Category: Literature

Guest Post: Brief Overview of Pulp Fiction – Part 2 (1950’s)

Posted December 2, 2012 by Guest Post in Guest Posts, Literature, Pulp / 0 Comments

In part one we looked at the birth of the genre as a more realistic type of literature in reaction to the traditional whodunit from Britain. The cynical approach towards life of the protagonist summing up the attitude of the hard-boiled hero and how the worlds of noir novels are never happy places where things go right.

We looked at Hammett and Chandler and Cain, the three pillars of the style that all who followed evolved from. Now we move on to the second generation of hard-boiled men who took advantage of a new publishing idea and the post WWII atmosphere of paranoia and fear.

Fawcett publications created the Gold Medal Books imprint in 1949 with the idea of publishing pulp novels directly to paperback formats. Paperback originals were published for the first time under this new imprint and very quickly became the home of noir fiction, the dark brand of crime writing that would go on to capture the mood of the general public.

At the end of WWII a new fear was brewing in the minds of America; images of nuclear warfare were embedded on the consciousness of a generation of people and McCarthyism via the House Committee on Un-American Activities hearings instilled a previously unknown universal paranoia to the people.

These two key developments combined to provide a hotbed for bleak, raw, sleazy, deranged, violent, uncompromising, chilling, and warped, existentially horrific noir fiction with novels selling in excess of one million copies on a regular basis and spawning numerous copycat publishing imprints.

The first name from this second generation is one a lot of people are already familiar with, Mickey Spillane; his first Mike Hammer novel was I, The Jury (1947) and continued to write in to the 50s yet it wasn’t until the end of the era that he really came in to his own. Kiss Me Deadly (1952) was the basis for the iconic film noir of the same name and serves as a great introduction to a protagonist who is a complete and unashamed misogynist, unafraid of offending anyone, in stories that you jump on and ride like the wind through intrigue, fist fights, witty dialogue, sexual encounters and the inevitable denouement.

The other name that regularly gets mentioned as the obvious hardboiled heir to Chandler and Hammett is Ross MacDonald. The Moving Target (1949) was the first appearance of Lew Archer, a PI that would last through 18 novels to The Blue Hammer (1976). This series longevity alone makes MacDonald stand out from the field of hard-boiled authors but the growth of the character and the evolution of writing style from Chandler copycat to a writer who was as comfortable with poetic imagery and psychological insight as witty putdowns and biting sarcasm marks him as one of the true greats of the genre.

Gil Brewer is something of a forgotten man but he was prolific and popular in his time, having over 30 novels published in the new paperback original format. But to those in the know Gil Brewer is a treasure trove of 50s noir goodness. His protagonists are ex-soldiers, ex-cops, drifters, convicts, blue-collar workers, charterboat captains, unorthodox private detectives, even a sculptor. The plots range from searches for stolen gold and sunken treasure to savage indictments of the effects of lust, greed, and murder to chilling psychological studies of disturbed personalities. The Vengeful Virgin (1958) that was recently republished by Hard Case Crime and The Red Scarf (1955) are amongst the standout titles from his bibliography.

Another man you could make the same statements about is Day Keene, the pair seems to go hand in hand infact. Even more prolific than Brewer, Keene has left a lasting legacy of entertaining noir stories that occasionally border on genius. Hard Case have also reissued a Keene novel in Home Is The Sailor (1952), you may also enjoy To Kiss or Kill (1951) and Dead Dolls Don’t Talk (1959).

Charles Willeford is the author who found fame in the 80s with his Hoke Mosely series but he published High Priest of California (1953) at the start of the boom in paperback sales and quickly followed it up with Pick-Up (1955) whilst still enlisted in the air force. Charles Willeford, in his best works, puts art, aesthetic sensibility, critical acumen, morality, and American ideology on a dramatic collision course, he was known for his quirky nature and eccentric characters and his juxtaposition of humour and violence is said to have influenced a young Quentin Tarantino (but then what didn’t?)

The other big Charles of the period was Charles Williams and he really was a BIG Charles. In 1951 his debut novel sold over one million copies in a time when one hundred thousand was the norm and in 1953 he became the first paperback original to be reviewed by The New York Times. Widely praised by critics Charles Williams is to the paperback originals what Hammett was to the 30s. He is known for frequently satirizing his male protagonists’ points of view, while implicitly reassessing the traditional genre figure of the femme fatale.

As mentioned previously about Woolrich, Williams was always more popular in France and only A Touch of Death (1954) and River Girl AKA The Catfish Tangle (1953) appear to be in print in English, a fact made even more shocking by the following statement made by pulp historian Woody Haut:

“So prolific and accomplished a writer was Charles Williams that he single-handedly made many subsequent pulp culture novels seem like little more than parodies.”

David Goodis is perhaps my personal favourite from this period (again he is widely available in French but not so much in English) his novels depicting the bleakness and darkness of lives in free fall, his words a statement of frustration, telling tales of gloom, depression and despair. Noir at its blackest. Down There AKA Shoot The Piano Player (1956) and Cassidy’s Girl (1951) represent him at his peak.

I’ve saved the biggest name, arguably the best writer of the bunch and possibly the most prolific for last, Jim Thompson. There are no good guys in Thompson’s literature; everyone is abusive, opportunistic, or simply biding time until able to be so. His style and prose elevated his work above well written genre pieces and in to literature which resulted in him being dismissed as just another pulp writer by those that read the paperback originals. The Killer Inside Me (1954), is perhaps his most famous work and represents the first time the reader was treated to an intimate portrait of a psychotic mind whilst The Grifters (1963) was his most successful movie adaptation.

Part three will take a look at the end of the popularity of paperback originals and what happened to crime fiction in the 60s and 70s.

This is a guest post by blahblahblahtoby; You can find him discussing books on Goodreads, discussing movies on Letterboxd, tweeting nonsense as blahblahblahtoby and on his blog blahblahblahgay, feel free to say hi.

There are literally dozens of great authors and great novels that could have been suggested as essential reading for this guide. The writer of the article went through agonising decisions over who to leave out and is more than aware that your favourite author probably hasn’t been mentioned but feel free to start a discussion in the comments.

This post is part of a four post series exploring the history of Hard-Boiled and Noir Fiction, for recommendations check out each post;

The 1930’s – 1940’s

The 1950’s

The 1960’s – 1980’s

The 1990’s – Onwards

House of Leaves: An Art Piece

Posted November 29, 2012 by Michael @ Knowledge Lost in Literature / 4 Comments

I picked up the book House of Leaves by Mark Z. Danielewski as part of the Literary Exploration book club (check out my review) and while it is a weird postmodern novel, I think it is art more than literature. So I wanted to talk about my thoughts on this book as art. First of all Postmodern is a weird concept that I don’t fully understand; surrealism makes more sense to me. So I wasn’t really sure what I was getting myself into.

The book starts off like a normal book; in the sense that it’s formatted normally and you just read down the page. But then it turns into something weird. Different fonts, different coloured writing, upside down and even backwards writing spread out all over the page. It’s at this point where you have no idea how to read it.

Just looking over the book before I even started reading it, I got the sense that this was insanity written on the page, with the multiple voices represented in different typesets. But there is more on the page. The word house is represented in a blue font; even haus and maison show up in blue as well. This was a weird experience for me in the book, my brain wanted to tell me it was black writing so sometimes my eyes played tricks on me with that one word.

Mark Z. Danielewski’s sister, Anne Danielewski, known professionally as Poe wrote an album called Haunted which is meant to accompany this book. While I didn’t read the book while listening to the album, it gives this whole experience a multimedia experience. It is an interesting experience reading excerpts and hearing songs with similar themes. I believe they both toured together for a book tour.

As a piece of literature, I raged, but if I look at this book as art, there really is something unique about this book. Apart from making me pretentious for reading it and having it on my book shelf, this book has a very strong visual component to it. It is what I respect the most from this book. What do others think of this book? Literature or Art?

Guest Post: Brief Overview of Pulp Fiction – Part 1 (1930’s and 1940’s)

Posted November 25, 2012 by Guest Post in Guest Posts, Literature, Pulp / 11 Comments

In 1887 Arthur Conan Doyle created Sherlock Holmes and the success of his great detective spawned an entire genre of detective fiction that imitates to some degree or another to this date. The light-hearted and relatively straightforward approach towards solving crime reached its pinnacle in what has become known as The Golden Age of crime fiction, the 1920s and 1930s. The large majority of the authors writing in this popular style of fiction were British and this was reflected in the settings and general sense of manners contained within.

The inter-war years were a difficult time both socially and politically and this change in society saw crime fiction edge towards what was a more realistic, and more depressing tone with content that would almost certainly shock the characters found within an Agatha Christie novel. The pioneers for this movement towards realism were, perhaps unsurprisingly, Americans and this style became known as hard-boiled.

Taking its name from the style of preparing eggs that leaves the hard shell intact and the yolk fully solidified, the protagonists of hard-boiled fiction are tough skinned, street wise, sharp tongued and ready to solve a mystery with violence if necessary (and it almost always is.)

These are cops, private detectives, ordinary citizens coming up against prohibition gangsters, organised crime, crooked cops, and looking to stand up for what is morally correct. One lone man against an entire system; grown cynical and expecting the worst of people but hoping for the best, he’s the kind of guy who’s seen every horror and will surely see worse before he solves this case.
Hard-boiled is a naturalistic style of writing combined with a cynical, world-weary attitude. This evolved in to Noir fiction, a genre that is if anything even darker; it’s protagonists are usually morally suspect at best and at worst are degenerates, psychopaths and cold blooded murderers.

The most succinct and accurate definition of the difference between the two styles is this:

Noir is the world. Hard-boiled is the character. You can have Noir without the Hard-boiled, but not the other way around.

Carroll John Daly is credited with creating the first hard-boiled story for Black Mask magazine in the 1920s and his first hard-boiled novel Snarl of the Beast (1927) marks the first of, what I shall deem, the essentials of the genre. At the time Daly was the most popular author of the genre he essentially started but he has since been unfairly labelled a hack (the writers opinion only) for simply not being of the same quality as the famous authors he inspired.

Hot on the heels of Daly was Dashiell Hammett, the former Pinkerton operative turned author, who between 1929 and 1934 published the only novels he ever wrote. At least two of which are widely considered masterpieces of the genre. Red Harvest (1929) featuring the unnamed detective known as The Continental Op and perhaps his most famous work The Maltese Falcon (1930); it’s PI Sam Spade is credited as being the archetype that all other hard-boiled detectives are based on, with his personal detachment from the case and unflinching devotion to ensuring justice his strongest characteristics.

The man who would follow in his footsteps, Raymond Chandler, said of him:

“Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse…He put these people down on paper as they are, and he made them talk and think in the language they customarily used for these purposes.”

A more obscure name with an essential of the genre crops up next, Raoul Whitfield; his debut novel Green Ice (1930) was described by Dashiell Hammett as “280 pages of naked action pounded into tough compactness by staccato, hammerlike writing” but he never seemed to live up to his early success and retired from writing fiction only a few years later.

There are three names that everybody mentions when discussing this period of early hard-boiled American fiction. Hammett is the first, his Maltese Falcon regularly winning polls for best hard-boiled novel also, but to his name you will also find added the words Chandler and Cain.

Raymond Chandler decided to try his hand at writing after losing his job during the Depression and in the process seemed to capture America the way that America wants to be remembered. His hero is Philip Marlowe, his beat is L.A., a brave warrior in the Sam Spade mould but with a softer underbelly. In his classic debut The Big Sleep (1939) we find a PI who likes to drink, is handy in a fight and cynically wisecracks his way through most situations but this is also a man who plays chess, reads poetry and has philosophical questions playing on his mind. The generally acknowledge highpoint in Chandler’s (and Marlowe’s) career would come later with The Long Goodbye (1953) and demonstrates the literary nature of the genre, author and character.

James M. Cain on the other hand was largely active in the noir category; in his major works his characters were not detectives but men corrupted by sex and money. Double Indemnity (1943) is the story of an insurance agent who plots against his employers to get a woman and some money. The Postman Always Rings Twice (1934) features a mixture of sexuality and violence in a love triangle situation.

With the big names out of the way I will share two more important figures in the formative years of this genre that are a lot harder to find and therefore more obscure.

Cornell Woolrich, who also wrote with some success under the pseudonym William Irish, is virtually out of print today but his importance on the development of the genre remains. His work more often that not evoked despair and cynicism in the everyday life scenarios and as was the case with the bleaker examples of the genre was more popular in France than America. If you can find them, I recommend The Bride Wore Black (1940) and The Black Angel (1943) as good starting points.

Dorothy B. Hughes is another essential early noir author that few people have heard of. Her In A Lonely Place (1947) has recently been republished as a Penguin Modern Classic and quite rightly so, is a fine example of her tightly plotted and tense approach towards noir and features a truly heinous protagonist in Dix Steele. Amongst her other work The Blackbirder (1943) is a story of fear, paranoia and dread.

In Part Two I’ll be taking a look at the second generation of authors who worked during the boom in paperback fiction of the 1950s.

This post is part of a four post series exploring the history of Hard-Boiled and Noir Fiction, for recommendations check out each post;

The 1930’s – 1940’s

The 1950’s

The 1960’s – 1980’s

The 1990’s – Onwards

My Experience with the 1001 Books You Must Read Before You Die List

Posted October 27, 2012 by Michael @ Knowledge Lost in Literature / 29 Comments

One of my favourite bookish podcasts is The Readers; if you haven’t heard it before go and subscribe, it offers random book-based banter which has been both enjoyable to listen to and offers some interesting ideas for future blog posts. This post is inspired by the latest episode about the “1001 Books You Must Read Before You Die” list.

With the newly revised book being released earlier this month, I thought I would share my experience with this list. As most people know I was never much of a reader, I think I read about one or two books a year. In 2009 something clicked in my head (thanks to Craig Schuftan) and I wanted to read everything I could get my hands on. But I had a problem; I really didn’t know where to start. I found plenty of books that looked interesting but I wasn’t sure if they would fulfil my yearning.

So with no idea of what my literary tastes were and not knowing what books would be required reading. I turned to a “1001 Books You Must Read Before You Die” list which I found while searching books that were considered required reading for everyone. The thing I loved about this book was the fact that it was a combination of old and new books ranging from all different genres. This helped start my literary journey and find a real joy in being a literary explorer.

While I don’t read many books from the list now, I discovered the types of books and genres I really like and what hasn’t worked for me. Personally I would love to read every book on the list but as I discovered there are now four different editions. Do you read the entire list from one edition or combine the lot and read every book ever mentioned? I’ve come to the conclusion I would rather use the list as a guide in addition to discovering new books on my own accord as well.

I will always hold this list close to my heart because it did nurture my newly formed love of reading but it also helped my pretentious level as a book critic. I wish the publisher released a list of the books that have been removed from the new edition, I know there was a spread sheet that had the first three lists on it, so you can see which ones disappeared from each update and tick off all the books you’ve read but sadly that was taken down for copyright violations. The publisher should look into something similar as I’m sure there are people out there that are willing to pay a small fee to have access to all the lists for referencing.

As a point of reference since beginning my reading journey back in 2009, I’ve now read over 400 books and seventy six of them were from the “1001 Books You Must Read Before You Die” list. The list is still a point of reference for me when I feel like I’m not reading books that are literary enough. While the list covers most genres and offers an interesting perspective on your reading life, it never really felt like it was full of highly literary novels. For me it was just a way to explore and cover the essentials in reading. Here are ten books from the ones I’ve read that I loved and highly recommend;

Frankenstein by Mary Shelley
Crime and Punishment by Fyodor Dostoyevsky
Wuthering Heights by Emily Brontë
Rebecca by Daphne du Maurier
Slaughterhouse Five by Kurt Vonnegut
Catch-22 by Joseph Heller
The Big Sleep by Raymond Chandler
Foucault’s Pendulum by Umberto Eco
Perfume by Patrick Süskind
A Clockwork Orange by Anthony Burgess

Book Ratings

Posted September 19, 2012 by Michael @ Knowledge Lost in Literature / 0 Comments

My dad asked me the other day, How do you rate books?” This is an interesting thought, I’ve got a system for rating but I never really thought of it into great details. I’m not talking about my 1-10 scale that I use but what factors determine the rating. So I thought I would brainstorm my thoughts into this blog post. When I finish reading a book I often got to Goodreads, mark the book as read and give an initial rating of the book; this is basically my feeling of the book at the time of finishing the book. But I often spend some time thinking about the book and how I would like to review it (yes, that’s my excuse for always being over three reviews behind and I’m sticking to it).

While thinking about how I want to review the book I often look at some key elements. I normally have a think about the plot, writing style, characters, grammar, research, my personal experience, insightfulness and any other elements that should be factored in. But should I have a standard criterion or should each rating be based on a tailored scale for that book? I’ve been thinking about this for a while now and I feel like while I really liked the parody novel Fifty Shames of Earl Grey, I could never put it on the same rating criteria as Crime and Punishment.

I think the fact that I’m trying to explore the different genres out there a rating template would never work but I should look at some key elements no matter what the book was and I think the main ones would be plot, characters, style and my personal experience of the book. These for elements make up my end rating; I often change the rating of a book when I finish reviewing it.

The problem with ratings are the fact that they are very personal and when looking at your reading list as a whole some books shouldn’t be considered to be on the same level as others. But should you review a book without a rating or is adding a rating just a good way for people to quickly look at what you thought of that particular book?

I would love to hear people’s thoughts on ratings. I know most people have different scales and ways of picking the final rating so please tell me about your process. Also if there was ever a standard criterion for book ratings what would you put on it. For example if you to break down the characterisation, would you look at believability, personality and so on?

Dystopian Fiction; A Brief History

Posted September 12, 2012 by Michael @ Knowledge Lost in Dystopia, Literature / 0 Comments

This post was originally a guest post that appeared on blahblahblahtoby; big thanks to Toby for allowing me to get involved in his Dystopian fortnight and for letting me share this post with my readers too.

Dystopian fiction has been around for a long time; interesting enough, it was an offshoot of utopian fiction which started growing in popularity in the 1900’s. I’m a little surprised that utopian fiction seemed to be the predominate genre but if you look at the history of dystopian literature you can see why. The spikes in popularity seems to have started from the lead up to the world war two and the cold war and then as a result of 9/11 and the war on terror. Escapist fiction; as a way to substitute the problems with the world with a more nightmarish world.

I thought it might be nice to have a quick look at the genre over time and highlight some essential reads (which stick out to me) for people that haven’t experienced all the joys of this genre. While there were dystopian novels before my first choice, I thought I would start with the one book that may be called the first purely dystopian novel.

We by Yevgeny Zamyatin (1921)

A highly influential novel based on the authors experience of the two Russian revolutions (1905 and 1917) and the First World War. While this book is considered to be an influence for Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949) or even Kurt Vonnegut’s Player Piano (1952), it’s one book that is unfortunately often overlooked.

Brave New World by Aldous Huxley (1932)

Huxley refers to this book a “negative utopia” and looks at the idea of the government making a world so perfect and controlled that it really has the opposite effect; or does it? Are you really unhappy if you don’t know you are unhappy?

Nineteen Eighty-Four by George Orwell (1949)

No dystopian list would be complete without this novel; actually these three novels could make up the definitive influences of every dystopian novel to follow. Big Brother is watching. Orwell writes a satirical novel of what he sees as the dangers of totalitarianism.

Fahrenheit 451 by Ray Bradbury (1953)

It’s a pleasure to burn; this novel looks at book burning, mass media censorship and the importance of books. Fahrenheit 451 is set in an unspecified time in a hedonistic anti-intellectual America.

Atlas Shrugged by Ayn Rand (1957)

Set in the not too distant future this brick of a book has a look at the disappearance of innovators and industrialists and a collapsing economy. I’m not going to lie, I’ve not read this book but I couldn’t give a list of essential dystopian novels without this book.

A Clockwork Orange by Anthony Burgess (1962)

In a culture of extreme youth rebellion and violence, how can the government gain back control? Mind control and the removal of free will seems like a good idea, right?

The Handmaid’s Tale by Margaret Atwood (1985)

In this dystopian novel Atwood takes a look at a totalitarian society and the issue of woman’s rights within it. While I thought this was more like a social critique than a novel, it is still an essential read.

Never Let Me Go by Kazuo Ishiguro (2005)

Sheltered from the outside world these children were brought up to believe they are special and need to be protected, but they are only protected from the truth. This is more a book of love and friendship set in a dystopian environment.

Super Sad True Love Story by Gary Shteyngart (2010)

Super Sad True Love Story is a novel set in a very near future—oh; let’s say next Tuesday—where the world is dominated by Media and Retail. The story is centred on a thirty nine year old Russian immigrant, Lenny, and what could likely be the world’s last diary. The object of his affection, Eunice, has her side of the story told by a collection of e-mail correspondences on her “GlobalTeens” account.

If you look at this list you can see the changing of the dystopian genre; what started as satirical looks at the fears of the world gradually changed to lighter stories of love and friendships. This brings me to the rising popularity of Young Adult Dystopian fiction. This seems to deal less with the social aspects made famous in dystopian fiction and more about friendships and endless love triangles. The lack of freedom, obsessive governments or biological issues have been replaced with post-apocalyptic romances. Not that there is a problem with this new wave of dystopian fiction (I’ve read a few good ones), I just find that the books with more social aspects offer so much more than a good read. What are your thoughts and what would you call essential dystopian reading?

My Thoughts on Re-Reading

Posted June 13, 2012 by Michael @ Knowledge Lost in Literature / 0 Comments

I’m not sure how I feel about re-reading books; as a book lover I have to face the facts that I’m never going to read all the books I want to read. So why would I waste time re-reading a book? Sometimes there are books with so many layers that you need to re-read them just to explore the plot and the themes deeper and sometimes it’s just a matter of comfort. For the past three years I’ve been re-reading Frankenstein ever year; simply because I love this book and yet there is still so much in the book to discover. This year I haven’t felt the need to re-read it, yet. So I’ve been questioning the idea of ‘to re-read or not to re-read?’

There are some books I still would like to re-read; The Shadow of the Wind by Carlos Ruiz Zafón and Slaughterhouse-Five by Kurt Vonnegut come to mind but sometimes I think there are too many books worth reading to go back to a book. I know there will always be books I will want to re-read and some I will read again but I’m not sure how I feel about the whole concept. I’ve never understood the idea of people completing a book then going back to the same book again straight away. Having said that, I often try to read in a different genre or style after a reading a book because I worry I would get bored with an author or genre if I fully entrench myself. I would love to hear other people’s thoughts on re-reading.

Reading Cycles

Posted June 3, 2012 by Michael @ Knowledge Lost in Literature / 0 Comments

Have you ever noticed that you read in cycles? I have; I’ve found that I tend to get entrenched with an author at times but most of the time it with genres. While I like to say I read anything and everything, I know this is not true. I do find it interesting to look over my reading history and see just how it progresses.

I’ve said it before and most people already know that I only started reading in the middle of 2009 and while it was a slow start I gradually got better and better at reading that now I’m aiming for 100 books a year. While I would like to talk about reading challenges sometime in the future, for now I want to look at my reading cycle. I call it a cycle because I know that eventually I will go back to these genres and immerse myself with them again and again.

While I often just read on a whim, when I do an overall look at my reading habits the cycle looks like this;

Classics – My reading started with Frankenstein and I read a lot of classics as a way to catch up on the book I’ve missed out on. At the same time I was also trying to catch up on the Dexter series by Jeff Lindsey.
1001 Books to Read Before You Die – when I discovered this list of books, I set out to read books from this list as a good way to try out genres and styles with the knowledge that the books must be good because they made the 1001 list.
Sci-Fi – I’m not sure why I moved onto Sci-Fi, but there were so many books that looked interesting in this genre that it felt like the natural progression.
Mystery – I have a love for the macabre and crime that it wasn’t much of a surprise that I begin reading a lot of books in this genre.
Hard-Boiled/Noir – I finally found the style and genre in the mystery/crime genre that I like the most. Hard-Boiled and Noir will always have a special place in my heart. I love the era and the style of these novels.
YA – I started trying out YA because of this blog post about What is Wrong with Dark YA Novels and during the time I found my favourite YA author John Green, which meant I needed to read all of his novels (still have one to read) plus other novels that are supposedly similar to his writing style.
Literary Fiction – I often wonder if this was a result of my book blog or just because I wanted to read something with a little more literary merit after reading so much YA. But now it feels like I’m reading so many literary novels.

I don’t know where my reading will go from here but feel free to make a prediction. I’m happy to let my reading take me where ever it wants to go. I’m happy with where it has taken me so far. I would love to know if other people have reading cycles and what they are.

The Need to Make Speculative Fiction a Genre

Posted May 25, 2012 by Michael @ Knowledge Lost in Literature, Speculative Fiction / 0 Comments

Recently in the book club, I started a conversation on the difference between speculative fiction and science fiction, which maybe was met with a little bit of confusion but I think that was mainly due to people thinking of speculative fiction as an umbrella team that covers science fiction, fantasy, horror, supernatural fiction and more genres. This is correct but I want to talk about Speculative fiction as a genre for now.

While many people thing of speculative fiction as encompassing the more fantastical fiction genres, I would like to see a shift away from this definition and more towards the genre that Margret Atwood has been fighting for. I think she said it best when she defined the differences between the two as:

“What I mean by “science fiction” is those books that descend from HG Wells’s The War of the Worlds, which treats of an invasion by tentacled Martians shot to Earth in metal canisters – things that could not possibly happen – whereas, for me, “speculative fiction” means plots that descend from Jules Verne’s books about submarines and balloon travel and such – things that really could happen but just hadn’t completely happened when the authors wrote the books.”

I think there is a real need to separating the two as some books that are classed as science fiction don’t really fit into the general conception of sci-fi. I’m talking about books like George Orwell’s 1984, Jules Verne’s Twenty Thousand Leagues under the Sea and even Margaret Atwood’s Handmaid’s Tale.

This brings me to my point, and an interesting problem. While it would be nice to separate the two genres so that people don’t get the wrong impression of a book being classed as Science Fiction; how do we choose which goes where. Take Jules Verne as an example. At the time of his writing, these books would definitely be considered as science fiction, but with the progression of time, most of the technology in Verne’s novels have been realised; making the books speculative fiction. So how do we class these books, do we make them science fiction until the technology catches up or do we just class books as speculative fiction if there is a possibility that these events could actually happen? I would love to hear people’s thoughts on this.

The Hardest Working Fake Author

Posted May 19, 2012 by Michael @ Knowledge Lost in Literature / 0 Comments

Richard Castle may be the hardest working fake author around. What seems like a great marketing strategy has seemed to take off on its own. While the Nikki Heat books seem to show up in the TV show Castle, now there is a new series to help people get a better understanding of Richard Castle’s best known character (according to the fans in the show) Derrick Storm. I’ve read a few of the Nikki Heat books now; and while I find them to be gimmicky, as a fan of the TV show, it was nice to read a book that tells a story that you don’t see on the show. Well that was with the first book Heat Wave; when I read Naked Heat, I did think it was so similar to the show that I felt like I knew the story already.

So most people may already know Richard Castle is the fictional author and protagonist of the TV show Castle and is portrayed by Nathan Fillion. Heat Wave was the first book released by this fictional author; it was released on September 29, 2009, and debuted at #26 on the New York Times Best Seller list. In its 4th week on the list, Heat Wave broke into the top 10 at #6. Now they have started a Derrick Storm series (not just the graphic novels) which takes a new direction from this marketing strategy; not promoting the show so much. A Brewing Storm tells the story of a spy coming out of retirement to help find the kidnapped stepson of a high ranking politician. While the book is short, it was interesting to get a better sense of the character that makes Richard Castle a bestselling author (in the show).

Richard Castle isn’t the only TV author to release a book; Hanky Moody of Californication has also released a book called God Hates Us All. Later this year Richard Castle will be releasing two more Derrick Storm books as well as the forth book in the Nikki Heat series; Frozen Heat.