A novel's staying power in the general public's imagination is a sneaky criterion. Books like 'To Kill a Mockingbird' or '1984' are not just literary; they've become shorthand for big ideas in popular culture. That kind of pervasive influence is a form of greatness. A critic might include such a book knowing that its literary merits have been debated, but its impact is undeniable. It bridges the gap between the academic and the everyday reader, which gives the list a bit of credibility with a broader audience.
The backlash factor is real, too. A novel that was once wildly popular but later seen as problematic might drop off lists (looking at you, 'Uncle Tom's Cabin' or some of Hemingway). Conversely, a book that was panned or ignored in its time but later rediscovered and reappraised (like 'Stoner' or 'The Master and Margarita') can make a dramatic entrance. Critics love a redemption arc; it shows their field is capable of self-correction and deepens the narrative around the canon.
The translation issue is huge and often invisible. We're essentially trusting that the translator is a co-artist who perfectly captured the voice, rhythm, and nuance of the original. When a translated novel appears on an English-language 'best of' list, it's a testament to both the original author and the translator. But it also means we're judging a version of the book. A poor translation can sink a masterpiece, while a breathtaking translation can make a very good novel seem like a world-beater. Critics rarely discuss this layer.
A novel's ability to generate new interpretations over time is a huge asset. A book that meant one thing in the 1950s but speaks to completely different issues in the 2020s shows a miraculous plasticity. Critics love that. It suggests the work contains multitudes, that it's a living document rather than a period piece. This quality is hard to predict at publication, but in retrospect, it's a key marker of a 'classic.' It's why Shakespeare stays relevant—his works get reinterpreted with every generation.
Prizes and awards act as a pre-screening committee. A Booker, Nobel, or Pulitzer winner instantly goes into the conversation for future 'best of' lists. It's a stamp of institutional approval that gives critics a safer choice. They can point to the prize as external validation for their inclusion. This creates a feedback loop: prizes anoint books as important, and then critics enshrine them as timeless. It's not foolproof, but it's a major shortcut in the decision-making process.
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One word: anthologies. Which short stories and novel excerpts keep getting reprinted in the Norton Anthology of This or That? That's a huge signal. Academic adoption legitimizes a work for many critics.
It creates a feedback loop: taught in schools -> becomes part of the educated reader's baseline -> gets referenced in other criticism -> solidifies its 'great' status. So in a way, critics are often ratifying choices made by professors and curriculum designers decades ago. They're the curators of an already-existing museum more than explorers finding new treasures.
Ever notice how these 'best of' lists love a good tragedy or a social epic? There’s a bias towards gravitas. A perfectly constructed comedy of manners, no matter how insightful, rarely gets the same crown as a sweeping tragedy. Critics seem to equate suffering with depth. They also love a good 'difficult' book—one that requires a guide or multiple readings. Accessibility can be mistakenly seen as a lack of sophistication. So the decision isn’t purely about artistic merit; it’s influenced by deep-seated, often unexamined, ideas about what constitutes 'serious' art.
My personal hack is to compare multiple 'best of' lists from different sources—The Guardian, Time, BBC, academic polls. Where titles consistently appear across lists, you've probably found a core part of the critical consensus. 'Anna Karenina', 'In Search of Lost Time', 'Lolita'—these are perennials. But the real gold is in the outliers, the titles that only appear on one or two lists. That's where you find the idiosyncratic picks, the critic's personal passion projects that might resonate with you uniquely. The consensus gives you the mountainous center of the literary canon, but the edges of the map are where adventure lies.