Last week I talked about Stephen Fry’s The Liar and how it described a world from which I felt alienated. Now it’s time to elaborate on that in yet another book-based ramble. We can but hope that at least one of you will find it interesting.

*Clears throats and adopts lecturing stance*

I’m pretty well grounded in genre fiction: that big, wide tent that covers not only SFF but crime, thrillers, spy novels and horror and, to a lesser extent, LBGT stories. I don’t know so much about literary fiction and, save for inevitable overlap, ‘popular’ fiction such as that produced by Dan Brown and James Patterson. This is another way of saying that I know the ‘rules’ (or tropes) of some forms of fiction but not others.

Knowing the rules is another way of saying that I understand the jargon. I know the shape of a crime story: I understand the differences between a police procedural and a noir thriller. I can instinctively – instinct being another word for experience – tell the difference between epic fantasy and grimdark. Each genre and subgenre has its own shape and structure.

My snobbery is that I have developed a mistrust of literary fiction. I see it as elitist and, to be honest, I’m just not sure what it actually is. Thus I have written off the McEwan’s and Amis’ of the world as being about English professors who attended fee-paying schools before spending three hundred pages agonising over whether or not they should boink their students.

Martin Amis & Ian McEwan; an image taken from a joint 2014 interview

Which brings us back to The Liar. I felt excluded from this novel – especially in the first half of it – because it described a world I didn’t understand. It was hard for me to feel empathy with its characters because I’ve never known anyone like them. The jargon passed me by, the jokes too ‘in’ to welcome me.

And that got me thinking: this must be what other people feel like all the time.

Literary fictioneers don’t understand genre¹. They feel excluded. All that talk of elves and dwarfs and magic: it’s just another way to determine the in-crowd. It’s easy to pour scorn on something you don’t understand, to say ‘oh, it’s just escapism’ because they can’t imagine that might actually be a metaphor.

Similarly, I don’t get the subtleties of the romance genre. I know a little about the way Mills & Boon, in particular, are written to a formula but I don’t get the subtleties that distinguishes a potboiler from a beloved classic.

But these are little things. Some groups are excluded from the world of books altogether. Which leads us neatly on to Lionel Shriver.

“…literary excellence will be secondary to ticking all those ethnicity, gender, disability, sexual preference and crap-education boxes. We can safely infer from that email that if an agent submits a manuscript written by a gay transgender Caribbean who dropped out of school at seven and powers around town on a mobility scooter, it will be published, whether or not said manuscript is an incoherent, tedious, meandering and insensible pile of mixed-paper recycling.”

Ms Shriver has courted fresh controversy with her complaints against the move for diversity within the publishing world. She worries that welcoming minority groups (especially if it’s a sort of quota system of positive discrimination) into fiction will be detrimental to quality. Why this should be isn’t immediately clear: it implies that the aforementioned gay transgender dropout is incapable of writing quality prose. It overlooks the great advantage that she herself received as a graduate of a private school and all that that implies.

[I last wrote about her views here. Spoiler: I disagreed with her then, too.]

First of all, it’s worth noting that a big reason why literary fiction is what it is because white middle-class men ran publishing for at least a century (and still do, though possibly to a lesser extent). Naturally they gravitated towards books they understood, that spoke to them: that were written in the jargon of their daily lives. Thus the ideal of ‘good’ and ‘worthy’ was to a great extent homogenised, one great circle-jerk of self-congratulatory smuggery.

So it’s no wonder that minority groups see reading as not for them. When people feel that you’re not allowed to wear trainers in a bookshop², just how off-putting is it for BAME readers to be expected to wade through books with not a single character with a name like theirs?

No wonder ‘working class’ people don’t read when the books they like – the romances, the thrillers, the Dan Browns and James Pattersons³ – are derided as ‘silly’ or ‘simplistic’ or ‘unworthy’. Why should they bother? It’s not that books are uncool; it’s that they’re ridiculed for the books they’re drawn to.

[And this can go right back into childhood. So many girls’ stories are about princesses and boys have only ogres to model themselves upon. I’m not sure if it’s available to watch now, but if you get the chance I’d really recommend this documentary for more on the harm we do children through the small sins of stereotyping gender]

People like to see themselves in the books they read. There has to be something they can grasp; some aspect of the character or their world they can relate to. That can be as simple as having a woman as a significant character, or someone not born with a silver spoon in their mouth, or as complex as a world with suspiciously familiar nation-states (or planets) in constant turmoil and warfare. Knowledge and experience all count here.

All this might make you think that I’m railing against The Liar and books of that ilk, but I’m not. What I’m doing is coming to terms with my own shortcomings. People who went to public school absolutely deserve to be served by the stories they read – but so do the rest of us, especially those who are typically unrepresented.

Repeat after me: not all books are written with me in mind and that’s okay.

Publishing has for too long been an Old Boys’ Club. Literary fiction is unduly represented in awards and the status it’s accorded is, in my view, unmerited.

Everyone deserves good books. If you want your writing to read a wide audience (which is not that same as more readers; there’s a reason why genre conventions exist in book covers) it might be worth looking at what you’re doing to exclude potential readers, and what you can do to embrace more people.

Oh and Lionel Shriver can just, please, go away.

***

¹Massive generalisation for the purposes of illustrative effect. I’m sure there’s a Classical term for the way I’m using it but the internet has let me down. Hyperbole is the closest I can get.

²This is taken from a conversation on Twitter initiated by Joanne Harris on 28/05/18 with regard to the struggles of UK chain WHSmiths. Her initial statements are thus:

While it may not be the coolest shop on the High Street, research suggests that WH Smith, and not Waterstone’s, is the place where most working-class people buy books. If we care at all about promoting literacy, we should at least be aware of this.

All the replies from well-meaning, middle-class people saying; “Yes, but it needs to stop selling cheap chocolate and tat” may have missed my point. Some people may like cheap chocolate. They may like the fact that WH Smith provides a nonthreatening, familiar environment.

Research strongly suggests that readers from certain backgrounds are less likely to go into Waterstone’s because it looks expensive and intimidating to them. WH Smiths, with its “cheap chocolate and tat”, looks more welcoming. They buy their books there instead.

But I’m also drawing from the responses to this conversation. I personally have no facts & figures, sorry.

³Like Footnote no.1 this is a massive, crude oversimplification. I don’t think that the ‘working class’ only read blockbusters, and that blockbusters are only read by the working class. Hell, I’m not even sure who the working class are anymore. Please don’t hate me. I’m just trying to make a point