2005” —Bookmark

“Fantastically entertaining” —The Times

“Excerpts included in Gotham Writer's Workshop monthly e-newsletter for screenwriters.” —Gotham Writer's Workshop

“This book...has mind-expanding properties. Not only for anyone interested in literature, but also for those fascinated by wider questions of how human beings organise their societies and explain the outside world to their inmost selves, it is fascinating.” —Katherine Sale, FT

“Christopher Booker's mammoth account of plot types, archetypes, their role in literary history and where Western culture has gone horribly wrong.” —Times Literary Supplement

“His prose is a model of clarity, and his lively enthusiamsm for fictions of every description is infectious...The Seven Basic Plots is...one of the most diverting works on storytelling I've ever encountered.” —Dennis Dutton, The Washington Post

“This is the most extraordinary, exhilarating book. It always seemed to me that 'the story' was God's way of giving meaning to crude creation. Booker now interprets the mind of God, and analyses not just the novel - which will never to me be quite the same again - but puts the narrative of contemporary human affairs into a new perspective. If it took its author a lifetime to write, one can only feel gratitude that he did it.” —Fay Weldon, novelist

“An enormous piece of work...nothing less than the story of all stories. And an extraordinary tale it is ... Booker ranges over vast tracts of literature, drawing together the plots of everything from Beowulf to Bond, from Sophocles to soap opera, from Homer to Homer Simpson, to show the underlying parallels in stories from what appear to be the most disparate sources. If stories are about "what happens next", this book sets out to show that the answer is always "the same things", then to explain why. I found it absolutely fascinating.” —Ian Hislop, editor of Private Eye

“This is literally an incomparable book, because there is nothing to compare it with. It goes to the heart of man's cultural evolution through the stories we have told since storytelling began. It illuminates our nature, our beliefs and our collective emotions by shining a bright light on them from a completely new angle. Original, profound, fascinating - and on top of it all, a really good read.” —Sir Antony Jay, co-author of Yes, Minister

“I have been quite bowled over by Christopher Booker's new book. It is so well planned with an excellent beginning and the contrasts and comparisons throughout are highly entertaining as well as informative and most original - and always extremely readable.” —John Bayley

“Booker's knowledge and understanding of imaginative literature is unrivalled, his essays on the great authors both illuminating and stimulating. This is a truly important book, an accolade often bestowed and rarely deserved in our modern age.” —Dame Beryl Bainbridge

“Some splendid links between story and reality...enjoyably provocative.” —Gordon Parsons, Morning Star, The

“It's hard not to admire the commitment of any writer whose book has taken 34 years to evolve. And there can be no doubting that Christopher Booker's 700-page, exhaustive examination of "Why we tell stories" - the book's subtitle - is a labour of love.” —Gordon Parsons, Morning Star, The

“One of the most brilliant books of recent years.” —Bel Mooney, Times

From the Publisher

Narrator Liam Gerrard does his best to keep listeners engaged throughout the nearly 40 hours of this dense audiobook, which Booker worked on for 34 years and was published in print in 2004. Gerrard's inquisitive and even tone, steady pacing, and clear enunciation showcase Booker's words. The first section enumerates seven categories of plot, with an ambitious number of examples from novels, plays, poems, folktales, mythology, fairy tales, and even movies such as STAR WARS and CROCODILE DUNDEE. Then, with considerable emphasis on Jungian analysis, Booker sets forth his theories on archetypal literary characters and why storytelling has changed over the past 200 years. With its length and frequently repetitive content, this audiobook is best appreciated in short listens. M.J. © AudioFile 2019, Portland, Maine

JUNE 2019 - AudioFile