But not everything expressed in words—even when organized and written down—is counted as literature. Those writings that are primarily informative—technical, scholarly, journalistic—would be excluded from the rank of literature by most, though not all, critics. Certain forms of writing, however, are universally regarded as belonging to literature as an art. Individual attempts within these forms are said to succeed if they possess something called artistic merit and to fail if they do not.
By Sana Hussain Escapist fiction by definition is writing that permits the reader to escape the ennui of the real world and indulge vicariously in an alternate reality. It is fiction that allows the reader to doff the burden of their problems and inhabit a world concocted by the author; a world that makes up for the arbitrariness and unpredictability of the real world by offering structure, rationality and resolution.
Given this definition, it may be argued that most fiction and the act of reading itself are escapist pursuits. I know for me they are. As a shy teenager, I found great comfort in reading; in being the eighth member of the Secret Seven club, in accompanying George and her cousins to mysterious moors and dark caves, and in being the partner in crime to the girls of Malory Towers.
And even though I am not a teenager anymore, there is something to be said about the simple pleasure of immersing oneself in the predictable comfort of an old book, forgetting the real world that exists outside its musky, dog-eared pages. Pitted against its supposedly superior counterpart, realism, escapism is considered inconsequential and superfluous.
I am told that I must feel ashamed about my reading habits if I have a proclivity for the genre; call it a guilty pleasure? Critics and academicians classify escapist fiction and the genres of science-fiction, thriller, mystery, romance and fantasy, commonly classified under it, as sub-literary, deeming them unworthy of being regarded as true literature.
Charges of shallowness and superficiality are brought up against escapist genre fiction, with its worth denigrated to entertainment alone.
Literature may use such symbols directly, but all great works of literary art are, as it were, original and unique myths. The world’s great classics evoke and organize . Escape Literature Fiction that is designed to take the reader away from real life and provide pleasure, usually with a story that is easy to follow and pleasant to read. Interpretive Literature Fiction that is designed to take the reader deeper into the real world and . Truly good works of escape literature create a believable alternate universe, whose inhabitants struggle with dilemmas that the reader might encounter. It's a crafty way to explore moral and ethical themes within an entertaining framework.
Not to disregard any motivation to read for purely aesthetic purposes, but the assertion that escapist fiction offers nothing more than the mere pleasure of escape is both false and unfounded.
The social and emotional value of escapism in fiction cannot be ignored just because it affords the readers an escape into an alternate world.
Norwegian psychologist Frode Stenseng categorizes escapism into two categories based on their respective outcomes: He acknowledges that there can indeed be a healthy motivation to seek escape, resulting in a more informed view of self.
Fiction, I believe, offers more insight into human behavior than many psychological theories; in fact, seminal psychoanalytic theories like that of the Oedipus complex are drawn from literature. Growing up with an old-school English teacher as a parent, the distinction was always made clear in my home.
After a certain age, reading classics or literary fiction became an activity that was rewarded and encouraged, whereas reading a piece of escapist novel by Sidney Sheldon or Danielle Steele was severely looked down upon.
Classification of literature should only be on the merits of good and bad writing. And reading, whether escapist or otherwise, should be free from expectation and judgment. But what is perhaps not understood by critics is that escape does not mean a denial or evasion of real life issues; rather, it presents a more layered and complex way of looking at the world.
It is a way to understand it. Ask any reader of escapist fiction and they will tell you that these works are, at times, more representative of reality than works of literary fiction. In many cases, writers opt for a more subliminal and indirect method of representing the realities of life.Moral Struggles in American Literature Throughout history, people have wanted to know what is right.
Religion, philosophy, and role models have all been moral guides to different people over the centuries. Often characterized as "escape literature," this follows a pattern of conventional reader expectations.
Romance novels, westerns, science fiction, and detective stories are all examples of formula literature; while the details of individual stories vary, the basic ingredients of each kind of story are the same.
Literature & Class Struggle 1 LITERATURE AND CLASS STRUGGLE Or, Why reading a Couple of Novels is a Useful Complement to Reading Capital While all forms of literature — novels, short stories, plays or poetry — have.
The struggle of literature is in fact a struggle to escape from the confines of language; it stretches out from the utmost limits of what can be said; what stirs literature is the . Escape literature is closely related to the genre of romance, where there are many archetypal characters who are easily distinguishable as good or evil.
"The Most Dangerous Game" is a classic. Interpretive Literature vs. Works of fiction can be divided into two main categories. Escape Literature Fiction that is designed to take the reader away from real life and provide pleasure, usually with a story that is easy to follow and pleasant to read.