HAT FOLLOWS is intended primarily as a discourse on // a concept which has mostly gone unhonored in modern criticism, no doubt because it appears to belong to the popular, even the commercial side of literature. Reading for the plot, we were taught, is a low form of activity. Long caught in valuations set by a criticism conceived for the lyric, the study of narrative has more recently found its way back to a quasi-Aristotelian view of the logical priority of plot in narrative forms. In the wake of Russian Formalism, French narratology has made us sensitive to the functional logic of actions, to the workings of sequence and transformation in the constitution of recognizable narrative units, to the presence of codes of narration that demand decoding in consecutive, irreversible order.' Plot as I understand it, however, suggests a focus somewhat more specific than the questions of structure, discourse, and narrativity addressed by most narratology. We may want to conceive of plot less as a structure than as a structuring operation, used, or made necessary, by those meanings that develop only through sequence and succession: an interpretative operation specific to narrative signification. The word any dictionary tells us, covers a range of meanings, from the bounded piece of land, through the ground plan of a building, the chart or map, the outline of a literary work, to the sense (separately derived from the French complot) of the scheme or secret machination, to the accomplishment of some purpose, usually illegal. All these meanings, I think, usefully cohere in our common sense of plot: it is not only the outline of a narrative, demarcating its boundaries, it also suggests its intention of meaning, the direction of its scheme or machination for accomplishing a purpose. Plots have not only design, but intentionality as well. Some narratives clearly give us a sense of in higher degree than others. Our identification of this sense of plottedness may provide a more concrete and analyzable way into the question of plots than an abstract definition of the subject, and a way that necessarily finds its focus in the readership of in the reader's recogni-
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