This month’s It’s Lit! covers everyone’s favourite topic: food.
If it isn’t your favourite topic, just give yourself 48 hours without it and see if that changes your mind.
I’ve always found food scenes in books to fall into two categories: needless exposition, or important showing (Oliver Twist is a great example of this). While the video discusses the latter, it is all too common that the former is what we read most.
While I was watching the video I was reminded of something I read last year. The discussion of bread in Victor Hugo’s Les Misérables, particularly around the hard bread that needed to be soaked, was something that Karl Marx wrote about in Das Kapital. The hard bread was actually due to deliberate contamination to make cheap bread that workers could afford, knowing full well that it was bad for them to eat, and the employers knowing full well that the workers couldn’t afford to eat properly (keeping them hungry so they would work).
A great way to remind us future people of how society used to run.*
Food varies wildly from place to place and from culture to culture; since humans are such sensory creatures, using words to evoke the experience of eating is an excellent way to bring a text to life.
It’s Lit! is part of THE GREAT AMERICAN READ, an eight-part series that explores and celebrates the power of reading. Hosted by Lindsay Ellis.
*Let’s be honest, society would quite happily go back to those conditions, and in some areas of the world, it still is operating in that way.
Biologists are gathering evidence of green algae (pictured here in Kuwait) becoming carbohydrate-rich but less nutritious, due to increased carbon dioxide levels. As science fiction becomes science fact, new forms of storytelling are emerging. Raed Qutena
I count myself lucky. Weird, I know, in this day and age when all around us the natural and political world is going to hell in a handbasket. But that, in fact, may be part of it.
Back when I started writing, realism had such a stranglehold on publishing that there was little room for speculative writers and readers. (I didn’t know that’s what I was until I read it in a reader’s report for my first novel. And even then I didn’t know what it was, until I realised that it was what I read, and had always been reading; what I wrote, and wanted to write.) Outside of the convention rooms, that is, which were packed with less-literary-leaning science-fiction and fantasy producers and consumers.
Realism was the rule, even for those writing non-realist stories, such as popular crime and commercial romance. Perhaps this dominance was because of a culture heavily influenced by an Anglo-Saxon heritage. Richard Lea has written in The Guardian of “non-fiction” as a construct of English literature, arguing other cultures do not distinguish so obsessively between stories on the basis of whether or not they are “real”.
Regardless of the reason, this conception of literary fiction has been widely accepted – leading self-described “weird fiction” novelist China Miéville to identify the Booker as a genre prize for specifically realist literary fiction; a category he calls “litfic”. The best writers Australia is famous for producing aren’t only a product of this environment, but also role models who perpetuate it: Tim Winton and Helen Garner write similarly realistically, albeit generally fiction for one and non-fiction for the other.
Today, realism remains the most popular literary mode. Our education system trains us to appreciate literatures of verisimilitude; or, rather, literature we identify as “real”, charting interior landscapes and emotional journeys that generally represent a quite particular version of middle-class life. It’s one that may not have much in common these days with many people’s experiences – middle-class, Anglo or otherwise – or even our exterior world(s).
Like other kinds of biases, realism has been normalised, but there is now a growing recognition – a re-evaluation – of different kinds of “un-real” storytelling: “speculative” fiction, so-called for its obviously invented and inventive aspects.
a much larger collective conviction about who’s entitled to tell stories, what stories are worth telling, and who among the storytellers gets taken seriously … not only in terms of race and gender, but in terms of what has long been labelled “genre” fiction.
Rawson’s latest book, From the Wreck, intertwines the story of her ancestor George Hills, who was shipwrecked off the coast of South Australia and survived eight days at sea, with the tale of a shape-shifting alien seeking refuge on Earth. In an Australian first, it was long-listed for the Miles Franklin, our most prestigious literary award, after having won the niche Aurealis Award for Speculative Fiction.
The Aurealis awards were established in 1995 by the publishers of Australia’s longest-running, small-press science-fiction and fantasy magazine of the same name. As well as recognising the achievements of Australian science-fiction, fantasy and horror writers, they were designed to distinguish between those speculative subgenres.
Last year, five of the six finalists for the Aurealis awards were published, promoted and shelved as literary fiction.
A broad church
Perhaps what counts as speculative fiction is also changing. The term is certainly not new; it was first used in an 1889 review, but came into more common usage after genre author Robert Heinlein’s 1947 essay On the Writing of Speculative Fiction.
Whereas science fiction generally engages with technological developments and their potential consequences, speculative fiction is a far broader, vaguer term. It can be seen as an offshoot of the popular science-fiction genre, or a more neutral umbrella category that simply describes all non-realist forms, including fantasy and fairytales – from the epic of Gilgamesh through to The Handmaid’s Tale.
While critic James Wood argues that “everything flows from the real … it is realism that allows surrealism, magic realism, fantasy, dream and so on”, others, such as author Doris Lessing, believe that everything flows from the fantastic; that all fiction has always been speculative. I am not as interested in which came first (or which has more cultural, or commercial, value) as I am in the fact that speculative fiction – “spec-fic” – seems to be gaining literary respectability.
(Next step, surely, mainstream popularity! After all, millions of moviegoers and television viewers have binge-watched the rise of fantastic forms, and audiences are well versed in unreal onscreen worlds.)
One reason for this new interest in an old but evolving form has been well articulated by author and critic James Bradley: climate change. Writers, and publishers, are embracing speculative fiction as an apt form to interrogate what it means to be human, to be humane, in the current climate – and to engage with ideas of posthumanism too.
These are the sorts of existential questions that have historically driven realist literature.
According to the World Wildlife Fund’s 2018 Living Planet Report, 60% of the world’s wildlife disappeared between 1970 and 2012. The year 2016 was declared the hottest on record, echoing the previous year and the one before that. People under 30 have never experienced a month in which average temperatures are below the long-term mean. Hurricanes register on the Richter scale and the Australian Bureau of Meteorology has added a colour to temperature maps as the heat keeps on climbing.
There is an infographic doing the rounds on Facebook that shows sister countries with comparable climates to (warming) regions of Australia. But it doesn’t reflect the real issue. Associate Professor Michael Kearney, Research Fellow in Biosciences at the University of Melbourne, points out that no-one anywhere in the world has any experience of our current CO2 levels. The changed environment is, he says – using a word that is particularly appropriate for my argument – a “novel” situation.
Elsewhere, biologists are gathering evidence of algae that carbon dioxide has made carbohydrate-rich but less nutritious. So the plankton that rely on them to survive might eat more and more and yet still starve.
Fiction focused on the inner lives of a limited cross-section of people no longer seems the best literary form to reflect, or reflect on, our brave new outer world – if, indeed, it ever was.
Whether it’s a creative response to catastrophic climate change, or an empathic, philosophical attempt to express cultural, economic, neurological – or even species – diversification, the recognition works such as Rawson’s are receiving surely shows we have left Modernism behind and entered the era of Anthropocene literature.
And her book is not alone. Other wild titles achieving similar success include Krissy Kneen’s An Uncertain Grace, shortlisted for the Aurealis, the Stella prize and the Norma K. Hemming award – given to mark excellence in the exploration of themes of race, gender, sexuality, class or disability in a speculative fiction work.
Kneen’s book connects five stories spanning a century, navigating themes of sexuality – including erotic explorations of transgression and transmutation – against the backdrop of a changing ocean.
Earlier, more realist but still speculative titles (from 2015) include Mireille Juchau’s The World Without Us and Bradley’s Clade. These novels fit better with Miéville’s description of “litfic”, employing realistic literary techniques that would not be out of place in Winton’s books, but they have been called “cli-fi” for the way they put climate change squarely at the forefront of their stories (though their authors tend to resist such generic categorisation).
Both novels, told across time and from multiple points of view, are concerned with radically changed and catastrophically changing environments, and how the negative consequences of our one-world experiment might well – or, rather, ill – play out.
Catherine McKinnnon’s Storyland is a more recent example that similarly has a fantastic aspect. The author describes her different chapters set in different times, culminating – Cloud Atlas–like, in one futuristic episode – as “timeslips” or “time shifts” rather than time travel. Yet it has been received as speculative – and not in a pejorative way, despite how some “high-art” literary authors may feel about “low-brow” genre associations.
Kazuo Ishiguro, for instance, told The New York Times when The Buried Giant was released in 2015 that he was fearful readers would not “follow him” into Arthurian Britain. Le Guin was quick to call him out on his obvious attempt to distance himself from the fantasy category. Michel Faber, around the same time, told a Wheeler Centre audience that his Book of Strange New Things, where a missionary is sent to convert an alien race, was “not about aliens” but alienation. Of course it is the latter, but it is also about the other.
All these more-and-less-speculative fictions – these not-traditionally-realist literatures – analyse the world in a way that it is not usually analysed, to echo Tim Parks’s criterion for the best novels. Interestingly, this sounds suspiciously like science-fiction critic Darko Suvin’s famous conception of the genre as a literature of “cognitive estrangement”, which inspires readers to re-view their own world, think in new ways, and – most importantly – take appropriate action.
A new party
Perhaps better case studies of what local spec-fic is or does – when considering questions of diversity – are Charlotte Wood’s The Natural Way of Things and Claire Coleman’s Terra Nullius.
The first is a distinctly Aussie Handmaid’s Tale for our times, where “girls” guilty by association with some unspecified sexual scenario are drugged, abducted and held captive in a remote outback location.
The latter is another idea whose time has come: an apocalyptic act of colonisation. Not such an imagined scenario for Noongar woman Coleman. It’s a tricky plot to tell without giving away spoilers – the book opens on an alternative history, or is it a futuristic Australia? Again, the story is told through different points of view, which prioritises collective storytelling over the authority of a single voice.
“The entire purpose of writing Terra Nullius,” Coleman has said, “was to provoke empathy in people who had none.”
This connection of reading with empathy is a case Neil Gaiman made in a 2013 lecture when he told of how China’s first party-approved science-fiction and fantasy convention had come about five years earlier.
The Chinese had sent delegates to Apple and Google etc to try to work out why America was inventing the future, he said. And they had discovered that all the programmers, all the entrepreneurs, had read science fiction when they were children.
“Fiction can show you a different world,” said Gaiman. “It can take you somewhere you’ve never been.”
And when you come back, you see things differently. And you might decide to do something about that: you might change the future.
Perhaps the key to why speculative fiction is on the rise is the ways in which it is not “hard” science fiction. Rather than focusing on technology and world-building to the point of potential fetishism, as our “real” world seems to be doing, what we are reading today is a sophisticated literature engaging with contemporary cultural, social and political matters – through the lens of an “un-real” idea, which may be little more than a metaphor or errant speculation.
Two months ago (November 2017) the Western Australian Government released its Writing Sector Review. Okay, most of the readers here are international, so you’re probably shrugging your shoulders and reaching for an atlas – atlases are still a thing, right? But after my recent post on support for the arts (I was in favour as long as the support was for all authors, not just those deemed worthy/literary enough), I thought this review highlighted many of the same points and might be interesting.
Okay, that’s probably my West Aussie bias talking. But if it is a problem, just mentally substitute your local area name in place of Western Australia. The points raised appear to be universal. Well, Earthiversal. Well, Writerversial.
The Department of Culture and The Arts had nine recommendations in their report:
Recommendation 1: Maintain current levels of State Government funding to the writing sector This point is at odds with the rest of the list. Lots of new stuff to fund but no extra funding to go with it. But I guess this is why they are writers and not economists.
Recommendation 2: Create a hub for writing and creative thinking at the State Library of Western Australia building This makes sense, especially if this extends resources out to the larger library network in the state. And a coffee machine, this needs a coffee machine to be a creative hub.
Recommendation 3: Conduct a distinctive annual Western Australian Premier’s Book Awards The Western Australian Premier’s Book Awards This is something that used to happen but became biennial. I’ll have more to say on this point, mark my words.
Recommendation 4: Use investment in the writing sector to achieve synergies with existing Statewide library services to extend and enhance community engagement in the reading of Western Australian writers Honestly, why wasn’t this already a thing? “Sorry, we don’t have room for you West Aussie authors on the shelves, James Patterson just published 12 new books.”
Recommendation 5: Foster professional development for writers to enable them to navigate the increasingly complex areas of rights and multimedia opportunities This is already available, but an expansion would be welcome news to all of the state scribblers. The isolation of Western Australia from the rest of Australia, let alone the rest of the world, is something that needs to be addressed. I wonder if there is a worldwide… network that could be used in some way to facilitate this.
Recommendation 6: Foster an environment to maximise the potential of Western Australian writers to be published Like reminding the rest of the world that we exist. Or giving us decent internet. Or a can with a string attached.
Recommendation 7: Enhance data collection about Western Australian writing to provide benchmarks and evidence for policy development Enhance? Starting would be good. As noted in the report, the Australia Bureau of Statistics stopped collecting data in 2003-04. Also great to see a report admitting they didn’t have evidence to base their recommendations upon.
Recommendation 8: Provide support for screenwriting and playwriting Aside from all of those tax breaks that film and theatre already get….
Recommendation 9: Establish writer-in-residence opportunities at National Trust properties (Source) This is a specific focus thing about promoting literature with a local history emphasis. I’m sure that will make someone happy. Like sleep medicine specialists.
The overall emphasis of the report is that Western Australia isn’t a cultural backwater yet it is treated as one. So the state government should do something about that by promoting locals writers, local stories, and more people to wear neck scarves and beret caps.
This is very similar to the calls from The Guardian last month, which I covered in my recent post, Literary Fiction in Crisis. The government should be doing more to support, develop, and nurture artists. The publishing industry is somehow not being asked to do this. Apparently, they are all tapped out, and definitely not owned by the biggest and most profitable media organisations.
There are a couple of big assumptions built into this report. The first most obvious one is that Western Australia isn’t a cultural backwater. Having lived here my entire life, I can confirm we are a backwater, and not just culturally. I think we need to accept this fact. Maybe if we grabbed a couple of cold beers and watched some sport it would help us get over ourselves.
The second big assumption is that writers in Western Australia are worth funding. Why? What exactly is the government trying to promote with this funding? Is there a return on investment intended? These things aren’t really defined, just asserted as true. Now, don’t get me wrong, everyone loves a government handout, just ask the banks who nearly destroyed the world’s economy. But I’d like to think that this funding is a bit better justified than it appears.
The other big assumption is that support should be directed at literary works. This is a common theme to these reports and the articles I discussed previously. The report recommends the Premier’s Book Awards be annual again, which they want to be used to promote West Aussie authors and Western Australia as a successful writing habitat – possibly with the inclusion of an emphasis on “emerging” and “developing” authors. I note that they aren’t proposing to support genre authors, nor have awards to promote them.
Why wasn’t there a conclusion that the Premier’s Book Awards should include Spec-Fic, Crime, Thriller, Romance, and YA segments? Are these not worthy? Do these genres lack enough subplots about recovering from cancer and relationships with cats? Because we can fix that.
As I noted in my Literary Fiction in Crisis piece, we could acknowledge that arts are an important aspect of our culture and support ALL artists with grants – not just the “important” literary ones. The initiatives that are meant to grow and sustain the writing sector always seem to be only for part of the writing sector. IF writing is to receive government assistance then it would be nice to see it not playing favourites without some damned good justifications. Until then it appears that some animals are more equal than others.
Edit: A recent article touched on a point about art vs sport and the taxation of people in those fields in Australia. Interesting what we promote as important.
In framing initiatives that will grow and sustain the writing sector, the following issues arising from the research and consultation process have influenced the consultants’ advice.
The creative process – the act of writing – is severely hampered by lack of time and money
Market development is a critical issue for everyone working in this sector in Australia, and one which WA needs to address with some urgency. WA’s isolation from decision-makers and peergroups exacerbates this
Proximity to Asia and the alignment of significant time zones offers a considerable opportunity for WA writers (and to the creative industries in WA more generally)
Market forces are causing publishers to become more conservative and mean they are not building writers careers in the same way. How is this gap to be filled?
Collaboration between allied and sometimes competing parties is an emerging model in Australia and internationally. With the disruption of internet and digital technologies there is a greater need for publishers to cooperate and negotiate with other firms, including competitors, or others such as games, software and media companies in order to create new products.
For emerging and small publishers, distribution can be a major hurdle
Self-publishing without an experienced guiding hand is a minefield for new writers
While authors still seek traditional publisher relationships there has been an increase in publishing innovation and technology driving new models. Australian publishers are experimenting across digital platforms with changes to royalty and subscription agreements, and providing free ebook downloads which helps make niche publishing projects viable
Digital opportunities are encouraging a more direct relationship between writers and readers, publishers and readers, booksellers and readers
Sales opportunities in the digital marketplace do not fundamentally alter the economics of publishing but have provided more opportunities for scholarly publishers
The WA writing sector is supported by a range of community-based writers’ centres, facilitating organisations and by writingWA
Throughout WA there are also 231 public libraries which provide a nexus for writers and readers in a geographically challenging state.
There is a strong regional literary festival culture in regional WA – often initiated or supported by the public library. Geraldton, Kununurra, Avon Valley, Broome, Margaret River and Mandurah Festivals are all initiatives of, or have strong links with, their public libraries, and funding from DCA, DRD and Royalties for Regions, delivered via writingWA
The history and capacity for publishing Aboriginal stories by Aboriginal people is a strength of WA writing
There is a need to increase the diversity of voices and participants in the writing community
Recent and current infrastructure developments, plus the proposed reconfiguration of SLWA offer opportunities for increased writing-based activity and activation
Changes to governance arrangements at Screenwest and its greater emphasis on the telling of WA stories offer opportunities for writers
Literary Fiction in Crisis was the headline lede for a series of articles in The Guardian last month. Long known as a balanced and inclusive arts publication (/sarcasm) they sought to highlight a serious problem and a solution for literary fiction.
In case you haven’t heard, people aren’t reading literary fiction. Book sales are dropping. I covered this in my post on Australian Fiction, and US Fiction, and the Guardian article covered the UK figures in its first piece in the series.
Let’s try not to think too hard about sales being in value terms and not volume. I mean, ebooks aren’t usually priced cheaper or anything and would hardly contribute to this revenue figure whilst being more profitable. Clearly, we need to get onto blaming the real culprits. Stupid kids these days are playing Tweeters and Facepage instead of buying books.
One reason suggested by the report for the decline in literary fiction sales is the recession, happening at the same time as the rise of cheap and easy entertainment. “In comparison with our smartphones, literary fiction is often ‘difficult’ and expensive: it isn’t free, and it requires more concentration than Facebook or Candy Crush,” the report’s authors write.
Won’t someone thinking of the starving artists!!
The researchers looked at the 10,000 bestselling fiction titles over the last five years and found: “Outside of the top 1,000 authors (at most), printed book sales alone simply cannot provide a decent income. While this has long been suspected, the data shows unambiguously that it is the case. … What’s more, this is a generous assessment. After the retailer, distributor, publisher and agent have taken their cut, there won’t be a lot of money left from 3,000 sales of the 1,000th bestselling title. That we are returning to a position where only the best-off writers can support themselves should be a source of deep concern.”
OMG, you’re telling me that artists have to have day jobs?* Oh the humanity! Surely this must be a new thing… Unless it has literally always been a thing. If only there was a graphic somewhere that could highlight the proportion of authors who make a living writing…
The second article covers some of the same ground before highlighting a couple of important points.
This continuity imperative has long been built into the foundations of commercial publishers, who expect many of their most successful writers to cough up a book a year. And as publishing has become more centralised, with much of its power now concentrated in three giant conglomerates, it has become more ruthless.
The brutal truth is that through the 1980s and 90s it was possible for the literary novelist to make a living on advances that didn’t “earn out”. They were supported by an old-fashioned value system that sanctioned the write-off of losses for the kudos of association with an “important” writer and a belief that literary value could be offset against the profits of more pragmatic publishing.
These points are ones which are not made often enough. In an industry that runs on the work of part-timers (88.5%), the proceeds to these employees are decreasing, the time commitments are increasing, and the investment in their careers is decreasing. Where are the three articles criticising this problem?
Of course, we need to steer the ship away from that iceberg of issues. The second article instead makes the argument that the UK Arts Council should fund more authors (and let’s assume the implication is that other governments around the world should do the same).
Unlike the performing arts, publishing has always been a largely commercial sector that has had to square its own circles. This is reflected in the fact that it gets only 7% of the funding cake handed out by the Arts Council, compared with 23% to theatre and 11% to dance.
Personally, I want to see Arts Council funding to be decided in a Thunderdome. It would be great to see starving artists facing off against one another for grants. The fit and agile dancers doing battle against the people who spend all day sitting and typing. They could stream it on Pay Per View and raise some extra arts funds.
There will be those who argue that this just shows that literary fiction is a hangover from the past, and the poor dears should knuckle down and resign themselves to writing what people actually want to read. But few would dare to make the same argument about experimental theatre or dance.
Yes, I’d argue this. And I would dare to make the same argument for theatre and dance. Thun-der-dome, Thun-dur-dome, Thun-der-dome!
The third article in this series makes just this argument – just to be clear, for writing what people want to read, not fighting in the Thunderdome. It doesn’t mince words and goes straight for the jugular.
This article goes on to imply that literary authors could put some effort into writing stuff people want to read, mainly via utilising compelling plots, which the author feels is a major flaw in literary works. I think he misses an important point. Authors can write whatever they want. But I do agree that authors can’t expect to earn a living from this unpopular writing, nor have people like it, nor have it be accepted as appropriate (e.g. racism). Pleasing a small club of literary snobs with worthy books doesn’t entitle authors to a full-time career.
Of course, nobody is proposing supporting genre authors. They aren’t writing important fiction and are thus not real authors. They deserve to starve! This is the main issue I have with the argument to fund literary fiction. Somehow we’ve glossed over all the authors who aren’t making a living writing genre, as though they have nothing to contribute to society, and are thus unworthy of arts funding. Admittedly, a very good study, mentioned in the second article, does show there are clear empathy differences between readers of genre and literary novels** – although why is still a question to be answered. So there is an argument to be made for literature support.
As I see it, there are a few paths we could tread. The reading industry could acknowledge that most authors are part-timers and do more to support this reality while they balance a day job with their art. Or we can acknowledge that arts are an important aspect of our culture and support ALL artists with grants – not just the “important” literary ones. This latter option could be easily and justifiably funded by taking government funding out of popular high-level sports – i.e. no more free stadiums for you football! Let’s just hope that sports doesn’t go up against arts in the Thunderdome.
*Side note: we could probably even refer to the artistic projects as the Side Hustle. This piece by Zen Pencils is quite good and captures the idea behind the author dream.
**Worth reading this paper, which I’ve linked directly. I expected this to be a small sample, poorly analysed, poorly reasoned, paper that was written to elevate snobbery with pseudoscience. It was actually a very solid study. Although, it is worth noting that literary merit was on a spectrum, so literary could be found in many titles. This included Raymond Chandler in the top third of literary titles, which surprised me (last spot was James Patterson, which should surprise no one).
Edit: A recent article touched on a point about art vs sport and the taxation of people in those fields in Australia. Interesting what we promote as important.
I have long-held a disdain for the way reading and books are presented in schools. At a time when kids are trying to be cool by gaming, watching the right TV shows, seeing cool movies, Snap-chatting themselves half-naked, and sleeping until noon, schools try to suck all the fun out of reading.
Up until high school kids are more likely to read regularly for pleasure. At high school this rate declines markedly, and doesn’t really recover until retirement (if at all, as I’d argue that the older people making up those Pew survey numbers grew up in an age before internet, decent TV, and gaming). Not only are teens exposed to more other potential entertainment sources, they also find less enjoyment in reading. Something happens in high school. Something terrible. We assign them standardised texts to read!
In his book, Readicide, Kelly Gallagher explains why the American system has been failing kids and how to fix it. I think many of the points apply to any nation that utilises an emphasis on standardised testing for schools. Below is a summary presentation that you can navigate to by clicking on the image. Worth a look for any fellow book nerds and/or parents.
I don’t actually agree with everything in the overview, namely the idea that classics are classics for a reason. You have to remember that the reason a book becomes a classic is often chance, or because some person reckons it should be, not because it is always good. Plenty of good books have undoubtably been lost in obscurity and thus to history. An example of a book now regarded as a classic that was almost lost to history is Moby Dick. It faded into obscurity after its release and was pretty much forgotten until one literary critic – Carl Van Doren – revived the novel 70 years after its publication. So one guy reckoned it was good, others nodded and agreed with him, and so that means it’s a classic.*
The idea that kids should be reading classics or literary “masterpieces” is part of the problem, in my opinion. This is very much a top down decree of what is important by people who have made a career out of lecturing others on what is important…. to them. Just because they like it doesn’t mean that it will inspire kids to be lifelong readers.
Now, that isn’t to say that those “important” books aren’t worth reading. But it is to say that there is a stark difference between what a literary critic or scholar deems good, and what a kid who just read Harry Potter for the first time deems good. School curriculums would be better off without trying to bash kids over the heads with books they are unlikely to enjoy.
The Fault in Our Stars is a fairly straight forward novel, telling the tale of two teenagers who meet and fall in love. With cancer. And it has the audacity to treat teenagers, cancer, and life with humour and without being patronising. No wonder the Daily Mail didn’t like it.
Anyone at all familiar with John Green, either via the Nerdfighteria community or his Vlogbrother-ing with Hank, will instantly recognise the casual wit and humour that forms the backbone of The Fault In Our Stars. I can’t claim to be a Nerdfighter, well, aside from subscribing to all of their Youtube channels and supporting their charity campaigns, since it has taken me so long to read one of John’s novels. But I think it is the humour John uses throughout the book that sets TFIOS – as it is known in Nerdfighter circles – apart from the generic “kids with cancer” novels.
I enjoyed TFIOS and would recommend it to most people. Just gloss over the generic plot, stock characters, and scenes that are only there to hold up jokes.
NB: I have the deluxe audiobook version narrated by John himself. Hard to imagine anyone else narrating, what with his dulcet tones.
There is a storm brewing. In the latest of the long line of insults by literary fiction against genre fiction, Isabel Allende has taken a pot shot at crime fiction. Now apparently she hates crime fiction because:
It’s too gruesome, too violent, too dark; there’s no redemption there. And the characters are just awful. Bad people.
But that didn’t stop her writing a crime mystery. It also didn’t stop her saying that the book was a joke and ironic. I think the word she was actually looking for was hypocrite.
I’ve never really understood the people who read or write stuff they don’t enjoy. Sure, I read some really boring science journal articles, but that’s because I enjoy knowing stuff. If I’m going to sit down and read a book, I want that 10-20 hours of entertainment to be, well, entertaining. If I’m writing, which is a much longer and more involved process, why would I invest that much time in something I’m not enjoying doing?
So to some extent, I understand why Isabel decided that her mystery had to be a joke and ironic. But that is also the crux of the problem, she doesn’t seem to understand that she is also insulting readers and fans of genre fiction. I think the book store in Houston, Murder by the Book, that had ordered 20 signed copies of her novel, did the right thing in sending them back.
Now you can write a satirical or ironic take on a particular genre or sub-genre of fiction. But when you do so it has to be because of your love of all those little things you’re taking the piss out of. If you do it out of hate then you can’t turn around and try to sell it to the audience you are taking a pot shot at. I think this stuff is stupid, you’re stupid for reading it, but I still want you to pay me for insulting you.
I get a little sick of snobbishness toward genre readers and writers. Do genre readers and writers take pot shots at literary authors for their lack of plots, characters who have to own a cat and be suffering, and writing that is there to fill pages with words and not actually tell a story? No. We’re too busy reading something exciting.
It would be great if people just enjoyed what they enjoyed and stopped criticising others for enjoying what they enjoy. Enjoy.