Category Archives: fiction

Women read fiction, men read non-fiction

I am still with Resa Dudovitz  book on women’s fiction and it strikes me that there is truth in the notion that “women read fiction, men read non-fiction”. This is confirmed by Nina Baym’s 1978 Women’s Fiction: A Guide to Novels by and About Women in America, 1820-1870 and Dudovitz herself. In keeping with Walter Benjamin’s and my credo: “I have nothing to say, only to show,” some quotes from the interweb:

The Google query used is “women read fiction” “men read”

Add to this elitist ideology the marketing mantra, prevalent in Canadian publishing circles, that women read fiction and men read non-fiction (a foolish and sexist notion) and you get an annual flood on the Canadian fiction lists of so-called “women’s books” — interchangeable novels set in the domestic arena that deal with realistically portrayed family crises. –Canadian National Post

According to Camille Paglia, plot, is a Western male, well, plot. “Tragedy is a male paradigm of rise and fall,” she says, “a graph in which dramatic and sexual climax are in shadowy analogy. Climax is another Western invention.” Traditional Eastern stories, she continues, are by contrast “picaresque, horizontal chains of incident. There is little suspense or sense of an ending.”

How does this sit with the fact that for decades the novel’s readership and, increasingly, its writers, publishers and theorists have been predominantly female? Two centuries back, fiction was forbidden, dangerous territory for women; this, some speculate, may be what generated its attraction. Now, it’s more like territory abandoned by men. Women read fiction, men read non-fiction. The novel has become women’s business.

The novelist Ian McEwan recently described his efforts to give away good novels (not exclusively his own) in a park near his London home. Only women were interested. “When women stop reading,” McEwan concluded, “the novel will be dead.” –Written by The Sydney Morning Herald columnist, Elizabeth Farrelly

It has often been suggested that men read less than women (England 1992).

The BML (2000) report “Reading the Situation” found that young women aged 17-34 are “3 times as likely as men in the same age group to borrow from a public library (54% compared to 18%)” (p.14).

The report also found that 77% of women read fiction compared to only 44% of men.

England and Sumsion (1995) also made this discovery, (p.22). This information tells us that women are more likely to read fiction and borrow from libraries than men. But what about men who do read fiction, does this mean they are more likely to buy what they read? It would appear so, England, (1994) found that heavy book buyers were more likely to be men than women a discovery also made by Mann in 1991. Mann stated that “buying (40%) was higher than amongst women (35%)” (p.12 in Kinnell 1991). –Buy, borrow or beg? An investigation into how fiction readers get their books

Using the Iwan McEwan quote in Google I found:

Every young woman we approached – in central London practically everyone seems young – was eager and grateful to take a book. Some riffled through the pile murmuring, “Read that, read that, read that …” before making a choice. Others asked for two, or even three.

The guys were a different proposition. They frowned in suspicion, or distaste. When they were assured they would not have to part with their money, they still could not be persuaded. “Nah, nah. Not for me. Thanks mate, but no.” Only one sensitive male soul was tempted. –Hello, would you like a free book?

P. S. Curious, no, how the notion of reading has become synonymous with reading fiction? A person who does not read much is a person who does not read much fiction. Why is it that we reserve such admiration for the reading of fiction, of made-up stories; is it because we have lost the power to dream, fantasize and fabulate?

Key texts of paracinema

Key texts of paracinema: Hard Core (1989) – Linda WilliamsMen, Women, and Chain Saws (1992) – Carol J. CloverThe Monstrous-Feminine – Barbara Creed (1993)Trashing the Academy (1995) – Jeffrey SconceSleaze Mania (1999) – Joan HawkinsCutting Edge (2000) – Joan HawkinsPorn Studies (2004) – Linda Williams

 

Paracinema is an academic term to refer to a wide variety of film genres out of the mainstream, bearing the same relationship to ‘legitimate’ film as paraliterature like comic books and pulp fiction bears to literature.

The term was coined in the early seventies by Ken Jacobs to denote countercultural and underground films of the sixties but re-coined in 1995 by Jeffrey Sconce, an American media scholar, to denote ‘an extremely elastic textual category’ which includes entries from seemingly disparate genres of the non-mainstream fuelled by oppositional taste strategies (see The Cultural Politics of Oppositional Taste (2003)). Major theorists of the 1990s and 2000s paracinematic variety include Linda Williams, Joan Hawkins, Carol J. Clover and Barbara Creed (1993). [Aug 2006]

Off topic: Yesterday was my brother’s birthday party; of the music he played I especially enjoyed a recent album by British psych folk singer Vashti Bunyan and French singer Benjamin Biolay’s 2003 album Négatif.

Missing Person (1978) – Patrick Modiano

Missing Person (1978) – Patrick Modiano
[Amazon.com]
[FR] [DE] [UK]

My brother is a fan of Patrick Modiano a writer of semi-autobiographical novels (more on that category of novels later). Today is my brother’s fortieth birthday. I think I am going to buy him Paul Auster’s last, Brooklyn Follies. Modiano did not have an entry at Wikipedia (so I translated one from French), nor is he listed in the 1001 books book I am reading. Modiano’s themes include time, memory, place, identity, neglect and the past.

Patrick Modiano is a French language novelist born July 30, 1945 in Boulogne-Billancourt of a father of Italian origins and a Belgian mother, Louisa Colpijn (actress). He is a winner of the Grand prix du roman de l’Académie française in 1972 and the Prix Goncourt in 1978.

A number of his novels have been adapted for film [1], Lacombe Lucien by Louis Malle probably being the most famous. —http://en.wikipedia.org/wiki/Patrick_Modiano [Aug 2006]

Off topic: I’ve updated my notes on postmodernist cinema and modernist cinema.

If you’re the girl of my dreams…

“If you’re the girl of my dreams. then…”, he says. “Then you could be the man of mine.,” she says.

Reconstruction (2003) – Christoffer Boe [Amazon.com]

Watch the trailer

A beautiful film about recognition/forgetting. Lots of old-fashioned clouds of cigarette smoke, lyrical dialogues, interesting soundtrack (Thomas Knak), reminiscent of Gilles Mimouni‘s 1996 L’Appartement.

See wiki entry: Reconstruction

Postmodern American literature

In search of Cross the Border—Close the Gap and Playboy magazine.

For our discussion, the term [postmodernism] only really becomes interesting with the debate on American literature, as introduced by Irving Howe, who in his essay Mass Society and Postmodern Fiction (Partisan Review XXVI, 1959, pp. 420-36) heralded in a complete reversal with his use of the term. He describes contemporary literature as being characterised by limpness, as having lost its potency. This was an accusation (although he also considered it a natural development) inasmuch as he stated that the new mass society with its egalitarian forms found its approximation in literature, i.e., no longer possessed innovative power. Worth mentioning are also Leslie Fiedler: Cross the Border—Close the Gap ( Playboy, December 1969) (so there was “transcending of borders” already then!). The term first became a central topic of debate in American literature of the 1950s. — via wsws.org

See also: postmodern literature

The first question in genre theory

According to Bulgarian philosopher and literary theorist Tzvetan Todorov 1970 book The Fantastic: A Structural Approach to a Literary Genre (1970) the first question in genre theory is:

“Are we entitled to discuss a genre without having studied (or at least read) all the works wich constitute it [the corpus]?”

He answers the question with yes:

“Scientific method allows does not require us to observe every instance of a phenomenon in order to describe it; scientific method proceeds reather by deduction.”

But he also warns that:

“Whatever the number of phenomena (of literary works, in this case) studied, we are never justified in extrapolating universal laws from them.”

After which he goes on to quote Karl Popper and the famous black swan example of inductive vs deductive reasoning:

“no matter how many instances of white swans we have observed, this does not justify the conclusion that swans are white.”

See also: genre theory

Women’s fiction, men’s fiction

This is a collection of soundbites from around the web prompted by The Reading Experience.

Via the Reading Experience:

Teach Me Tonight on how to define “romance novel” and why although “romance and romantic novels can be well-writen,” readers shouldn’t want “to jettison the genre definitions in order for them to gain acceptance.”

Via Teach me tonight:

I think the definition given by the Romance Writers of America (RWA), that ‘Two basic elements comprise every romance novel: a central love story and an emotionally satisfying and optimistic ending‘ is pretty much perfect as a short definition of the genre. For a definition of the structural components (e.g. ‘barrier’, ‘moment of ritual death’) of each romance, Pamela Regis’ A Natural History of the Romance Novel is excellent.

Via post-feminist literary critic Tania Modleski’s Loving with a Vengeance (1982):

Popular women’s fiction has come under attack for a number of different reasons. For one, popular culture specialists raise the issue of the passive consumption by women of mass-culture products which present women with negative role models. Most leisure-time activities are, in fact, passive, and few critics fault male readers with passivity when they read detective novels or westerns. –page 2

Via the guardian.co.uk

Publishers have been trying for years to find a winning formula for men’s fiction. From lad lit to dad lit to bad lit, men have been barraged with an array of reading matter since Helen Fielding’s Bridget Jones’s Diary stormed up the bestseller lists and into our lives in 1997. The New York Times reported last week on the failure of American publishers to find a satisfactory male equivalent for chick lit. Kyle Smith’s Love Monkey and Scott Mebus’s Booty Nomad, both published earlier this year, have failed to make any impact. As one blogger remarked, ‘Mebus’s antihero isn’t a character, he’s a demographic marketing fantasy.’

See also: genre theory

When the paratext is more interesting than the text

Exploitation Poster Art (2005) – Dave Kehr, Tony Nourmand, Graham Marsh [Amazon.com] [FR] [DE] [UK]

Horror Poster Art (2004) – Tony Nourmand, Graham Marsh [Amazon.com] [FR] [DE] [UK]

Science Fiction Poster Art (2004) – Christopher Frayling, Tony Nourmand, Graham Marsh [Amazon.com] [FR] [DE] [UK]

In Europe, publisher Taschen have teamed up with Nourmand/Marsh, to publish a series of film poster books. Available in Belgium at a price of 13 Euros, they are a bargain. Some of the accompanying text of these lovingly produced coffee table books was written by American film critic Dave Kehr (Exploitation poster art) and British art historian Christopher Frayling (Science-fiction poster art). The posters are masterpieces of visual innuendo, offering, in most cases, far more that the films actually delivered. And that is what I meant in my title about the paratext being more interesting than the text.

The poetics of Fritz Freleng

Girish asks:

“Why is it that acts that would horrify us in real life instead evoke in us shameless, uncontainable joy when encountered in a cartoon?”

Girish’s post is part of the Friz Freleng Blog-A-Thon by Brian Darr at Hell On Frisco Bay.

The first person to have tried to answer Girish’s question was Aristotle in Poetics when he said (I am providing two alternative translations):

  • Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and of dead bodies. –sourced here. [Aug 2005]
  • for we enjoy looking at accurate likenesses of things which are themselves painful to see, obscene beasts, for instance, and corpses. –sourced here. [Aug 2005]

Poetics () – Aristotle

More on Freleng:

Isadore “Friz” Freleng (1906–1995) was an animator, cartoonist, director, and producer best known for his work on the Looney Tunes and Merrie Melodies series of cartoons from Warner Bros. He introduced and/or developed several of the studio’s biggest stars, including Porky Pig, Tweety Bird, Sylvester the cat, Yosemite Sam (to whom he was said to bear more than a passing resemblance) and Speedy Gonzales. He was a contemporary of the better known Tex Avery.

The theme of this post reminds me of an article at Wikipedia, called cartoon physics and maybe by analogy there is also such a thing as cartoon psychology, in other words the psychological realism (and here and here) of Hollywood?

The Count of Monte Cristo

The Count of Monte Cristo (1934) – Rowland V. Lee [Amazon.com] [FR] [DE] [UK]


In the 2006 film, V for Vendetta, characters V and Evey Hammond watch the 1934 version of The Count of Monte Cristo based a story by Alexandre Dumas which was serialized in the Journal des Débats in eighteen parts. Publication ran from August 28, 1844 through January, 1846. V cites it as his favorite film. [Aug 2006]