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Latest Topics

6

How will the Manosphere influence Self-Help Books?

The manosphere movement, which propagates misogynistic and discriminatory views under the guise of men’s empowerment, has the potential to negatively impact the reputation and content of the self-help book industry. One danger is the appropriation of common self-help concepts like building confidence or setting goals by manosphere advocates, who then apply these principles in toxic ways to reinforce regressive attitudes toward women and gender roles. As a result, some constructive self-help ideas risk becoming tainted by association. Additionally, if manosphere ideology creeps into the mainstream, it spreads an insidious narrative that relationships are transactional, women use their sexuality as leverage, and traditional notions of masculinity are ideal. This worldview could filter into otherwise positive self-help books, contaminating them with embedded toxic assumptions.

The manosphere also relies heavily on junk science and evolutionary psychology theories to justify their beliefs about female manipulation or male dominance hierarchies. The use of such pseudo-science as evidence in certain self-help books lends an air of credibility to these harmful ideologies. Self-help books appeal to vulnerable audiences seeking life improvement. Manosphere influencers may capitalize on this demand to attract followers and indoctrinate them with extremist, discriminatory attitudes toward women disguised as empowerment.

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Are Detectives the Main Characters in their Own Stories?

An interesting trend in mystery fiction is the "outsider" nature of the classic detective. These characters – Hercule Poirot, Sherlock Holmes, Adrian Monk, Shawn Spencer, Scooby Doo, etc – seem to exist for the purpose of helping other people’s stories reach resolution. Although they are often the perspective characters in their stories, it can be argued that the main characters are the victims and the perpetrators of the crimes being investigated. Those are the characters who are causing events to happen and having events happen to them.
Consider the stories where a detective finds themselves in the middle of a mysterious situation they were not hired to investigate, and yet they decide to root out the who, how, and why for the net benefit of everyone else.
An article on this topic could explore why detective characters are so often written this way. Why does this affect the mystery genre in particular? Is this a net benefit or problem with the genre?

  • This is an intriguing way to look at detective stories. When discussing the affect the conventional detective point-of-view has on mystery stories, as well as to what extent this benefits the genre, it could be interesting to mention the few mystery stories that do not position the detective as the focal character. Off the top of my head, the only detective story I could think of that does foreground another character over the detective is the first Knives Out film by Rian Johnson. [MILD SPOILERS FOR KNIVES OUT] The second half of the film is told primarily from the perspective of another character, with the detective Benoit Blanc not even appearing in some scenes focused on the other character. Within the context of the film, this shifted focus is supposed to subvert expectations of the mystery genre, as the story follows the other character’s efforts to avoid the detective finding out what they did. – Magnolia 10 months ago
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  • I think this is a potentially interesting topic. In terms of other detective pieces that could be discussed are the detective tv series Columbo (and others like it, like the more recent Poker Face), where the detective sometimes turns up a little late in the story. The beginning focuses on other characters, other stories. – AnnieEM 8 months ago
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  • I find this to be a very interesting topic for various reasons 1) The perspective of the detective as outsider who becomes the insider by choice mirrors the process the reader goes through; she after all steps into the "situation"/the fiction by choice (picking up the book/movie/TV show) and 2) the idea of net benefit has a lot of potential: I think noahspud uses the idea in two ways. First, it is suggested that the detective decides to solve the mystery with a net benefit for everyone else. Moreover, it is also suggested that the detective as a main character in their own story "gains" something by being involved, so the detective is really part of the net-benefitting? Secondly, insofar as the reader develops parallel with the detective, she "benefits." Of course, the reader can also develop beyond the detective, in which case she also benefits (albeit differently). It would be interesting to explore how these benefits look if we were to take different literary examples. I am thinking in particular of the recent season of the TV show Endeavour (a season which had a huge audience across various countries), which takes its audience through a significant emotional and ethical journey alongside the main detective but in such a way that the detective always deflects from total identification with him. I look forward to reading someone's article on this topic, and appreciate the ideas. – gitte 8 months ago
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  • I think this topic could be properly expanded by looking at the crime genre more broadly, and how various elements or components of the genre have been explored to give the genre its vast diversity despite its genre unity. From the top of my head, crucial components would include the crime (event), the setting, the criminal, the victim, and the detective(s). A detective story can be written event-centred to not have main characters. Otherwise, an author could choose to make the detective, or the criminal, or the victim the main character. These options in a way create the subgenres within crime fiction, such as the classical mystery, or noir, or gothic/horror, or psychological thriller. – lgorejones 1 month ago
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11

How Will the Current Culture Affect Classic Novels?

Most of us grew up with some form of the classic novel. Whether we read abridged, illustrated versions for kids, encountered them in school, or watched TV or movie versions (e.g., Wishbone, Disney adaptations), most of us know at least some of the traditional "classics" of the Western canon. These include but are not limited to works by Dickens, Steinbeck, Morrison, Lee, Shakespeare, Austen, and Wells.

As our culture becomes more aware of concepts like marginalized experience and cultural appropriation though, our relationships with classic literature may change. We now critique certain examples of classics because of what they imply about non-Western, non-white cultures, or what they leave out. We critique them based on the roles women do or don’t play, or how characters of color are treated, or whether characters coded LGBT are sympathetic. As a disabled woman, I find myself being harsher with books like Of Mice and Men or The Color Purple because of how they treat members of my groups.

How does this heightened critique and awareness mean we should treat the classics? That is, can we still learn valuable things from these books even if they are cringe-worthy in their rhetoric or character portrayals? How can we engage with these books, without spending all our time on the problematic parts? Some of these classics have been retold because of heightened critique; was this a good or bad idea? And, are these critiques even valid, or should we simply say, "This was written in another time and we should simply accept that?" Discuss.

  • The critiques are valid, in my opinion. It is important to understand the contexts these stories were written in as they allow us to realize how much things have changed and, more importantly, what has not changed. To simply admit that these novels were written in a different time suggests that the problems that existed back then are solved now. We know that this is not the case, that people are still marginalized and cultures are still being appropriated. Learning about these issues when they were more apparent allow us to understand the injustices that are still ongoing today. – Kennedy 2 years ago
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  • While thoughtful critique of problematic elements in classic literature can further productive discussion and help us understand how certain harmful attitudes became normalized, we must be careful not to judge historical works too harshly by today's standards. Rather than canceling classics entirely, it may be better to teach and analyze them with appropriate context, acknowledging flaws while still appreciating positives. Some reimagined versions aim to be more inclusive, but lose the original voice. Classics remain relevant when transcending their time and place to speak to universal human truths. No work is perfect, and reasonable people can disagree on how to handle insensitive content. Open discourse allows growth, while knee-jerk condemnation often does not. If we discard all works containing outdated views, we lose touch with our past and ability to learn from it. A balanced approach, neither banning classics nor accepting dated views uncritically, may be best as we determine how to engage thoughtfully with these works in today's climate. – Nyxion 7 months ago
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4

"Love Triangles: Why?"

The convoluted strife created by a love triangle has become incredibly commonplace in many narratives (particularly YA ones). Why do we find this so interesting? Is it the unnecessary drama, the concept of hearts going awry? Where does sexuality fit into this, and what do we do with polyamory’s growing acceptance in this context?

  • The love triangle has been around since the beginning of time! They are quick and easy drama. – SportsEntertainmentWriter 8 years ago
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  • Love triangles create dramatic intense scenes. Readers are always keen to figure out who picks who. – semelejansen 8 years ago
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  • Something interesting is people's focus in fandoms on the male-male relationship of two guys fighting for the heart of one girl. The triangle is warped in this way because in some cases the fans are arguing that the bond between the men in competition with one another, that rivalry, is more emotionally charged and attracting that their individual connections with the one being fought over. – Slaidey 8 years ago
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5

The Rising Popularity of 'Low Stakes' Fantasy

Not all fantasy fiction involves epic quests and world ending conflicts. Some focus on an orc opening a coffee shop or a woman moving to a cozy town and befriending a witch. According to the scifi/fantasy publisher Tor, this subgenre came into widespread use around 2022. So much so the "cozy fantasy" tag has about 18 million views on TikTok. Cozy fantasy seems to cast a wide net including anyone from middle grade to adult.

Analyze the sudden interest in ‘low stakes’ fantasy books such as Legends and Lattes by Travis Baldree or Cackle by Rachel Harrison. How is the genre defined? What purpose is there to include mythical beings in a story with such little or no magic? What other pieces of media fit within the genre?

    3

    A Shift in Middle-grade Content Without a Shift in the Target Audience

    The 90s saw tons of ‘darker’ middle-grade series, Animorphs and Goosebumps to name a few. Neither of these series were so mature that they became inaccessible to their target readers but their stories were grounded in themes or tropes that could still appeal to all ages. Discuss the middle-grade demographic and whether it has more potential to experiment and mix genres and exist outside of the common publication conventions than other demographics such as children’s, YA, or adult.

    Thoughts on middle-grade? Thoughts on defining books by their demographic rather than genre? Anyone have any good recommendations for more recent ‘all-ages’ novels or series?

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      Urban Fantasy vs Cosmic Horror

      In the Urban Fantasy genre – Percy Jackson and the Olympians, Fantastic Beasts and Where to Find Them, etc. – magic and magical creatures exist alongside humans, but humans don’t know about them.
      The Cosmic Horror genre – i.e. H.P. Lovecraft – has a similar rule, except if humans see "past the veil," what they see is usually terrifying and even madness-inducing.
      Meanwhile, in the Percy Jackson series, a demigod can see monsters just fine, but looking at a god or titan’s true divine form is hazardous to their health. This seems to be an overlap between Urban Fantasy and Cosmic Horror. Similarly, the existence of Squibs and Obscurials in Fantastic Beasts lore sometimes approaches Cosmic Horror territory.
      Compare and contrast the two genres. What other overlap exists between them? Where do world-builders and storytellers make distinctions between the genres and why? Do interesting themes and lessons emerge when you consider Urban Fantasy from a Cosmic Horror perspective or vice versa?

      • This topic could be more complete if you delved into the historical functions of both genres. Horror studies traditionally position the horror genre as a means of confronting taboo or unfamiliar things. Why is it that demigods in Percy Jackson are the only ones allowed to witness - regardless of the risk - beings that can cause insanity, whereas Lovecraft's works allow ordinary people to peek behind the veil? Could that be because fantasy-as-escapism invites an extra distance between the reader and the horrifying truths they're confronting? Try looking into some theorists or case studies examining the functions of cosmic horror and YA fantasy. – CharlieSimmons 9 months ago
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      8

      The Role of Magical Realism in Contemporary Literature

      Magical realism is a literary genre that combines elements of the fantastical with the ordinary, blurring the lines between reality and imagination. When writing on this topic, one can explore the significance of magical realism in contemporary literature and its impact on storytelling, symbolism, and thematic exploration. Additionally, one can delve into how authors employ magical realism to convey deeper truths about the human condition, cultural identity and social issues.

      Perhaps consider discussing this topic in relation to well-known magical realism writers such as Haruki Murakami or Neil Gaiman. As a starting point, consider the following: how is this genre defined and how does it differ from other genres like fantasy/surrealism? How does magical realism challenge readers’ perceptions of reality and provoke them to question the nature of truth and existence? How can magical realism allow authors to explore complex themes and societal issues that might be difficult to address through realistic fiction?

      • All these questions have already been answered extensively. Magical realism is one of the most explored topics by literary critics in the last 50 years, especially after the publication of "One Hundred Years of Solitude." In fact, several studies have shown that there are more pressing and interesting questions than those presented here. – T. Palomino 9 months ago
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