I hesitate to plunge back into this thread, but...aruna, you're committing an inductive fallacy here by saying that because ulysses and finnegan's wake are hard to read (finnegan's wake, definitely; ulysses -- just take some time with it) literary fiction is hard to read. That would be like me saying Lovely bones and Divine Secrets are maudlin, poorly written, melodramatic and cliched (all of which I felt they were) and saying mainstream novels by women are maudlin, poorly written, etc. Or even worse, all mainstream novels are maudlin, etc.
aruna said:
Oh, there are hundreds!
"litereray" means basically "books that should be taken seriously" and unfortunately these days they are often unreadable by even intelligent people, such as Ulysses and Finnegan's Wake.
First of all, Ulysses and Finnegan's Wake are obviously not examples of lit. fiction from "these days." In fact, and I put this challenge out before, but I'd like you or anybody to give me ONE example of a literary novel published in the last ten years that "well-educated people" can't understand or is "impossible to read." For every one I can name a hundred where the opposite is true. For the trend is not, as you suggest, toward inscrutability. The high modernists are long gone, and the experimental fiction of Barthelme, Coover, etc. is history. Your Naipaul example is an obvious example of this. He would have a coronary if somebody suggested he wasn't "literary." Obviously not. And again, I can't think of a book in the last ten, fifteen years that fits your condemning analysis of the state of literary fiction.
I've often wondered why everybody had this notion the public doesn't want to be engaged with text -- I don't mean with the story, but actively THINKING when they read. Pynchon has sold tens of millions of books, indicating otherwise. And the greatest selling book of all time is not only a piece of literary fiction, but a post-modern one to boot -- The Bible.
That was the beginning of it; after that, the critics desided that literary should somehow be "difficult", devoid of plot, "deep". They also decided that literary novelists should become experts at probing the depths of human insanity and evil, and anything that was in the least heart-warming or uplifting was by default frothy and un-serious. So it would be OK for a literary novel to go into the mind of a paedophile and describe all his actions in spine-chilling detail - this would be called "breaking sexual taboos", and deemed "courageous", and applauded, whereas anything concerning love, especially if it had a happy ending, was by default shallow and conventional.
Not exactly. The "critics" had less to do with it than a general movement tied up with history, social movements, physics, and a whole lot more. It's far too easy to blame "critics" or "academia" -- though they certainly feed the movement -- rather than seeing them as a manifestation of a larger movement. This is confusing cause and effect.
It wasn't always like this; pre-Joyce books could be entertaining as well as well written with interesting characters and a story that kept you turning the pages, and that's how I feel a literary book OUGHT to be. An example is one I've just read: V S Naipaul's A House for Mr Biswas. Naipaul has won the Nobel Prize for literature and therefore ther's no question as to his standing as a great writer of our time. Yet the above book is not high-brow; the writing swingls along easily, and it makes you laugh; the characters are well portrayed, and it has a story.
Again, like most literary novels published today, I'd argue. Although Naipaul would have a second coronary if you said his writing wasn't "high-brow." It certainly is.
You don't have to re-read every sentence to understand what is being said; he uses ordinary words and doesn't overburden every sentence with metaphors.
This is purely a matter of personal taste. Many readers can read most books without having to re-read every sentence to understand what is being said. And some readers can't read any books without having to do so. It's not always the writer's fault. And a metaphor doesn't necessarily overburden a sentence, unless it is done badly. Personal aesthetics shouldn't really be a factor in this discussion.
The latter is something contemporary authors often do, to show how clever they are, perhaps. To me, it always seems pretentious. And sometimes I read a book and gasp at the author's agility with words, but then I see there is very little behind them - what is he actually SAYING?
I'm sure there are many books that fit this description. These are bad books. And I'm sure many of them are actually saying something if people would take the time to engage with the text and think outside of the scope of the printed page. But to say this is the trend in literary fiction is not fair.
Where's the story? If you find someone saying, "Oh it's beautifuly written but rather boring" you know something is wrong.
Agreed.
I felt like that with Lahiri Jhumpa's The Namesake. It IS well written.
Disagreed. I thought the writing was mediocre, which added to its boringness.
I think a literary novel should make you feel. It should make you think about life, reflect on the meaning of love, betrayal, courage etc. It should keep you thinking about it long after you've turned the last page. It should engage you from start to finish.
Any novel should do this.
The writing should be so good it's invisible; you shouldn't have to keep saying, "oh, what a clever metaphor!"
Again a matter of personal taste. Many people would agree with you. I find excellent, draw-attention-to-itself writing, frequently leaving me breathless and my scalp prickling.
The characters should grab you and draw you into their souls; it should make you laugh and cry with them. A literary novel should have the power to break your heart, or make you believe in God if you don't. It should change your life in some way.
Of course. I think this is what all literary writers aspire to. They're not trying to bore you, or show off their intelligence (well, maybe a couple are).
Unfortunately, these days literary fiction has come to mean fiction that is impossible to understand at first reading and too boring to finish unless you are a masochist.
Again, are we living in the same "these days?" I'll give you the boring part. Yet there are boring novels in all genres. But it actually might be interesting if somebody tried to write a book that was impossible to understand at first reading, to be honest.
Anyway, I don't mean to sound harsh, but I do think literary fiction gets a bad rap -- there seems to be this general consensus that is not really based on anything other than a notion...