Ch 4: Flaubert’s L’éducation sentimentale and Un coeur simple are the subject of the fourth chapter, which examines the various ways in which the lyric representation of landscape can convey human happiness: an activity of free movement, as well as the creation of intimacy through spatial effects. This is a way of placing lyric effects outside the self, making it available to a reader who can reenact the imagining of happiness. This occurs despite Flaubert’s famous pessimism. Realism, which is so often connected to this attitude, achieves a kind of guide to how we can think of happiness.

Chapter 1, “Order and Origin,” begins by asking what we mean when we speak of the “modern novel.” Frequently its origins are traced to Gustave Flaubert, but this assumption deserves more scrutiny than it receives. What was preoccupying Flaubert in the months (indeed the very minutes) when he was formulating his beliefs about the novel, the pronouncements that would go on to become articles of faith for Joyce and other modern novelists? He was terrified that he had fathered a child, and he wrote in great detail about his aversion to the idea of creating new life. This chapter argues that this was not an idle distaste. It was, in fact, evidence of a sensibility (astringent, subtractive, devoted to an ideal of order) that undergirds the very idea of the modern novel that Flaubert inaugurated. This chapter provides close study of the procreative morality of Madame Bovary, L’Éducation sentimentale, and Bouvard et Pécuchet to demonstrate how such books, and such attitudes toward the problem of giving life, determined the course of the modern novel.