Literature

Consider the map of Westeros as a human body: ‘The Neck’ is located centrally, at Greywater Watch. Perhaps the farther North you go the closer you move towards the mind, and the farther South you go the closer you move towards the genitals. Contrast the frankness and unapologetic polyamory of Oberyn Martell and Ellaria Sand (from Dorne at the most southerly point of Westeros) with the celibacy expected of the Watchers of the Wall and the shame they associate with physical desire (at the most northerly point of Westeros). Near and beyond the Wall, sex acts occur literally underground (Mole’s Town and Jon’s and Ygritte’s cave). The Wall is more than a pile of frozen blocks; it is frequently described in the novels as a living thing which ‘weeps’ and ‘defends itself’. What if the Wall represents the human mind’s need to protect itself from the madness which would result from a direct confrontation with its most profound fears?

Wuthering Heights by Emily Brontë is a singular novel. Especially within a Victorian literary context, the heroine Catherine Earnshaw is a singular woman. Passionate, haughty and violent, even as she succumbs to Victorian strictures governing femininity and relationships and eventually dies, she forever sticks in my mind.

Though she is decidedly unlike most other Victorian heroines, I wonder if more recent literature has created characters in which she is reflected? Does Catherine live on in other literary figures? Whom most resembles her?

Speculative Fiction is an umbrella genre for stories that are other-worldly. For example, fantasy, science-fiction, dystopian fiction, paranormal fantasy and more. I think it would be interesting to discuss the genre as a whole, in terms of story dynamics. A lot of speculative fiction has one foot in reality and another in a fantasy-like setting. Often speculative fiction has a lot to tell us about our reality, whether this is reflecting our reality or subverting reality to reveal new truths about the world. It would be great to look at the varying degrees to which this occurs in speculative fiction.

Third-person Omniscient is something that many authors and readers have moved away from. But why? Extremely popular once, it has seemed to fall away in the last hundred years. perhaps a deep dive into this topic would be of interest.

On the 5th of May, writer Junot Diaz was confronted by author Zinzi Clemmons, an individual whom Diaz had succeeded in forcibly kissing years earlier. Several other individuals have since come forward to testify and solidify Diaz’s sexual misconduct allegations, and Diaz has since retreated from the public eye by stating that he "takes responsibility" for his past.

Since then, Mary Karr reminds us of the sexual misconduct of deceased postmodern writer David Foster Wallace, and more importantly brings to light the public’s indifference toward the matter. It’s no surprise that our literary figures weren’t morally upstanding individuals: Somerset Maugham’s characters and stories exoticise the supposed "orient" in a rather unpleasant manner, Hemingway was a noted misogynist and sexist, and Bukowski has a history of quotations that aren’t sympathetic to the female sex.

After last year’s fiasco in the entertainment industry, I’d like to draw us back to the world of literature and fiction. What parts do we, as readers, consumers and therefore enablers of these individuals (alive or not) play in such a changing climate? Should we say nothing in the tradition of respecting the voices fostered in the creation of what we consider "good art", even if that means reproducing a male-centric perspective for the coming generations? Or should we condemn such works on the basis that they promote unsavory attitudes towards groups of people, and therefore bear the artistic cost?

Many baseball books that are in the popular conscience are books like The Natural, Ball Four, and The Art of Fielding, typically range from fictional novels to biographies to nonfiction. Despite the range of styles, these books mostly focus on the players or teams.

Moneyball, on the other hand, is very different from other popular baseball books. It focuses on the front office, economics, and sabermetrics of baseball rather than revolving around players. It was the first popular baseball book about the economic and sabermetric side, and since then many other books in that vein have been written.

But why haven’t they gotten as popular as Moneyball? Moneyball showed that these books have an audience and can even be marketable to adapt into a film (although the film is very different from the book). But other books like The Extra 2% haven’t had the pop culture impact or reach that Moneyball has had.

So what makes Moneyball stand among other sabermetric literature and what keeps it as the king of that hill?

In Victorian literature, many of the women within the pages of novels and poems fall under the wings of the ‘angel in the house’. Meaning, they are submissive and devoted to their husband/father/some sort of male figure.
But, do you think the angel in the house is gone? Has she returned in modern day texts? Subconsciously, is she still apart of many women in literature today?

Throughout the years, young-adult fiction has been a fascinating sub-genre of novels, ranging from sparkling vampires to dystopian worlds. In particular, the growing popularity of these books, and the recent trend of books-turned-movies has shot YA fiction into the spotlight. With popular series’ like “Twilight” and the “The Hunger Games,” there has been a surge of ‘copycat’ themes and styles arising, which has influenced the genre in many ways.

Starting from the origins of young, coming-of-age novels, like S.E. Hinton’s “The Outsiders,” where has the genre shifted, changed, and grown? How has the content of these novels altered and does that reflect a difference of perspective in modern times?