Elements of surprise Our mental limits and the satisfactions of plot

Tobin (cognitive science, Case Western Reserve Univ.) joins cognitive science to narrative theory to examine the mechanics and efficacy of surprises (plot twists and reveals) in literature. The "'well-made' surprise," Tobin argues, produces a reevaluation of what came before and the sense that the evidence was there all along; it is unforeseen but seems inevitable in retrospect. Its construction requires careful use of the tools of plot, character, language, and narration. In addition, the well-made surprise takes advantage of a set of cognitive biases that Tobin groups and discusses in a chapter titled "The Curse of Knowledge?": these are habits that make it difficult for one to ignore irrelevant knowledge when making predictions or interpretations about the world and other people. Knowledge gained in a specific context infiltrates one's interpretation of unrelated situations, people, and even memories. Though these biases are often considered detrimental, Tobin argues that they are central to the pleasure one takes in storytelling. Tobin's discussion is largely theoretical, though he addresses a number of literary texts and films as examples and illustrations. The theory is clearly and compellingly explained for the benefit of readers not versed in cognitive narratology. Summing Up: Highly recommended. Upper-division undergraduates through faculty. --Lesley Goodman, Albright College

Tobin, an assistant professor of cognitive science at Case Western Reserve University, addresses the literary "tradition of the well-made surprise" in her academically oriented but appealingly playful book. Her declared intent is to "open the hood" to look at the machinery that drives various kinds of plots, especially but not exclusively those of mystery and thriller novels. To that end, she provides an admirable array of targeted literary citations, including Jane Austen's Emma and John le Carre's The Spy Who Came In from the Cold. Tobin also has a knack for dropping in catchy subheads-"The Managed Reveal," "Finessing Misinformation"-to present some of the book's more demanding concepts; under "Presumptous Presuppositions" is a discussion of how different grammatical tools can be used to conceal information. Elsewhere, she touches on "twists that turn on trickery" and relates the sense of betrayal one may feel at the revelation of an unreliable or "unhelpful" narrator (as Roland Barthes did at reading one of Agatha Christie's most popular books). Tobin also provides a demystifying and reassuring explanation of how those people who "always see the surprise coming" manage to do so. Readers who can get past the more esoteric passages will find a charming study of how skillful authors construct plots that are both surprising and, once concluded, seemingly inevitable. (Apr.) © Copyright PWxyz, LLC. All rights reserved.