Confused of Sussex

I cannot define ‘literary fiction’ but I know it when I read it.

I love ghost stories ( as anyone who reads my Wedding Ghost blog will attest) . I read a lot of them and at the moment I am enjoying the Virago Book of Ghost Stories. It’s fascinating to read women writers that I might not have expected having a go at the genre: how about Stella Gibbons with a strange Cornish story ‘The Roaring Tower’ and Mrs Gaskell’s first person ‘The Old Nurse’s Tale’ ? Both disturbing and memorable in their own way, they have a strong forward momentum that draws the reader on.

A different sort is Edith Wharton’s ‘The Eyes’ . This story only makes sense at the end, and demonstrates a more subtle psychological approach than many others. Yet still there is an inherent drive for the reader to know more. There is a plot.

‘The Happy Autumn Fields’ by Elizabeth Bowen is another story in the collection. She is a much admired writer and this piece was full of beautiful language. It suggested this and implied  that and hinted at another thing. The point of view shifted between heaven knows how many people. It was all awfully clever, terribly literary – and it annoyed me no end. It annoyed me almost as much as Henry James’ ‘What Maisie Knew’ ( one of the very few books I have actually flung across the room).

For me this sort of writing has a shifting sense of implication – and if you don’t get it, if you don’t appreciate the the oh-so-subtle references and sub-texts; well, you’re ignorant. I will cheerfully admit that sort of tone has a similar effect on me as The Oxford Voice on D. H. Lawrence.

Yet part of me, the part that went to Wakefield Endowed High School for Girls and took ‘S’ Level English Literature and actually read ‘To The Lighthouse’, feels I ought to value it. I ought to find ‘literary fiction’ somehow better and I ought to aspire to writing such quality work.


That’s where I am truly puzzled. But my one consolation is that there is a far bigger audience for more populist fiction ( which one is encouraged to sneer at)  than there is for the clever stuff.

Spectrum by Chronon6.97 on Flickr

Where do you stand on this continuum? 

Judge not…

…that ye be not judged. Matthew Chapter VII verse i King James Bible

First of all I recognise that I need to look beyond first appearances. It’s too easy to dismiss people with assumptions and not make the effort to tease out their story. I need to observe actively, with more empathy.

The same goes for portrayal. Even the minor characters can be more than just ciphers with a bit of effort. The tiny receptionist with her tightly plaited hair muttering ‘Work isn’t important, hey handsome?’ behind her boss’s back as he wanders off – she’s too good to waste.

I also need to dig deeper, to talk to people my mother warned me against. I will admit to a certain degree of cowardice on  this one – but I know what I aspire to:

But oh how I need to be aware of the voice that disapproves of people. A close relative of the Inner Critic, it needs shutting up. In my work, I must let the reader see what the characters do, hear what they say – and leave it at that. Let the reader decide – provide no commentary from my interior Hyacinth Bouquet or even the closet fashionista.

I don’t need to pass any remark on Bermuda shorts, coral rubber beach clogs and sports socks pulled up to the calf, do I?

Finally , although not all adjectives and adverbs are an evil – they are suspect. This is how the nasty little Imp of Prejudice airs its views. Before I have even realised, it has sneakily slipped a stereotype into my story. Not only is it patronising, it’s lazy.

I wonder what tips my fellow writers have for exorcising this particular demon?