My problem with the grand traditional novel—or rather traditional narrative in general, short stories included—is the vision of character, the constant reinforcement of a fictional selfhood that accumulates meaning through suffering and the overcoming of suffering. At once a palace built of words and a trajectory propelled by syntax, the self connects effortlessly with the past and launches bravely into the future. Challenged, perhaps thwarted by circumstance, it nevertheless survives, with its harvest of bittersweet consolation, and newly acquired knowledge.
Are we really trapped inside the traditional novel form? Tim Parks explains his views on the possibilities of narrative strategies at New York Review of Books blog.