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About "classic" literature Classic or classuck? Thoughts

#21 User is offline   Abyss 

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Posted 16 September 2013 - 06:35 PM

 QuickTidal, on 14 September 2013 - 01:44 PM, said:

... how I discovered that I LOATHE Margaret Atwood. LOL!) ...


This ^ is why we agree on so many books.


I read for enjoyment, i have always read for enjoyment. So i deeply and truly resented in school being required to read long boring 'classics' because some old fucker thought it was important.

It threw me right off the vast majority of things called 'classics', even the ones like TOM SAWYER that i probably would have otherwise enjoyed. And don't even get me started on the Canadiana elements...

That said, i read THE ILIAD and the ODYSSEY entirely of my own volition at a stupidly young age and enjoyed them. Shakespeare was a mixed bag but Neil Gaiman brought me around on him.

So context was a big part of it for me. I almost never feel any need to pick up a 'classic' since i hit a point where i can exclusively decide for myself what i'm reading, bvut i at least appreciate why DOSTKOYEVSKY is looked on fondly by many (people who enjoy being depressed, which i don't :) ) .
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#22 User is offline   stone monkey 

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Posted 16 September 2013 - 08:04 PM

tbh I feel that the problem many people have with so-called "Classic" literature is simply the problem people have with all kinds of literature. That is, no-one is going to enjoy every book. I personally find that it's useful to have read a number of classics simply from the point of view of being an informed citizen of the world. But just because a book is a classic is no guarantee of an individual enjoying that particular book.

For instance,Wilde's The Importance Of Being Earnest creases me up every time, whereas I barely crack a smile for Shakespeare's comedies. I pretty much loathe all of the 19th English century novels I've attempted; I find them, stylistically, utterly unreadable and annoying. Whereas I can read the shit out of the 18th century picaresques; like Joseph Andrews, Tom Jones or Tristram Shandy.

Translation is a big deal too; you need to find ones that suit your tastes. For example, I find the classic Rieu translations of The Iliad and The Odyssey to be somewhat dull, whereas the Robert Fagles versions is some of the most viscerally exciting things I've ever read.

Calling a book a classic can lead to expectations that aren't always going to be met. That's not because the book is bad - Dickens is not a bad writer, but I hate his work - but simply because it's not your cup of tea. But classics can come around and surprise you too; I was expecting Nabokov to be dry before I read him, which is absolutely the last thing I'd say about him now.

So yeah, a classic is a classic for a reason. But just because it is doesn't necessarily mean that everyone is going to, or should, actually enjoy reading it.

btw I rather like Margaret Atwood - her style reminds me of Ursula Le Guin, whom I adore - but Abyss and QT can't stand her. Different horses for different courses, I guess.

But I still feel that everyone should read Jorge Luis Borges... Just because :)

This post has been edited by stone monkey: 16 September 2013 - 08:06 PM

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#23 User is offline   Una 

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Posted 16 September 2013 - 08:32 PM

Are we turning this thread into a Margaret Atwood bashing session? Cuz I love complaining about Margaret Atwood.

Because I really can't stand her and the way the Canadian literary community seems to worship her. I have just accepted that I won't ever "get" her. She does have a lyrical style that can be appealing, but at other times she gets too experimental/clever and it rather obscures the story. But often there just isn't that much story. I don't relate to her themes. I don't relate to her characters. We got stuck with her stuff because I had 2 English teachers that were big into Feminist lit. Every single novel we ever studied, they had to make it about the role of women. Seriously, with all the rich themes about creation and knowledge and responsibility and humanity in Frankenstein, you want us to discuss the portrayal of women in the novel? There's only 2 of them, and they are fairly minor characters. Quit wasting my time! It's enough to turn a girl into an anti-feminist. Anyway, you can imagine they would be all over Margaret Atwood. It was insufferable! I registered for AP English in Grade 12 just to get away from those 2. Most of the time, I felt like I was in a women's studies course instead of an English course.

This thread is making me want to go back to the classics portion of my "I've always meant to read that" list.
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Posted 17 September 2013 - 10:28 AM

I am having a look at what choice our high schools have to offer their students currently. They get to pick and choose which books out of the list to study. Out of this list, when I was in school, I only read Othello. I did not do further reading. I did not continue English after high school and reading was something I took on myself, from my own passion.

http://www.school-po...ourceID=4799488

I enjoyed Othello. From what I remember we also read "Animal Farm" which I thought was fantastic. So many themes running through it. Since I could choose my own books though I started with a crime/thrillers in James Patterson and his detective Alex Cross. I branched out to some of his other work but lost interest in that genre or maybe his work. I then read Lord of the Rings and Wheel of Time. Since then I have read mostly fantasy. I am partial to trying new things though, I read a book called "One Day" because my wife said it was one of her favourites. I can see why it would be, I read it and enjoyed it but I wouldn't go out and buy something similar.
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#25 User is offline   QuickTidal 

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Posted 17 September 2013 - 11:06 AM

 Una, on 16 September 2013 - 08:32 PM, said:

Are we turning this thread into a Margaret Atwood bashing session? Cuz I love complaining about Margaret Atwood.

Because I really can't stand her and the way the Canadian literary community seems to worship her.


I'll go you one worse on her. I have seen her on the subway in Toronto no less than five times since I've lived downtown, and EVERY SINGLE TIME people flock around her and gush to her about her books, and she just sits there and preens like a peacock. I NEARLY walked up to her and said "I hate your books, they are pretentious and boring" just to add a little spice to the prevalent hero worship she inexplicably experiences.

Gods I can't stand her. Even in interviews her holier-than-thou attitude drives me right round the bend.
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Posted 17 September 2013 - 12:06 PM

Much as I liked Oryx and Crake, I will never forgive the fact that she refused the tag 'science fiction', insisting what she did was 'speculative fiction', in spite of the fact that that book, and also apparently the rest of that series, is utterly indebted to pretty pulpy eco-SF lit.

Regarding 'classic' literature, I think it's important to keep an open mind, especially with older and non-English language material which was written for a very different audience in different times with different social attitudes and concerns. If you make an effort to appreciated this difference in context, such works can be very enjoyable. That said, books aren't like red wine - plenty become very dated or can feel very irrelevant because of how peripheral the issues they explore feel, they don't just improve because they get older. Plus, I think the reason why there's an attitude among some people hat classic literature is necessarily 'better' is just due to the combination of Sturgeon's Law and the selective pressures on long-term transmission of texts, i.e. 95% of all literature is crap, but the stuff that survives over time tends to be either what is massively popular and heavily propagated or what is of lasting quality and power and therefore, even if not widely distributed is prioritised in its copying down (e.g. the survival of Aristotle's esoteric texts). So a lot of classic literature has survived for a reason, and in some cases it's because of its perceived quality, influence and power. Unfortunately, some stuff simply survives due to sheer weight of propagation, and I've no doubt some of that also ends up in the 'classic' section.

With stuff like Attwood, it's less of a matter about 'classic' literature as about 'literary' fiction, stuff that's considered to 'transcend' the limits of genre. Personally, I think it's all genre and literary fiction is just what influential but shallow middle class journalists and cultural figures consider as worthy fiction, which is just really their pick-and-mix of what they consider the cream of genre.
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Posted 17 September 2013 - 08:55 PM

tbh when I've heard her speak, Margaret Atwood actually sounds like a lovely, and pretty cool, older lady - smart, polite, witty... And there's also this; from which I get the feeling that she was rather outrageously flirting with China Mieville... And she has recanted on the sci-fi vs sf thing, which was annoying I must admit. But it's not as if she was the only one doing that at the time, there was a whole debate about it in the late 80s/early 90s; iirc Iain Banks used to have a riff about sci-fi vs sf, he said skiffy, as he called it, was simply more fun. But anyway, less of the Atwood love.

Classic literature vs literary fiction:

I get the feeling sometimes that a lot of lit fic writers are, rather self consciously, trying to create Literature For The Ages. Obviously, as in most artistic endeavours, they're doomed to failure on this, but I guess it doesn't stop them trying. Classic literature does Say Important Things to us, but trying to Say Important Things has to be wrapped up in something that people want to read now. Which is where the pretentiousness of lit fic comes in, a lot of it simply tries too hard for posterity and embedded meaning or importance and far less for enjoyment, which is, however one defines it, what we all want from what we read for pleasure.

And anyway, often readers will, of their own accord, impute importance to books that were only meant by their authors to be ephemeral. I guess I'm trying to say that a lot of the classics only survive and become classics because, at some stage, people were willing to overthink them. :)

This post has been edited by stone monkey: 17 September 2013 - 09:07 PM

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Posted 17 September 2013 - 09:22 PM

I actually think Marg Atwood is a totally cool person. I just don't like her books.
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#29 User is offline   Grief 

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Posted 18 September 2013 - 08:02 PM

 D, on 17 September 2013 - 12:06 PM, said:

With stuff like Attwood, it's less of a matter about 'classic' literature as about 'literary' fiction, stuff that's considered to 'transcend' the limits of genre. Personally, I think it's all genre and literary fiction is just what influential but shallow middle class journalists and cultural figures consider as worthy fiction, which is just really their pick-and-mix of what they consider the cream of genre.


 stone monkey, on 17 September 2013 - 08:55 PM, said:

Classic literature vs literary fiction:

I get the feeling sometimes that a lot of lit fic writers are, rather self consciously, trying to create Literature For The Ages. Obviously, as in most artistic endeavours, they're doomed to failure on this, but I guess it doesn't stop them trying. Classic literature does Say Important Things to us, but trying to Say Important Things has to be wrapped up in something that people want to read now. Which is where the pretentiousness of lit fic comes in, a lot of it simply tries too hard for posterity and embedded meaning or importance and far less for enjoyment, which is, however one defines it, what we all want from what we read for pleasure.

And anyway, often readers will, of their own accord, impute importance to books that were only meant by their authors to be ephemeral. I guess I'm trying to say that a lot of the classics only survive and become classics because, at some stage, people were willing to overthink them. :)


As a counterpoint, I sometimes feel genre writers (or maybe more some of it's fans?), to be overly touchy on this subject.

Many are very talented at writing things that are enjoyable to read now. It's the insecure insistence that they are Saying Important Things (or at least doing it remotely well), where I start to lose interest. Usually there's some hint that "genre fiction" is unfairly treated or w/e, that I can't say I've ever found convincing.

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#30 User is online   worry 

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Posted 15 October 2013 - 07:42 PM

Not sure if this is too far afield since there's no particular temporal element, but there's some decent discussion on "cozy" vs. "challenging" fiction here: http://www.staffersb...zy-fiction.html
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Posted 16 October 2013 - 08:54 AM

 worry, on 15 October 2013 - 07:42 PM, said:

Not sure if this is too far afield since there's no particular temporal element, but there's some decent discussion on "cozy" vs. "challenging" fiction here: http://www.staffersb...zy-fiction.html
Not bad, though I was irked by the presentation of 'cozy' fiction as 'the stuff with tropes in it' - the whole point of most good challenging fiction is that it is trope-heavy but self-consciously knows how to reinvent or subvert such customs of genre. E.g. Erikson as an example of challenging fiction - it actually is beneficial to read cheesy straight-troping fantasy before Erikson, as if you don't know the conventions you don't recognise how awesomely Erikson turns them on their heads.
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Posted 16 October 2013 - 07:45 PM

Indeed, I agree. A lot of us get through that stuff in high school though, and adults likely find it hard to tell other adults (new to fantasy) to start with that. It's complicated, since one of the genre stigmas already is that it's "kiddie stuff".

Also, there's something of a kaleidoscopic view of "cozy" in the comments, as different people approach the term with their own POV, and I think that's valuable.
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Posted 18 April 2019 - 01:17 PM

Sorry to necro this thread, but I didn't know where else to house this article link:

https://www.theguard...fy-about-sci-fi

Sad to see that there still exists this uncomfortable barrier between Sci-fi / fantasy and what authors perceive as 'true' literature. To the extent that certain authors against all obvious evidence claim not to be writing sci-fi, just because they perceive it to have a negative 'non-literary' connotation.
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Posted 18 April 2019 - 01:30 PM

It's a shame as Atwood FINALLY begins to realize and accept that she's written a lot of SF and is referring to some of it as that...her real life personality (or at least the one she presents) deteriorates from "kindly old nice writer lady" to aging NIMBY who refuses to accept things about reality and civilization moving forward around her. I can expound on this if people care, but I won't right now to not drag the comments that route.

And she's STILL sniffy about genre fiction being applied to her work even IF she's begun to come around. And a part of me is convinced that the amount of leeway she's given recently comes from the popularity of THT tv show, and stuff like her writing some comics. Like it's a money-based thing, and in private she's still of the mind that she doesn't write genre fiction because genre fiction to her is "monsters and fairies". I'm not sure someone her age/generation can do the road to damascus on that in anything but at face value.

And any chance to re-tell the story (she lives in my city after all) of seeing her on the subway once a few years back and having a whole slew of people fawn over her like she was a queen, and she was lapping it up. No humility there whatsoever.

And frankly, Ian McEwan seems like EXACTLY the type of dude to hold fast to traditionalist classist "literature" nonsense. So I'm not surprised.
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Posted 18 April 2019 - 04:00 PM

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Posted 18 April 2019 - 04:18 PM

 QuickTidal, on 18 April 2019 - 01:30 PM, said:

It's a shame as Atwood FINALLY begins to realize and accept that she's written a lot of SF and is referring to some of it as that...her real life personality (or at least the one she presents) deteriorates from "kindly old nice writer lady" to aging NIMBY who refuses to accept things about reality and civilization moving forward around her. I can expound on this if people care, but I won't right now to not drag the comments that route.

And she's STILL sniffy about genre fiction being applied to her work even IF she's begun to come around. And a part of me is convinced that the amount of leeway she's given recently comes from the popularity of THT tv show, and stuff like her writing some comics. Like it's a money-based thing, and in private she's still of the mind that she doesn't write genre fiction because genre fiction to her is "monsters and fairies". I'm not sure someone her age/generation can do the road to damascus on that in anything but at face value.

And any chance to re-tell the story (she lives in my city after all) of seeing her on the subway once a few years back and having a whole slew of people fawn over her like she was a queen, and she was lapping it up. No humility there whatsoever.

And frankly, Ian McEwan seems like EXACTLY the type of dude to hold fast to traditionalist classist "literature" nonsense. So I'm not surprised.


Honestly, he seems rather ignorant. Asimov explored the liminal space between a human being and a sentient robot decades back. It is one of the most enduring themes of SF. He just seems to assume that SF is all light speed travel (as if there is anything wrong with that)
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#37 User is offline   QuickTidal 

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Posted 18 April 2019 - 05:00 PM

 Andorion, on 18 April 2019 - 04:18 PM, said:

Honestly, he seems rather ignorant. He just seems to assume that SF is all light speed travel (as if there is anything wrong with that)


This is exactly the problem.

Most "literature" snobs associate Sci-Fi or Fantasy with Pulp novels and comics from their youth (you'll notice it's almost always Boomers or previous Generation who hold these ideas; rarely if ever younger ones)...because that's all those genres largely were when they grew up. Popular Fiction to them CANNOT be Literature, because it's the domain of Pulpy, soapy nonsense in their eyes. This is not right, or good....but this is how it happened. Combine this MASSIVE generation (Boomers like Atwood and McEwan) with the things that surrounded them in their idealist/impressionistic youth....pulp genre fiction that was sold in grocery stores and magazines for 10 cents...and you have a recipe for a pretty blind, and uninformed, embedded/entrenched belief system and dogmatic view of the fiction universe and the imaginary difference they see between what they do, "Literature", and what they used to sell to the plebs (pulpy soapy stuff) for popular entertainment. To them there is no way that genre fiction can equal literature.

This post has been edited by QuickTidal: 18 April 2019 - 05:06 PM

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#38 User is offline   Andorion 

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Posted 19 April 2019 - 01:31 AM

 QuickTidal, on 18 April 2019 - 05:00 PM, said:

 Andorion, on 18 April 2019 - 04:18 PM, said:

Honestly, he seems rather ignorant. He just seems to assume that SF is all light speed travel (as if there is anything wrong with that)


This is exactly the problem.

Most "literature" snobs associate Sci-Fi or Fantasy with Pulp novels and comics from their youth (you'll notice it's almost always Boomers or previous Generation who hold these ideas; rarely if ever younger ones)...because that's all those genres largely were when they grew up. Popular Fiction to them CANNOT be Literature, because it's the domain of Pulpy, soapy nonsense in their eyes. This is not right, or good....but this is how it happened. Combine this MASSIVE generation (Boomers like Atwood and McEwan) with the things that surrounded them in their idealist/impressionistic youth....pulp genre fiction that was sold in grocery stores and magazines for 10 cents...and you have a recipe for a pretty blind, and uninformed, embedded/entrenched belief system and dogmatic view of the fiction universe and the imaginary difference they see between what they do, "Literature", and what they used to sell to the plebs (pulpy soapy stuff) for popular entertainment. To them there is no way that genre fiction can equal literature.


I don't think thats entirely true QT.

Asimov wrote I Robot in 1950. He wrote Caves of Steel and The Naked Sun in between 1952 and 1956. Clarke wrote Childhood's End (which I consider to be his best novel) in 1953.
Even as cheap pulp was being churned out, the grandmasters were working their craft when people like Mcewan and Atwood were being born and growing up. The good stuff was there.

SF has never really followed the - Pulp - philosophy - mainstream path. The greatest works were already being written in the 50s and Ursula LeGuin started the Hainish books in the 1960s.

I think the snobbishness we see from people like this is the product of a conscious cultural decision - to recreate the high culture/low culture binary that has been alive in literature since Guttenberg, and enforce it on the basis of apparent thematic content rather than in-depth critique. Thus it didn't matter that Asimov was exploring the fuzziness at the border of AI and human sentience, or that Clarke had struck a serious blow against the implicit anthropocentrism of a lot of literature, because their writing could be plotted along a certain axis, they were not really literature as such. Of course I am not saying that authors like Atwood arrived at this decision by themselves, I think the whole literary world - literary critics, the literature departments of universities, all share the blame.

It is this arbitrary assigning of "literary" qualities that makes me revolt against a lot of classic literature. Dickens to me is someone who discovered a certain literary formula - poor but plucky boys, depressed girls, sickness, poverty and misery, that worked well with his audience, and he stuck to it, even if it meant that the prose was blander than stale oatmeal and the plot felt arbitrary and artificial. Austen to me is someone who while able to identify and articulate the problems of Regency and early Victorian society could not find a way to move beyond it, and thus her work is less a critique and more a chronicle.

It is this quality of moving beyond that I think we need to look for and need to give centre stage.

Asimov moved beyond the "robots of doom" archetype, something that most forms of media still struggle with. Clarke struck a blow against the "space cadet" themed adventurous anthropocentrism in Childhood's End and this theme of the smallness of humans was something he went on to explore, though in my opinion never as radically.

Even if we look at the birth of SF, at Jules Verne, at the ambiguous Captain Nemo, at the critique of colonial rule and white racism in 20000 Leagues articulated in 1860s when Britannia ruled the seas, there was this quality, of not staying with the status quo but looking over the horizon. At the end of the day, I think this is what counts.

This post has been edited by Andorion: 19 April 2019 - 01:33 AM

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Posted 24 April 2019 - 07:45 AM

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Posted 25 April 2019 - 08:06 AM

In which it is argued that Sci-fi explores the human condition as much, if not more so than "normal" literature:
https://www.barnesan...-human-dilemma/
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