I’ve previously written about how some literary authors don’t really understand nor respect genre fiction. Of course, that doesn’t appear to give them pause before sitting down with their quill and parchment – literary authors exclusively use olde timey equipment: true fact – to knock out a genre novel. Their attempts at writing genre tend to reflect this disdain and ignorance of the form, and they end up doing a poor job of writing it.
Well, at least we know he’s treading on well-worn paths and reinventing all the tropes he’s painfully unaware of with his latest novel. But good on him for flying the ignorance flag so high so we don’t waste our time as readers.
It gets better. I received the monthly recommended review books from Penguin and saw McEwan’s new novel, Machines Like Me, on the list. This was the publisher’s blurb:
Our foremost storyteller returns with an audacious new novel, Machines Like Me.
Britain has lost the Falklands war, Margaret Thatcher battles Tony Benn for power and Alan Turing achieves a breakthrough in artificial intelligence. In a world not quite like this one, two lovers will be tested beyond their understanding.
Machines Like Me occurs in an alternative 1980s London. Charlie, drifting through life and dodging full-time employment, is in love with Miranda, a bright student who lives with a terrible secret. When Charlie comes into money, he buys Adam, one of the first batch of synthetic humans. With Miranda’s assistance, he co-designs Adam’s personality. This near-perfect human is beautiful, strong and clever – a love triangle soon forms. These three beings will confront a profound moral dilemma. Ian McEwan’s subversive and entertaining new novel poses fundamental questions: what makes us human? Our outward deeds or our inner lives? Could a machine understand the human heart? This provocative and thrilling tale warns of the power to invent things beyond our control. Source.
Yes, it even has a love triangle. This is certainly not a bog-standard sci-fi novel at all. No sir. This explores big ideas… This is the cover art…
There are several potential explanations here:
McEwan is one of the arrogant literati who would never stoop to reading such crass material as genre fiction. Of course, when they write it, it is very important literature that you should absolutely buy and praise them for writing it.
McEwan is painfully ignorant to the point that someone really should have taken him aside during the (above quoted) interview and shown him the Wikipedia page for Science Fiction on the magical communication box they carry in their pocket.
McEwan is hoping that his comments will stir controversy that will help sell more copies of his books.
Now I am a bit late to the internet pile-on that inevitably results from modern faux pas as it is reactionary and lowers the quality of discourse. Definitely not because I got distracted on other things. Anyway, the reason why I have come back to this incident is that it ties into a thread I have been commenting on for several years now: Literary snobbery, or the Worthiness argument.
But the most interesting argument I have seen defining the difference between literature and genre fiction was around the class divide. The snobbery was literally built into the divide because genre stories were published in cheaper books for the workers and the more literary stories were published in fancier books for the new middle class.*
So it is quite possible that the reason why we have comments like McEwan’s is because they are tapping into 150 years of class snobbery that disallows them from reading or appreciating genre fiction. If they do read some, it will be classed as a guilty pleasure, because they can’t be seen actually acknowledging genre as having substance.
Or it could just be about attention seeking to sell some books.
* The argument doesn’t really discuss what rich people read. I assume that the rich people were too busy counting money to be bothered reading either genre or literature.
It is no secret that I like to write book reviews. Except when I’m sleepy. Or if I’m busy. Or if I get distracted by… Where am I?
Anyway, I wrote this blog a year or so ago addressing an example of people conflating book reviews with book promotion. I’m reposting it because of a recent discussion I had where several people were angry that a Mythcreants article failed to mention the authors of books being used as examples.
The issue that people seemed to have with the names being omitted was that it “wasn’t how reviews are meant to be written”….* Apparently the important details of a book review are listing the Title, Author, Publisher, Publication Date, etc, so that people can find the books easily. Yeah, an article on the internet referencing well-known books isn’t making it easy enough to find the books. Their irony meter must have been lost with the demise of Altavista.
Let me state up front: to my mind, book reviews are about helping people find good stuff to read and promoting authors whose work you’ve enjoyed. Of course some reviewers use it as a an opportunity to break away from the internet commenter stereotype and be jerks to others. This can be frustrating for authors and readers, but about par for the course as far as internet comments goes.
Fortunately an author has written a blog post advising people how to properly review books. Because you’re doing it wrong…
As a reader, reviewer, and occasionally sober writer, I don’t think authors should be telling readers what to do or how to do it, so the post doesn’t sit right with me. Actually, a lot of things don’t sit right with me, especially if they aren’t single malt and well aged.
Who are book reviews for?
You might be forgiven for thinking that writing a book review is primarily to flatter the author, or thank the author for writing an enjoyable book.
Book reviews are for prospective readers; to inform those buyers who are browsing the Amazon bookstore, chatting on Goodreads or following on-line bloggers, to decide if they might enjoy the book as much as the reviewer did.
The first major point is one I agree with: book reviews are for readers. But maybe not the readers the author thinks. Reviews are primarily about that reader and their thoughts. Sure, they may be trying to communicate with other readers and make recommendations, but let’s face facts, it is mostly just about sharing an opinion. Or is that shouting into the void? I can never remember the difference.
My philosophy on book reviewing – helping and promoting good stuff – is probably shared by many, or not, I haven’t checked. But I see it as an important aspect of being a reader and writer. Thanks to the wonders of technology we have access to more books than we’ll ever be able to read, and some of them are worth reading. Sharing your opinion of a book can help others find stories that will entertain them. Personally I’m not a fan of sharing reviews of books I haven’t enjoyed, just the ones I think others will enjoy reading, but negative and positive reviews are both helpful.
But, that’s just me. Readers aren’t obligated to say nice things about a book, nor promote it, nor make sure there are links to anything (except references, those are damned important I tells ya!).
The next points:
What to include:
The best single rule to remember is this: Only write about the actual book!
You can include a very brief outline of the story, but remember the book description is already right there, so consider these points:
Was the story believable, did it keep you engaged right to the last page?
Did the structure of the plot work for you?
If it’s a mystery, was there one?
The characters. Did they seem real, multi-dimensional people?
The author’s writing style. How was it for you?
The first point on this list is, frankly, rubbish. A book does not exist in a vacuum. Well, unless it was taken into space, but why would anyone do that? Unless they are an astronaut, but they’d want the book in the ship with them.
Anyway, all art/media is a product of the space it was created in, it has cultural and philosophical underpinnings that are part and parcel. And following on from that, the cultural landscape changes over time and individuals consuming the art/media are going to evolve as a result. So you can’t just write only about the book in a review, you will always bring baggage with you. Want an example? Try watching the original Ghostbusters movie without thinking Bill Murray’s character isn’t just a tad rape-y by today’s standards.
The next points about the story and how it is written are fair enough advice on things you could include. But you could include all or none of those things and still write a good review. The review has a subject and you only really need to include the stuff relevant to that subject – which means you might never mention the author, publisher, publication date, major or minor characters, etc.
The next part is where this blog post gets juicy:
What not to include:
Your possible relationship to the author, however vague.
If you need to reference the author, then use the surname only or call them the author or include their full name. Never use Christian names as it may compromise the validity of the review and some sites will remove them permanently.
Imagine if you saw this review on the latest Dan Brown: Hello Dan love, fabulous book, Five stars! I expect the vast majority of us would laugh, Dan Brown would most certainly cringe – but most importantly, would this sort of review help you form a decision to buy the book if you’d not read it?
I don’t know about the last point, I’ve read Dan Brown’s Inferno; I’m not sure he knows how to cringe.
There are two points to unpack here: the first is the idea that your relationship with the author doesn’t have any bearing on a review; the second is the idea that you’re trying to help the author sell books. To suggest that there is a way to refer to an author or that you shouldn’t mention conflicts of interest is wrong. If I like someone I will naturally be inclined to think their book is better than someone whom I don’t know or like. Similarly, if I already like someone’s writing, their lesser works are likely to be viewed more favourably than a new author’s work.
It also irks me that the blog is implying that the author is off-limits for criticism. That is rubbish. If I know that the book or author is controversial, then that will also colour my review and is worth raising. An example was James Frey’s Lorian Legacies series published under a pseudonym. During my reading of I Am Number Four I noticed several very lazy factual inaccuracies and wanted to know who the author actually was. It was then that I found out that Frey had scammed a bunch of writing students to produce the series. Not only did that colour my (lack of) appreciation of the novel, but it was information I felt other readers should know. Because screw that guy.
This links nicely into the next point about reviews helping to sell books. It is true that book reviews help sell books: who’d have thunk? It is also true that if you want to see more great material from an author one of the things you can do is make sure people know you enjoyed the book. But since when is it the reader/reviewer’s obligation to help sell books for an author? Shouldn’t an author be happy that you bought and enjoyed their book? Well, unless you borrowed the book from a library, friend, or got a freebie. I understand the desire of authors to encourage people to review their book/s, and what it can help do in terms of recognition and thus sales, but a review isn’t about selling a book. The review is about the reader sharing their thoughts on a book they have read. Book store clerks get paid, readers don’t. Worth remembering.
The weather! I’m being tongue-in-cheek here but really, no honestly, there’s no need to mention the weather…
How long the book took to arrive in the post, or that it was damaged. This isn’t the fault of the author – stick to reviewing the book.
Likewise, problems with your Amazon account: It won’t download. This is not the author’s fault and should never form part of a book review.
These next few comments are mainly about Amazon reviews and how people talk about the buying of the book in their review. While it is completely understandable for an author to be frustrated with comments in a review that are unrelated to the story they wrote, this recommendation is not only self-serving drivel, it forgets who the review is for.
If someone orders a book from Amazon and the shipment is not filled quickly, or won’t download, or the pricing is ridiculous, or the bonus “massager” didn’t arrive with the romance novel order, then that is a legitimate gripe. Other readers on the Amazon store will want to know this stuff. But even if this wasn’t on the Amazon store, there is legitimate griping to be done. For example, in Australia several major publishers price their ebooks based upon the currently available paper version’s price.** So if the hardcover is out, you pay hardcover prices for an ebook. Where else but a book review are you going to express your consumer discontent on this? Well, aside from in a blog post like this one. Or if you are talking to one of the publishers at a writers’ festival. Or if you know someone, who knows someone, who is related to a publisher.
I’d agree that there needs to be a distinction made been the store’s service, the publisher’s pricing, and the novel itself, in site reviews. Having those categories un-lumped would be something I’d support. Along with free hats. Everyone loves a free hat. But that I can’t go along with blaming the reviewers for not making that distinction.
Spoilers: giving away crucial parts of the plot and therefore spoiling it for other readers, e.g. I’m glad Susan was dead by chapter three.
Copying and pasting the entire book description – please dont.
And the worst of all: I haven’t read it yet… so one star. Why on earth do sites allow these ‘reviews’ to remain?
Some people really hate spoilers, others love them, others still are ambivalent, others still still will hunt you down and kill you with your own keyboard for posting them. As such there is an etiquette to posting spoilers in a review. If you are an undefeated Muay Thai fighter with a decent ground game, then you can post whatever spoiler you like. If you are anyone else, you can post spoilers as long as you warn people you are going to do it. Then people can read or skip the spoilers to their heart’s content, assuming the Muay Thai fighter hasn’t ripped their heart out of their chest for posting a spoiler.
I’m not sure I’ve ever seen someone post a book review that includes a copy and paste of the book description. If this actually happens then it is either a compliment to the blurb author for capturing the book perfectly so as to act as an appropriate review, or someone needs to learn how to type their own thoughts.
The final point is about the dismissive one star review. Now some people, such as the blog post author, complain that these sorts of reviews are not legitimate. Nonsense. Books have a cover, a blurb, the reader might have read other books by the author, etc, all of which can be more than enough information for the reviewer. For example, let’s say that someone has written a book – fiction or non-fiction, it doesn’t really matter – that claims climate change is a hoax perpetrated by the Chinese, NWO, Zionist Bankers to something something profit-gravy-train. Do I really need to leave a long and extensive review once I’ve read the book? Or can I just point out that it is nonsense? Is that not legitimate comment?
Now these have all been relatively minor gripes to quibble with. Fun fact: Quibbles are the Earth equivalent of Tribbles. Bonus fact: the most famous Quibble currently sits on the President of the USA’s head.
Quibbles and Tribbles aside, let’s talk about complaining about book reviews not being done the way you want, when you yourself don’t review books. There is that inspiring – or is that insipid? – quote about being the change you want to see which applies here. The author of the blog post has exactly zero book reviews on their site, not counting the promotion of reviews of their own novels. The author’s Goodreads page has no books listed as having been rated or reviewed. Do as I say, not as I do. I mean, sure, that isn’t demanding at all.
In summary, it’s best to be thankful for readers writing reviews, even the bad reviews.
*Let’s just ignore that the article in question wasn’t a book review but an article that was using famous books as examples to make a larger point. The poor dears are having enough problems with conflating reviews with promotion.
**Not sure this is still the case in 2017. It was the case for many years though.
There is something about music that we all love. By “music” I mean I’m going to discuss the popular stuff that people love to criticise. By “we all” I mean some people, since not everyone likes music, and even music lovers have tastes that differ from the norm. And by “love” I don’t mean the squishy kind. As a music fan, I feel the need to defend modern music, since I quite like some of it.
Recently there have been a number of people disparaging modern music. E.g.:
This isn’t a new argument. Much like the kids these days argument – wave your Zimmer Frames at the sky now – the modern music sucks argument is based around a number of cognitive biases. Survivorship bias is one part, in that we only remember the music that lasts, and we certainly don’t remember the bad stuff. One of the more interesting parts of our biases is how our musical tastes are formed in our teens and early twenties (14-24). In part, this is when our brains are developing and we are creating our identity. Another part is that everything is still new and exciting, so we get a rush from experiences that we won’t later in life. So everything after that short time period seems strange and against the natural order of things.*
Pubertal growth hormones make everything we’re experiencing, including music, seem very important. We’re just reaching a point in our cognitive development when we’re developing our own tastes. And musical tastes become a badge of identity. – Professor Daniel J. Levitin (Source)
But of course, rather than discuss the interesting dynamics at play, the discussion has instead latched onto a study that provides “objective proof” that modern music sucks. Rather than directly cite the study, the vitriolics have found a Youtube video that misrepresents the study to suit their preconceived ideas.
So what does the objective proof study actually say? Well, after a quick search – seriously, how hard is it for these whiners to link and read the damn study – I found the original study. But rather than provide proof that music has gotten worse since the 1960’s, it instead directly states:
Much of the gathered evidence points towards an important degree of conventionalism, in the sense of blockage or no-evolution, in the creation and production of contemporary western popular music. Thus, from a global perspective, popular music would have no clear trends and show no considerable changes in more than fifty years. (Source)
Kinda the opposite of the claim, huh! As a general statement, music hasn’t gotten better or worse, it has pretty much stayed the same over the last 50 years. Nobody has ever noticed that…
Other studies have looked into changes in music over time. A more recent study found that styles of music have changed, often becoming more complex over time. But it isn’t quite that simple. The more popular a style of music becomes the blander it becomes.
We show that changes in the instrumentational complexity of a style are related to its number of sales and to the number of artists contributing to that style. As a style attracts a growing number of artists, its instrumentational variety usually increases. At the same time the instrumentational uniformity of a style decreases, i.e. a unique stylistic and increasingly complex expression pattern emerges. In contrast, album sales of a given style typically increase with decreasing instrumentational complexity. This can be interpreted as music becoming increasingly formulaic in terms of instrumentation once commercial or mainstream success sets in. (Source)
In other words, music sucks because it tries to be popular. And it works.
So saying that modern music sucks is nonsense. What is bland and generic is popular music. Always has been, probably always will be. There is good music being made all the time, you just aren’t going to find it without looking.
I’ve come up with a set of rules that describe our reactions to technologies:
1. Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
2. Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
3. Anything invented after you’re thirty-five is against the natural order of things.
When I think of literature I think of an older guy sporting a greying moustache, sipping a sherry, wearing a smoking jacket, seated in a library of leather-bound books in front of a simmering log fire. The guy speaks with an aristocratic English accent and expounds on the greatness of some book that other older men dressed like him, sitting in similar log-fire warmed libraries, also like to read when not shagging the maid.
Now clearly not everyone who reads literature fits this image. Some probably can’t even afford a maid to shag. But it does appear to be an image that people aspire toward, an image that informs what they deem literature, and thus what they deem worthy of reading. Rather than judging any written work based upon its lasting artistic merit – although that definition is so subjective as to be useless and ideal for starting pointless arguments…. (cough) – people seem intent on creating boundaries before a work is allowed to be judged. They must defend Fort Literature from the invading Lesser Works.
Normally I’d launch into a whinge about how speculative fiction is unfairly maligned, or how I’ve read crime fiction that has more artistic merit than most literary works. But instead, I’m going to talk about graphic novels. In an article on The Conversation, Catherine Beavis explained how the graphic novel Maus came to be part of the literature curriculum.
Despite this explanation, there was always going to be someone in the comments telling us how a graphic novel can’t be literature. I assume they wrote their comments whilst wearing a smoking jacket and taking a break from shagging the maid.
Well well……..so it’s art as literature.
Why not a more well-known comic (sorry graphic novel).
Not saying this isn’t a worthy addition to any curriculum, but more as social comment rather than literature.
Surely the novels of great Australian writers should be preferable – Winton, Malouf, Carey etc.
Let’s break these points apart one by one. As will be seen from further comments, the argument primarily revolves around the feelpinion that because graphic novels contain pictures they are art and thus not literature. A similar argument could be made for movies being TV shows and thus we could abolish the Oscars… actually, that isn’t a bad idea. Anyway, I guess we’d better break the news to the literature professors that Shakespeare’s plays need to be taken off of the curriculum.
The argument then moves to the “I haven’t heard of it, so it can’t be good” assertion. Maybe because they realise this isn’t a great argument, they immediately distance themselves from it. But we start to see the “worthy“ argument being formed. I’ve argued many times that “worthy“ is a great subjective argument put forward by people who think they are worthy.
Of course, it wouldn’t be a literary argument if someone didn’t cite some authors they deem worthy. For those unfamiliar with Winton, Malouf, and Carey, they are award-winning Aussie authors who write “interior histories” and about “people rebuilding their lives after catastrophe” and “people who experience death and will never be the same again”. None of those statements could be applied to a graphic novel about someone who survived the Holocaust… No sir.
Their list of worthy authors is as subjective as their comments about graphic novels and Maus. I could similarly ask why the Hitchhikers Guide to the Galaxy isn’t on the curriculum. It has a lot to say about society and has entered the lexicon, which is more than can be said for any of the other authors mentioned nor the graphic novels being shunned. I could say the same again about Superman or Spiderman, which have implanted ideals and phrases of morality into society, regardless of whether people have read those graphic novels or not.
*Steps on soapbox*
I personally welcome any work into the class that will encourage kids to read, think and learn. And to anyone who derides graphic novels, they are clearly saying they don’t or haven’t read any.
*Steps down from soapbox*
The commenter responded to criticism of their subjective opinion:
That may be so, but my bigger point was that literature = words.
This is art with captions.
Not disputing that it may be hugely popular or good (even great)…
but literature it ain’t.
I think the appropriate response to this is a head shake. The problem is the black and white definition of what literature is, whilst ignoring the fact that the graphic novels fit the definition of literature. Pointing out the flaws in these opinions is as easy as saying that graphic novels, with very few exceptions, are composed of words. They also use graphics, but that is often a collaboration between the writer and the artists they work with. Thus, by the definition of “literature = words”, graphic novels are eligible to be classified as literature.
But anything to keep only the “worthy” books in contention as literature. Can’t have that kids stuff being called literary!
So I named three contemporary Australian writers – call me subjective.
I am not knocking the (art) form…just that it (to ME) is not literature.
Your opinion is obviously as valid as mine……don’t get huffy.
The last point here is one that irks me more than irksome irkers on an international irking junket. Opinions are not equally valid. That sort of subjectivism nonsense eats away at reality and suggests we “just don’t know, man”.
The commenter made a subjective list, so I put together some examples that were superior in quantifiable ways (impact on society, entering the lexicon, referenced by society) to show that the subjective claims were more worthless than a $9 note because clearly not much knowledge or thought was put into the claims.
There is also the idea of literary critique and argument, rather than stating feelpinions. I’ve stated an opinion and argued it, offering reasoning. The examples I countered with aren’t necessarily the best choices, but I have justified and quantified my argument, something you learn in high school literature class. Art Spiegelman won a Pulitzer, so clearly, someone in the literati agrees. And surely a Pulitzer prize winner is worthy of being on the curriculum. But of course all opinions are equally valid and “I’m entitled to my opinion”, dammit!
Surely the whole point of literature is that the reader has to imagine the scene described, the way words are spoken, the implications of what is said and much more. It’s all in the mind, which develops through reading.
A graphic novel presents the words and pictures with almost no imagining required. The number of words is hugely reduced to give way to often wasted space. In the example above there are 21 words, which if in normal lowercase type could be written in 10% of the space.
Sorry I’m not convinced graphic novels have any merit for senior students.
Shakespeare’s plays give stage directions and poetry is often deliberately obscure. So how do those examples fit this exclusionary definition of literature? I’m sure some artists would object to the idea that they aren’t conjuring a scene that develops in people’s minds. And is the idea to only allow readers to imagine a scene? Isn’t it about conveying ideas and emotions too? Isn’t this some great mental gymnastics to try to maintain Fort Literature from invasion by the Lesser Works?
The second paragraph is also exemplary of someone who hasn’t read many, if any, graphic novels. So, of course, this commenter wouldn’t be convinced that graphic novels are of any merit. First, they’d have to know something. But that doesn’t hold them back from commenting.
While I’m in the mood for alienating folks, let me also say that this is a good example of dumbing down literature.
Give the kids a picture with limited words and maybe they’ll get the idea.
Don’t kids these days have the attention span to read a novel?
The last graphic novel I read was 480 pages long and took many hours to read. It covered sexual identity, morality, the greater good argument, do evil deeds make us evil, etc, as issues. The last “literature” novel I read was about a woman who manipulated people to get what she wanted. It was ~300 pages long and took many hours to read.*
This argument is typical of people who have a snobbish attitude to something based upon pure ignorance of the topic. Similar statements have been made throughout time, decrying the dumbing down or declining standards of today’s youth. Oddly enough it has been proven false again and again only to be spouted once more.
There is a similar article on The Spectator – a home for uninformed opinion – which argues that if we let graphic novels into literature we have to let in everything. They must defend Fort Literature from the invading Lesser Works. Maybe I’ll address that one at some stage when I’m feeling masochistic, but I’m going to leave it there. The maid has arrived.
*This comparison was true at the time of my original comments on The Conversation. I’ve read many graphic novels since, but no further literature novels.
Update: Nerdwriter made a particularly good video discussing Maus and how it is constructed as a story and piece of art. Every frame, every image, the whole page, has meaning. Kid’s stuff indeed.
Update: A great video essay about how you can’t judge art objectively.
When The New York Times hired Bret Stephens many supporters of sound science were concerned. Bret has a history as a climate science denier and disinformer, using his clout as a Pulitzer Prize winning journalist to undermine climate science. With the publication of his inaugural column at The New York Times the concerns were confirmed.
Bret’s piece attacks climate science by attempting to argue that nothing can be 100 percent certain, so it is only rational to doubt claims of that sort. Except that is nonsense.
Climate science has never claimed 100 percent certainty. The evidence for human influences on climate is overwhelming, but scientists don’t claim to know anything with 100 percent certainty. That isn’t how science works. Climate science is routinely reported with error margins and uncertainties.
This isn’t the only problem with Bret’s article. He makes many other factual errors, as covered by Dana Nuccitelli and others. So Bret’s article is either deliberately deceptive, or naively uninformed.
It is hardly the first time Bret has been a climate disinformer. In his previous role at the Wall Street Journal he wrote similar articles that sought to undermine climate science and disinform his readers. During a January 23rd 2015 appearance on Real Time with Bill Maher, Bret utilized a splurge of cherry picked historical events and reports to discredit climate science. He included the much-debunked 1970s cooling argument, and an irrelevant reference to a fisheries management conference, in his argument that the experts are probably wrong. Just ignore all the evidence. And don’t check Bret’s claims too closely. So being deceptive or uninformed is nothing new for Bret.
Charts of misinformation in opinion pieces during Bret’s time at the Wall Street Journal (source: MediaMatters.org)
Writing an opinion column at The New York Times that is either deceptive or uninformed does not speak well of the credibility of Stephens nor his new employer. Why would a respected news outlet like The New York Times publish a column that is deceptive or uninformed?
James Bennett, an editor at The New York Times defended their original hiring decision in the face of criticism. Bennett said,“The crux of the question is whether his work belongs inside our boundaries for intelligent debate, and I have no doubt that it does. I have no doubt he crosses our bar for intellectual honesty and fairness.”
Yet with his very first column, Bret has shown a lack of intellectual honesty and fairness. So exactly how low is the bar being set?
No credible news outlet could allow one of their opinion columnists to continue to write nonsense for them. Has The New York Times sold their credibility on climate science for conservative clicks? Are they doing this to create sensationalism? In either case, it speaks to the standing of The New York Times that they would use such an important issue in climate change to hurt public understanding of the issue for attention.
Certainly many scientists have decided that The New York Times no longer deserves their subscription (e.g. 1, 2). The response from The New York Times is hardly complimentary to their new slogan “Truth is more important now than ever”. When you respond to scientists who have cancelled their subscriptions over Bret Stephens’ climate disinformation by arguing there are two sides to the debate, or that the scientists can’t stand differing opinions, you wonder if The New York Times understands what Truth actually means.
If The New York Times values truth then they shouldn’t have hired Bret Stephens to write about climate change. If they care about their credibility now they will sack him. But it seems clear that they have sold their credibility for clicks.
With pork-barrelling season in full swing, we will be seeing plenty of politicians hitching their wagons to prominent sports and sporting teams. The proclamations that sports are True-blue, dinky-di, Aussie will come to win over voters, with a little somethin’ somethin’ in the budget to sweeten the deal. Because sport is king in Australia, right?
Aussies are routinely described as sports mad, sports addicts, and that we love watching and playing sports in sporty sports ways. But how many of us actually play sports? How many of us actually watch sports? Given that you could describe weekly matches of football as repeats of the same teams doing the same thing for months on end annually, it is worth taking a look at a few of our assumptions about the claims.
Let’s start with a look at how many Aussies play “sports”. Inverted commas around sports? Yes, because when people say that 60% (11.1 million) of Aussies play sports – down 5% compared to 2 years previous – what they actually mean is that we’re classifying walking and generally not sitting on the couch watching TV as sport. Let’s make it fairer on sports and subtract the walkers from being classified as sport participants. And let’s not succumb to temptation and call golf just more walking with intermittent cursing. That means that our 11.7 million “sports” participants is suddenly 7.5 million, which is 41.4% of the population (and falling with the ageing population). That figure sounds impressive until you realise that figure is participation of at least once in the past year and doesn’t account for the regularity of participation. How regularly someone is involved in sports is a much better indicator of our interest and love of sports. As opposed to accounting for that time you went to the gym because of a New Year’s resolution or because the doctor ordered you too out of concern for being dragged into an orbit around you at your next visit. The reality is that less than half of the population engage in regular (3 times per week on average) physical activity, with roughly a third of those people being gym junkies (NB: young men are more likely to play a sport, that drops with age and isn’t replaced with other activities, whilst women are more likely to be involved in non-organised sports and remain doing so).
The Top 20 most popular physical activities are dominated by fitness activities like the already mentioned walking, aerobics/fitness, swimming, cycling, and running. One of the big name sports, AFL, ranks 16th on the list behind yoga. When yoga beats football for popularity it must only be a matter of time before the PM declares it the most exciting sport. For those wondering where rugby is on the list, the rest of Australia says ‘hi’.
Of course, this is only looking at sports. How does sports participation compare to other activities? Well, ABS figures show that we spend roughly 23 minutes a day reading, versus 21 minutes on sports and outdoor activities (NB: this varies between genders and age groups). The US figures show similar results with more time reading than playing sports, but they also spend less of their day on both activities. So at least we are still better read and fitter than Americans in the low barmetrics.
Obviously sports aren’t all about participation and most would regard themselves as avid armchair sportspeople. It could be argued that the best way to stay injury free in sports is to participate from the comfort of the couch in front of the TV at home. The other option is to attend a sporting stadium dressed in clothes made from random assortments of gaudy colours to cheer on a team who are wearing similar clothes but are less inebriated. Or would the most appealing option be to go to a movie, concert or theme park? The correct answer is that people would prefer to attend a movie (59%), a concert (40%), or a theme park (34%). Live Comedy (31%) was more popular than Football (30%), Cricket (29%) and Rugby (25%).
Of course, someone is bound to point to spectator numbers for AFL, A-League, and NRL that look very impressive. With average match attendances in the tens of thousands, and millions annually, sports are clearly important.
At a glance the figures look mildly impressive, but much like enhancement pouch underwear, things aren’t nearly as impressive when you look at the attendance figures in the cold light of day.
Even if we disregard the doubling up and totalling of attendance occurring in the stats, it is easy to see that even the most popular sport in Australia would rank behind visiting Botanic gardens, zoos and aquariums, and libraries. They aren’t even in the same ballpark as cinema attendance. But we can go deeper on the reading, library and cinema figures, even getting frequency statistics so we can tell the difference between the people doing something “at least once” versus people doing something regularly in the past year. 47.7% of people are reading a book weekly, 70% of library attendees (mostly women) visited at least 5 times in the past year, 65% of Australians are (computer) gamers, and 65% of Aussies go to the cinema an average of 6-7 times a year. And yet sport has a segment in news broadcasts whilst reading, gaming, and parks and zoos battle to get media coverage. Technically if we wanted to be fair then the sport segment would be cut to make way for movie news and a live cross to the local library.
What about the economy? How much are households spending on sports? That’s a great question and a great segue into a discussion of howtrickle-down economicsdoesn’t work in sports either. I mean, funding sports that way when it hasn’t worked in the economy must be a no-brainer, right? [Insert low IQ athlete joke here] Or we could stay on topic and discuss the $4.4 billion sports and physical recreation spend by households annually. Let’s not complicate things by talking about the buying of stuff like footwear, swimming pools, and camper vans. Seriously, camping is in the sport spending category? Either way, $4.4 billion sounds like a lot of money, until you realise that gaming is a $3 billion industry, and that households spend $4.1 billion on literature and $4.7 billion on TV and film.
We allow governments to spend a lot of money on big sports and big sporting events. Think that hosting the Olympics will encourage people to play sports? Nope. Actually, seriously, nope. One report described this idea as nothing more than a “deeply entrenched storyline”, sort of like a fairy tale handed down from one Minister for Sport to the next. Part of the problem is that we buy this narrative hook, line, and sinker, such that the sports themselves (and surrounding data agencies) never really bother to keep statistics to prove the claims. But they make for great announcements and ribbon cutting events on the election campaign trail, so the myth keeps on keeping on.
Ultimately the argument isn’t that sports are unpopular or bad but rather that we spend an inordinate amount of time pretending we like them far more than the reality. And that is impacting our elected officials more than a chance to wear a high-viz vest at a press conference. Maybe it is time to rethink what media and funding we throw at sports, and perhaps consider a gaming segment on the news.
So this pork-barrelling season look forward to the announcement of a new multi-million dollar yoga stadium in a marginal electorate near you.
Update: Charlie Pickering and The Weekly team cover some similar points for the Grand Prix events in Australia.
In the wake of the shocking Sydney Lindt Hostage situation our brave libertarian Senator Leyonhjelm struck straight to the heart of the real cause of the events and hinted at a foolproof solution. He pointed out that we are a ‘nation of victims’ and need to have access to guns to solve our problems, because it has worked so well in the USA.
His nuanced dissection of the events is a breath of fresh air. This was definitely not an issue of a man with a violent criminal history, nor his lack of treatment for mental health issues, nor about issues surrounding bail in our justice system, nor about racial and religious tensions in Australia. Nope, this was all about not being able to shoot people you have a problem with.
We should be thanking Senator Leyonhjelm and his fellow libertarians with gifts, which is appropriate timing leading into the Festive Season and our desperate need to stimulate the free market. So make Joe Hockey proud and buy some libertarian gifts.
Gift Idea: Ayn Rand’s Atlas Shrugged, with foreword written by Rand whilst on welfare.
Ayn Rand’s Atlas Shrugged is a must have for all libertarians. The all-new edition has a foreword written by Rand in the 1970s explaining her principles and complaints about how small her welfare checks were.
Gift Idea: Smoker’s lungs desk ornament, with bonus lungs of their children who rode in the car with them while they smoked.
This is a great gift for libertarians as it acts as a conversation piece to allow them to discuss how over-taxed smokers are.
Gift Idea: Bushmaster AR15 semi-automatic rifle chambered in .223-caliber.
The Bushmaster is the freedom weapon of choice and a must have for defending your rights. Comes as a box set of the rifle, one thousand rounds of ammunition, and paper targets of school children.