Now that this year’s Booker Prize has gone to Anna Burns’ Milkman, we’re back into a discussion of the value of “difficulty” in literature, as distinct from “accessibility.” The novelist and critic Sam Byers has a typically astute take on the situation, on Twitter:
I think this year’s booker has demonstrated that in fact we do have the means to reward daring, challenging writers. The problem is that we no longer have a mainstream media that’s capable of responding to that intelligently.
I’m not saying anything new by pointing out that there’s something of a crisis in British literary critical culture, at least as represented by the major newspapers, but I think this year’s booker has helped me understand that the way the prize is *covered* is most of the problem
The press is increasingly reluctant to do anything that comes too close to old fashioned textual analysis. All their braying about the booker has in many ways just been a slightly desperate shout of “give us something we can turn into a story”. There has been very little idea of how to cover the books in question. Instead there has been an increasingly blundering effort to talk about “sales”, “readers”, brits, booksellers, “difficulty” etc.
So I wonder now if this year should be the year we come to understand a rather thorny problem. Not only are we over-reliant on book prizes to make books “successes”… [but] book prizes themselves are over-reliant on a media ecosystem no longer adequately equipped to consider in any meaningful detail what they do and decide. Meanwhile, an increasingly anti-intellectual, populist atmosphere has encouraged a way of thinking about literature that is generalist, insubstantial, frequently patronising, and based on limited textual reference.
This sort of “criticism” relies on profoundly woolly concepts: “readers” (always characterised as a homogenous mass), and a fairly useless “difficulty vs readability” metric that apparently no-one has noticed is entirely subjective.
I think that’s exactly right, and worth elaborating on. My suspicion is that there are two really basic, often unarticulated assumptions underpinning 99% of literary criticism and reviews in the press. Continue reading →