Why Men Opt Out of the (Women’s) Fiction World
Fewer and fewer men read fiction. They compose only about 20% of the fiction market according to surveys. Some lay this off to genetics, suggesting that the way men’s minds work discourages them from entering into another’s experience the way fiction demands.“Boys and men are, in general, more convergent and linear in their thinking; this would naturally draw them towards non-fiction,” wrote author Darragh McManus, pondering the question.Others, like Jason Pinter, suggest that the overwhelmingly female publishing industry simply overlooks books that appeal to men because they fall outside the female experience. In other words, men now suffer the same fate women suffered at the hands of a male-dominated publishing industry for so many years—and payback’s a bitch.Others suggest that boys are discouraged from reading at a young age by children’s books that fail to engage them. Give them the proper material, the story goes, and young boys will engage with reading. They point to the fact that young males were principal consumers of the Harry Potter books as proof. “More boys than girls have read the Harry Potter novels,” according to U.S. publisher, Scholastic. “What’s more, Harry Potter made more of an impact on boys' reading habits. Sixty-one percent agreed with the statement ‘I didn't read books for fun before reading Harry Potter,’ compared with 41 percent of girls.”I always balked at these rationales because I read fiction all the time. However, thinking on it, I had to admit that I avoid modern fiction like the plague. I have tried the popular plot-thick page-turners and the feel-good tearjerkers and the occasional cause celebre with a literary reputation. So many have left me so cold, that I simply won’t shell out the cash for a paperback or e-book version, much less a hardcover.Trying to assess what I found lacking in most of the current novels I attempt, I find their utter reliance on the world around them (and me) supremely dull. So many work so hard to place characters in a world I will recognize. Too many work hard to create characters with which I (or their prime demographic audience) will ‘identify,’ and recognize as someone they could be, or someone they know.It then made sense that men would ask why they should read something “made up” about this world when there was plenty of factual reading material on that subject. I have never approached fiction to re-visit “this world.” I’m already here. Instead, I want an alternative—a vision of this world exhaled through the writers’ and characters’ hearts, minds and eyes. Exhaled with the distinction of the smell of an individual’s breath. Fitzgerald’s Long Island in The Great Gatsby is his own creation, no kitchen sink recreation. Fitzgerald’s people and prose warp this place into something utterly unique.Raymond Chandler’s Los Angeles is his distinctive projection of that city. You don’t pick up Jim Thompson’s The Killer Inside Me with the idea of identifying with the protagonist. You don’t grab Faulkner to meet the boys next door or titter with recognition of your kith and kin. You don’t visit Patricia Highsmith to look in a mirror. You pick them up to enter worlds as fantastical in their way as Harry Potter’s. I read fiction to meet characters I otherwise would not. I read fiction for the larger than life—not a retread of this one. I want to watch and think with characters who are nothing like me, who dare what I never would, who experience in ways that I cannot.In an article titled, “Why Women Read More Than Men,” NPR quoted Louann Brizendine, author of The Female Brain suggesting a biological reason why women read more fiction than men:The research is still in its early stages, but some studies have found that women have more sensitive mirror neurons than men. That might explain why women are drawn to works of fiction, which by definition require the reader to empathize with characters.What horseshit. Reading, and reading fiction, require no such thing. They require that you understand and grow intrigued by characters and situations. You need not imagine yourself as them or believe that they behave as you would.Perhaps more men stopped reading fiction when fiction stopped presenting unique worlds, and settled for presenting this one so that readers could better “identify.” Maybe we’re too megalomaniacal to “identify” with that. We want words recreated, not rehashed.“Shall I project a world,” asks Oedipa Maas in Thomas Pynchon’s “The Crying of Lot 49.” Somewhere along the line, in tandem with the female domination of the publishing industry and fiction readership, the ideal of doing so fell from vogue. Instead, writers rely on identification with this one. Male readers seem have checked out.
In The Company of Educated Men by Leonce Gaiter
AMAZON | B&N | APPLE
Paperback, 186 pages
Published September 20th 2014 by Astor + Blue Editions LLC
After Lennie Ashland graduated from Harvard, he faced grave personal loss that caused him to question his worth, and fear the future. Armed with the arrogance and drive of Harvard-educated wealth, coupled with a young man’s aimlessness, Lennie planned a trip for himself and his two best friends to discover America—to view first-hand the re-ascendant grandeur of the American common man, a creature as foreign to them as any. The trip started off as most do—by not meeting the hype of its imagined romance—until the three happened upon an unlikely pair: a gun-toting teenager and a refugee little girl escaping from domestic hell. As gangland forces and family disputes descend on them, the five find safety and solace in one another. Together, they will both witness and embody the hope, grandeur, violence, innocence and hopelessness. A powerful new novel from Leonce Gaiter, author of Bourbon Street.
About the author:
Leonce Gaiter is a prolific African American writer and proud Harvard Alum. His writing has appeared in the NYTimes, NYT Magazine, LA Times, Washington Times, and Washington Post, and he has written two novels. His newly released novel, In the Company of Educated Men, (http://bit.ly/ZyqSuN) is a literary thriller with socio-economic, class, and racial themes.