Two precedents bear mentioning.

First, Cozzens stands naturally at the logical end of the movement of literary realism. Once the portrayal of "life as it is" became desirable, then a Cozzens became almost inevitable, for his method renders action in a way that is very close to the way action happens in life.

There are interruptions and inconsistencies in the events Arthur Winner must deal with, largely because the author is committed to portraying life with all its warts. Cozzens refuses to tidy up reality.

The second precedent is the dramatic monologue, as practiced by Robert Browning. Cozzens does not randomly choose any forty-nine hours to portray; he chooses the forty-nine hours. These two days are the most crucial ones in the lives of all the characters involved: Arthur, Julian, Noah, Marjorie, Helen, Ralph, and the rest. So much of what has been happening for the...