I am reacting here to an article by Johanna Thomas-Corr, published on 16 May in The Guardian: “How Women Conquered the World of Fiction”. The arguments, as you will see, are not 100% new, but they are worth considering (again). The subtitle, by the way, reads “From Sally Rooney to Raven Leilani, female novelists have captured the literary zeitgeist, with more buzz, prizes and bestsellers than men. But is this cultural shift something to celebrate or rectify?” The keywords ‘buzz, prizes and bestsellers’ reveal that Thomas-Corr is not quite interested in quality but in the public visibility of new authors and novels. The concept ‘literary zeitgeist’, it must be noted, does not refer to genre fiction but exclusively to literary fiction, which is the focus of the article. Incidentally, Thomas-Corr does mention at the end of the piece a longish list of exciting, new male writers. Call me dirty-minded but I very much suspect that her ultimate aim is promoting them (or echoing their promotion by their respective publishing houses).
The main question that Thomas-Corr examines is whether “Men–and especially young men–are being shut out of an industry that is blind to its own prejudices”, meaning that said publishing industry is not treating male writers with the same care it is investing in female writers. The secondary question she examines is whether, in fact, fewer young male writers are currently writing literary fiction. Flippantly, the journalist writes that “Whenever I speak to men in their 20s, 30s and 40s, most tell me they couldn’t give a toss about fiction, especially literary fiction. They have video games, YouTube, nonfiction, podcasts, magazines, Netflix”. I myself am a big fan of non-fiction and fail to see why this genre—in my view far superior in interest to today’s literary fiction—is dismissed like that; besides, my impression is that nonfiction is a very egalitarian genre, with a paritary representation of men and women authors (and readers). I do not dispute that young men read less literary fiction than in the past, and less of everything else than in the past, but I do dispute that what they read is not worth considering as quality writing—particularly in view of how genres that interest women, such as romance, are treated.
But, back to the journalist’s argumentation: young men read less literary fiction, which also means they write fewer books in that genre, and, anyway, when they do write them, their novels are not received with the same eagerness as the novels by young women. The reasons for this, the article claims, are that there is an increasing number of women in key positions in the publishing world, as editors and agents, and that women readers seemingly prefer women authors, which is creating a snowball effect. The more you connect women with literary fiction at all levels, the less men are present in it at all levels. This, of course, is disputed by the many male readers commenting on Thomas-Corr’s article and I am certainly convinced that the number of male readers who avoid women’s writing for misogynistic reasons, or basic lack of interest, has been diminishing constantly. In fact, the issue that Thomas-Corr raises is not problematic in genres such as detective fiction, which is written (and devoured) by absolutely everybody. I do have myself some misgivings that, as Thomas-Carr suggests, men are also giving up in fantasy and science fiction, but I don’t mean that they are writing less—I mean that they are giving up on getting the buzz, the media coverage, the awards, seeing that now all that attention is going to women, partly for the novelty of what they are doing, and also because women’s writing is today, in all fronts, far more self-confident than men’s.
The reasons for that lack of self-confidence are not a great mystery. The ‘big beasts’, as Thomas-Corr calls them of the 80s and 90s—“Martin Amis, Julian Barnes, Ian McEwan, William Boyd, Kazuo Ishiguro et al in the UK and Philip Roth, John Updike and Saul Bellow in the US”—are writers whose candid explorations of the less wholesome aspects of the male soul and body are far less welcome today. I was a young woman who read many books by Roth with great admiration, and an older woman who until recently believed he had been robbed of the Nobel Prize, but I have changed my mind. I am not dismissing at all these writers’ collective effort to rescue the Anglophone novel from the depressive 1970s, but theirs are stories I am no longer interested in. Besides, I have many new women novelists to choose from, and I think this is a process that many women my age have gone through. Having said that, I remain an enthusiastic reader of men’s fiction, but of the kind that energizes me (what I find in science fiction), not of the kind that depresses me. I have just abandoned recent Booker prize winner by Scottish author Douglas Stuart, Shuggie Bain, requiring no reminder of how dreary the life of an alcoholic woman and her loving son can be. As for Sally Rooney, whom Thomas-Corr mentions again and again as a female writer gloriously capable of generating an enormous buzz, I have already expressed here my extremely negative opinion of her awfully depressing, mediocre Normal People. She simply is not the best woman writer around.
Thomas-Corr reports the words of a male agent, claiming that a major problem in the publishing industry allegedly dominated by women is “the lack of interest in male novelists and the widespread idea that the male voice is problematic”, which diminishes the impulse to invest on them. In view of the many difficulties to publish in comparison to their female peers, Thomas-Carr notes, “young male writers have given up on literary fiction” finding “narrative nonfiction (particularly travelogues and nature writing in the vein of Robert Macfarlane) or genre fiction (especially crime and sci-fi)” more accessible avenues toward professionalization. I will not comment again on the disparagement of these genres in comparison to overpraised literary fiction, but I remain baffled by the journalist’s comment that these other genres are “less mediated by the culture and the conversations on Twitter” because it subtly hints that women dominate social media and are using them to police and cancel men’s fiction they dislike. Is this the awful truth??
A (male) reader signing as denisou comments that “People do not need to turn to the newest literary fiction to understand the experience of being a straight man in the world today”, and, anyway, this kind of novel has been offered for decades now. It appears, Thomas-Corr notes, that the only male writer with something new to contribute is the black, gay man, but, obviously, it is absurd to leave outside any kind of promotion and celebration the work of all straight men. “Male writers of colour”, Thomas-Corr writes, “feel they are under-represented” in the lists of thrilling novelties, by which she means straight BAME and Black men. There is, besides, a suspicion that white, straight, working-class men are wrongly put in the same category as their middle-class predecessors. Northern Irish working-class writer Darran Anderson declares, Thomas-Corr reports, that “I have neither the desire nor the means to pick up Martin Amis’s or John Updike’s bill”. Nor should he or any other men writing today.
The issue that may be making all the difference is, in fact, half-hidden in the article. Literary fiction by men became increasingly sexualized from the 1960s onwards, leaving aside the pioneering efforts of D.H. Lawrence in the 1920s. The way many male writers of distinction have been portraying sex is, simply, no longer palatable to women readers. Writers such as Kazuo Ishiguro, who is not known for including much sex in his novels (I can’t recall a single scene by him), are thus better candidates to lasting fame than Amis, the above mentioned Roth, or others. Generally speaking, misogyny is no longer welcome—though this does not men that women’s writing is wholly free from this taint—and it is particularly unwelcome in sex scenes. What is happening now is that whereas women writers have found a way to write about sex that satisfies (!) women readers, male writers have not. This is why, Thomas-Corr observes, “Male writers definitely seem to be feeling more reticent about sex” and no wonder about it. Excuse my boutade, but what is a literary novel by a man with no sex scenes except a failure of nerve (leaving Ishiguro aside)? The recipe, then, for men to make it back to the literary spotlight is to learn from women new lessons about how to do sex scenes. I don’t mean they have to copy women, but refresh their own style and offer so much sexiness that women readers will go crazy for them. For, as we know, literary fiction has always been about desire.
I don’t think, to sum up, that men are excluded from literary fiction or excluding themselves for lack of interest or of opportunities. I just think that they need to rethink their own representation, and makes it more engaging. I am very much aware that capturing at the same time the attention of the non-reading gamer and of the female serial reader of quality fiction is an almost impossible task, but some nonfiction and genre fiction male authors have managed to do that. As for the portrayal of intimacy that literary fiction relies on, I do see that women handle it now much better and with greater confidence because they see themselves addressing like-minded female readers, and caring far less for the opinion of male readers. Aspiring male literary writers need to ask themselves, therefore, how to meet the challenge of reattracting a larger male and female audience, not by following a woke scenario (please!!!!) but by reinventing the representation of masculinity for our times, including a non-misogynistic sexuality.
And if any woman reading this is the type who proudly declares ‘I don’t read men’, then, I’m sorry for you because too many men were (or are) of the ‘I don’t read women’ persuasion. Let’s not fall into the sexist trap as readers, writers, editors, agents or teachers and let’s keep the conversation open.
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