Category Archives: literature

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?

Remakes in literature

Laetitia Casta in the 2000 TV series La Bicyclette Bleue

I had wondered about this before, whether novels, like films, were ever “remade” (of course they are remade, there are only so many stories to tell (how many?), most of them involving love and family and strife, but I was looking for more blatant examples). Leaving aside the most famous and blatant effort by Jorge Luis Borges – whose Pierre Menard sets out to re-write Don Quixotte word for word and then praise the text to be so much better than the original- I came across the example of Régine Deforges’s La Bicyclette Bleue which is partly a remake of Gone With the Wind.

From Resa Dudovitz book (see previous post)

“When I asked Ms Deforges about the similarity between her novel and Gone With the Wind, she admitted that hers is a remake of Mitchell’s but that after the first hundred pages, she left Mitchell’s novel to write a completely different story. Neither Mitchell’s novel nor her characters, she told me, fit with the story she wanted to tell.”

However, The Blue Bicycle followed Mitchell’s novel to such an extent that Margaret Mitchell’s estate instituted a copyright infringement suit against the French author which Ms Deforges won on the ground that the novels are two separate and distinct works.

Via Reuters:

A French appeals court here today cleared the author Regine Deforges of charges that she plagiarized the novel “Gone With the Wind” in her own best seller. The court said Miss Deforges’s 1982 novel, “The Blue Bicycle,” which sold six million copies and which was translated into 18 languages, was “an original intellectual creation.” It reversed a lower court ruling ordering Miss Deforges to pay $400,000 in damages to the Trust Company Bank in Atlanta which holds rights to “Gone With the Wind,” the 1936 novel by Margaret Mitchell. “The Blue Bicycle” is a love story set during the Nazi occupation of France. The appeals court agreed that Miss Deforges’s book began with a character similar to Miss Mitchell’s Scarlett O’Hara. But it said the two novels then followed different paths. The Trust Company Bank was sentenced to pay court costs. Miss Deforges’s lawyers said work on a screen adaptation of “The Blue Bicycle,” which was halted when the trial began, would resume immediately. —November 22, 1990

 

Money in Literature (1880) – Emile Zola

“I must also add unless a book is very popular, it never enriches the author. Also, three or four thousand copies sold is a good sale.”

Quoted in Resa Dudovitz’s excellent 1990 The Myth of Superwoman : Women’s Bestsellers in France and the United States, the best study on the economic aspects of publishing since my reading of Robert Darnton’s work. Her chapter on the bestseller is recommended.

See: “Money in Literature” (1880) – Emile Zola

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.

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

Desert island books

In search of world literature

Behind the flagship of Walter Scott appears a ghostly fleet of the most wondrous ships that ever sailed in literature, crowding in chaos into a crammed but previously well ordered harbour. The strangest of these vessels should be identified. We find the first horror novel Matthew Lewis’ The Monk, Mary Shelley’s wonderfully romantic Frankenstein, the highstrung sea novels of Captain Marryat with “The Phantom Ship” leading, the fantastic production of Ernst Theodor Hoffmann with madness prevalent everywhere in glorious ebullience with The Devil’s Elixir as a supreme masterpiece of its kind, all the horrible tales of the Grimm brothers and H.C.Andersen to frighten small children out of their wits with, the unbalanced Nikolai Gogol of Russia with his weird tales of witches and magicians, martyrs and heroes of Ukraine and St. Petersburg with Taras Bulba as an unforgettable masterpiece, and the most absurd of them all: Victor Hugo, with his poems, dramas and novels of monsters and hunchbacks, convicts and suicides, the expert on victims of fate and the supreme master of supreme exaggerations. His first novels are so ridiculous that his reputation was unfairly tainted with the mark of his first absurdities. The Hunchback of Notre Dame, Les Misérables, Workers of the Sea and The Laughing Man all belong to the most fascinating masterpieces of world literature, and the least consummate of these is actually the most popular, Les Misérables, while The Laughing Man, the most notorious, is his most intelligent and splendid composition. —Philosophy and Literature

In search of photographic realism

Detail of the The Birth of Venus (also known as Aphrodite) by William-Adolphe Bouguereau, 1879.

In Plato’s Symposium the speech of Pausanias distinguishes two manifestations of Aphrodite, represented by the two stories: Aphrodite Ourania (“heavenly” Aphrodite), and Aphrodite Pandemos (“Common” Aphrodite). These two manifestations represented her role in homosexuality and heterosexuality, respectively. –via Aphrodite’s Wikipedia page [Aug 2006]

In his own time, Bouguereau was considered to be one of the greatest painters in the world. In 1900, his contemporaries Degas and Monet reportedly named him as most likely to be remembered as the greatest 19th century French painter by the year 2000. Although with Degas’ famous trenchant wit, and the aesthetic tendencies of the two Impressionists, it is possible the statement was meant as an ironic comment on the taste of the future public. 

Colin Wilson

Via the laughingbone:

One of the authors that I used to seriously collect was Colin Wilson. At one point in my life, his books – especially the Outsider Series – were like maps, guiding me through unknown territories. I eagerly hunted down everything in and out of print. And in those dark pre-Amazon days, it was a real triumph of discovery to find a copy of the long out-of-print Beyond the Outsider, signed by Wilson, on the dusty lower shelf in an old bookstore. —the laughingbone

Via Michael Blowhard:

Here’s a great tale: the electrifying rise and almost instant fall of the British writer Colin (“The Outsider”) Wilson. Acclaimed as a brilliant talent while still in his early 20s, he became rich and famous very fast. But he was critically eviscerated within a couple of years and has been ignored (and/or treated like an embarassment) ever since.