Download Popular Fiction: The Logics and Practices of a Literary by Ken Gelder PDF

By Ken Gelder

During this very important ebook, Ken Gelder deals a full of life, innovative and entire account of well known fiction as a particular literary box. Drawing on a variety of well known novelists, from Sir Walter Scott and Marie Corelli to Ian Fleming, J. okay. Rowling and Stephen King, his booklet describes for the 1st time how this box works and what its designated beneficial properties are. moreover, Gelder presents a severe background of 3 fundamental genres - romance, crime fiction and technological know-how fiction - and appears on the function of bookshops, fanzines and prozines within the distribution and assessment of well known fiction. ultimately, he examines 5 bestselling renowned novelists intimately - John Grisham, Michael Crichton, Anne Rice, Jackie Collins and J. R. R. Tolkien - to work out how renowned fiction is used, mentioned and pointed out in modern tradition.

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Extra info for Popular Fiction: The Logics and Practices of a Literary Field

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They refuse temporarily their family’s otherwise constant demand that they attend to the wants of others even as they act deliberately to do something for their own private pleasure. Their activity is compensatory . . in that it permits them to focus on themselves and to carve out a solitary space within an arena where their selfinterest is usually identified with the interests of others and where they are defined as a public resource to be mined at will by the family. : 211) The second point to make returns us to the genre itself.

Most popular novelists have simultaneous UK and US releases at the very least, as Agatha Christie did with her publishers Dodd, Mead & Co. in America and Collins in Britain. Writers of popular fiction may or may not love their publishers, of course. When he felt mistreated over the publication of Treasure Island in 1883, for example, Stevenson called his publisher, Cassell, a ‘doomed mansion’ and prophesized that a ‘huge establishment, that cannot answer letters, nor even acknowledge registered packets, is doomed.

Slow reading, critical reading, means being suspicious at every turn, interrogating every detail of the work, trying to figure out by just what means the magic is wrought. ( Miller 2002: 122) In today’s information-overloaded society, this view of reading may of course seem like a quaint anachronism – and certainly, it is miles away from Michael Crichton. But it typically represents the reader of Literature, as someone who can contemplate without interruption what is written on the page: someone who is free of distractions, including the distractions of movie spin-offs, media tie-ins, merchandizing, branding, leisure activity and so on.

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