Literature and Politics: The Beauty of Non-Engagement

Politics and political reality have a way of entwining themselves with every facet of our lives, including our literature. Some authors will write directly about political trends or current events. Others are more subtle, preferring to take an approach that lends itself to political non-engagement. While some may see this as socially irresponsible, the reverse is in fact true. Non-engagement is the more socially responsible approach to producing great literature.

When a piece of literature addresses a specific event, trend or political reality, it is immediately relevant. This “engaged” literature, whether poetry or prose, may be temporarily popular because it speaks to the events of the moment. Once the moment has passed, the relevancy is lost, and an otherwise beautiful piece of literature may fade into obscurity. When Stan Apps probes the nature and validity of war, challenging the reader to understand that “war is the way you have been thinking” (Apps line 9), it seems relevant and even poignant. However, in another time, one not plagued by controversial wars, religious intolerance, and a politically charged atmosphere, the reader may lose his or her ability to connect on a deeper level with the poem. While “VI” will always remain a beautiful piece of literature, it may eventually lose its relevancy by speaking too closely to the era in which it was written.

On the other hand, literature that does not engage with a specific political reality has the benefit of relating to many different political trends and events. Kafka’s The Castle, for example, describes a world disconnected with any specific political reality. The town has no name, the castle itself is ambiguous at best, and only a single initial represents the principle character. He does not even have a true identity. Yet, when reading The Castle, it is possible to connect it to a variety of different political or bureaucratic situations that have occurred throughout the twentieth century and beyond. The Castle could be read as expressing the irony of bureaucracy, both as it is now and as it existed in previous eras. It might also be seen “as a critique of industrial society, of exploitation, alienation, bourgeois morality – of capitalism, in a word” (Kundera 106). Kafka, simply by creating a story that is the very embodiment of political non-engagement, has produced a literary work that can apply to all political realities. A work that does not attempt to address a particular event or trend is open to interpretation, and as such can relate to almost any situation. In Kafka’s case, non-engagement has fashioned a piece of literature with an enduring and timeless quality that many engaged works simply do not possess.

Creating a literary work that does not engage with political trends is not the same thing as ignoring political reality. Instead, literature is at its best when not engaged with current events or trends, especially in a political sense. The beauty of non-engagement is that it allows the reader to relate to the text regardless of the current political climate. The Castle, which is arguably one of the best examples of literature that is non-engaged from political reality, has emergent themes that enable the reader to apply it to any era. The reader can come to his or her own conclusion regarding the overall issue of the work, and therefore has more value in the particular piece of literature than the author has. The author of such a work is taking a backseat and allowing the reader to engage with the current political reality by not engaging during the process of writing. This makes literary work that exhibits non-engagement even more socially responsible than engagement. By creating a piece of literature that is applicable in any era and can be interpreted to apply to many different social-political situations, the writer is acknowledging political reality and being politically responsible.

This is not to say that a writer has any political responsibility. Writers can write for a variety of reasons. Writing political stories or poems is a choice, as is the decision to engage or not engage with political trends. However, if a writer chooses to remain non-engaged from a specific political reality, he or she has the unique opportunity to create a piece of literature that is relevant in all times and speaks to many different events and trends. In this way, non-engagement is the more socially responsible way to engage the reader in both the language of the piece and the issues it can address.

Works Cited

Apps, Stan. “VI.” God’s Livestock Policy. Los Angeles: Les Figues Press, 2008.

Kafka, Franz. The Castle. Ed. Mark Harman. New York: Schocken Books, 1988.

Kundera, Milan. “Somewhere Behind.” The Art of the Novel. New York: Harper Perennial Modern Classics, 2003.

Brief Review of “Mother Superior,” by Saleema Nawaz, published in Mother Superior: Stories

You can use short stories to practice writing a novel. To do this, you should look at some good examples of short stories. The stories in Mother Superior, while fairly normal in nature, are well written and interesting. If there's one flaw in these stories, it's that many of them, including "Mother Superior," are quite predictable in nature. However, this isn't always a bad thing.

In the short story “Mother Superior,” by Saleema Nawaz, the narrator is a lesbian secretly in love with a young pregnant woman by the name of Joan. While this story is simple and presents relevant information in a straightforward and sensible manner, it is nonetheless quite predictable in regards to plot. Additionally, there is little insight given into characters other than the narrator.

Both the language and style of this story are almost painfully simple. Her vocabulary and even sentence structure are bare and to the point. This allows the reader to perhaps give more attention to the story itself, and a little less to the exact form with which it is presented. Given the controversial subject matter, from homosexuality to a mother-to-be who smokes and drinks alcohol, this basic approach seems quite appropriate.

Nawaz quite carefully arranges the information in “Mother Superior,” likely in an attempt to disguise the exact plot of the story. She certainly gives enough detail for the reader to understand what is happening in the moment, but no more than that. For example, it is quite necessary to understand that the narrator is a lesbian, as indicated on page 1, but to reveal any more of her motivations in regards to Joan would give the plot away far too soon.

Furthermore, in regards to Larry and his character, Nawaz reveals that Larry “…begins to weep…” (Nawaz 9) when Joan first goes into labor, leaving the reader to infer that he is not very enthusiastic about the impending birth. While the author does not state that Larry will leave immediately before the birth of the baby, it is implied. It is not until the following page that Nawaz reveals that Larry did indeed desert Joan. Nawaz’s decision to delay the revelation of information at many points in the story provides a method by which to keep the reader engaged.

Despite the attempt to hide the plot, the basic story of “Mother Superior” is easy enough to discern early on from the text. The core of the story, which is the attraction of the narrator to Joan, may unfold across ten pages, but it becomes quite predictable by page 2. Nawaz first gives an indication of this attraction when she writes, “Joan used to think I’d go to hell for being a lesbian, but now she thinks I’ll make it to purgatory because I’m practically a nun anyway” (Nawaz 1). While the narrator is supposedly paraphrasing something Joan had said to her, this information can lead the reader to conclusions that are confirmed later in the story. The reference to sexual orientation and the narrator’s lack of sexual activity on the first page of the tale indicates that this has some relevance to the plot. Since “Mother Superior” was written in a time when stories of unrequited love abounded, it could easily be assumed that this single quote might indicate such a theme, regardless of any other facts the story might present.

Nawaz quickly gives additional hints to the narrator’s feelings when she reveals that the narrator looks forward to the day when it can be “just the two of us” (Nawaz 2). This is in reference to Joan, and combined with the statement from page 1, gives the reader the definite feeling that the narrator is strongly attracted to Joan. Not long after this, the narrator plainly thinks that the man who has entered Joan’s life, Larry, should just disappear as she wishes “…for this to really be a convent…” (Nawaz 5) so that she might be alone with Joan. This only reinforces the idea that Joan likely does not return the narrator’s feelings, and that the narrator feels as if the only way she can have Joan in any way at all is if she has Joan completely to herself.

However, it is really impossible to be sure of Joan’s feelings and motivations. As “Mother Superior” is written from the first person point of view, there is very little insight into her thoughts and motivations; what insight is given is skewed by the perceptions of the narrator, so the reader never really knows the truth about Joan. While the reader may desire additional information about Joan, the story itself is about the narrator and her feelings. For the reader, Joan is a secondary character, despite appearing on every page. Nawaz effectively puts the reader directly into the story, first by her choice of voice, but also by denying the narrator a name. Without a name, the reader becomes the narrator. Given the content, first person narration is particularly suitable.

“Mother Superior” is an interesting mix of simplicity and controversy. Its use of a particular narrative voice and the careful and studied revelation of detail keeps the reader engaged and interested, even when the plot becomes obvious.

Works Cited

Nawaz, Saleema. Mother Superior: Stories. Calgary: Freehand Books, 2008.

Writing a Novel: The Horror Genre

There are many easily identifiable fiction genres on the market today. One of the most popular genres of literature is horror fiction. This genre, which has the ability to frighten its readers and induce feelings of horror, is closely related to crime fiction, dark fantasy, and thrillers. Horror fiction may be either supernatural or not, depending on the subgenre.

Characteristics of Horror Fiction

The defining trait of horror fiction is the response it provokes. A good horror novel evokes some type of psychological, emotional, or even physical reaction that causes some degree of fear in the reader. Authors of horror fiction will use a variety of techniques to accomplish this goal, usually involving a monster of some kind. Often this monster will be supernatural in nature, such as a werewolf, vampire, ghost, or mummy. However, more realistic are sometimes used to the same effect, usually in the form of a serial killer.

The entire genre is built upon a very particular kind of fear — the fear of the unknown. This can be accomplished in many different ways. If a book manages to terrify and even horrify the reader, it can be effectively classified as horror fiction.

Writing Horror Fiction

Creating your own work of horror isn’t necessarily as easy as it sounds. You have to be able to frighten your audience, and readers simply are not easily scared. However, if you think about what frightens people in general, you’ll have a place to start. Get out a notebook and jot down some of those things that elicit a feeling of dread — creepy crawlies, things that go bump in the night, and even something as simple as the dark. Then expand on these things. Keep your notebook with you and keep track of those things that cause you to jump. If you’re afraid of it, chances are someone else is too.

You’ll also have to choose a monster. Start by deciding if you’re interested in creating a human monster or the more supernatural variety. If your “bad guy” is human, he needs to be absolutely terrifying. He must be so far beyond what is considered normal human behavior that your readers are really and truly freaked out. Otherwise, you might find yourself in the wrong genre.

If you choose werewolves, vampires, or other supernatural monsters, you’ll need to be equally careful, but for different reasons. These monsters have all been done before (just take a look at your local bookstore), so attracting an audience and keeping them entertained can be a challenge. Try to put a new spin on some old favorites and you might have found your niche.

Setting is as important in horror novels as it is in any other type of book. You’ll be tempted to use the old favorites — graveyard, dark basement, lonely attic — but try to think outside the box. Everyone expects something bad to happen in a graveyard. Try using a sunlit garden or resort beach. If you are using traditional horror locations, try to do something unique to catch and hold the interest of your reader.

Using Gore in Horror Fiction

There’s often a debate regarding how graphic a horror novel should be. It’s really a matter of satisfying your audience while staying within the bounds of good taste. If you’re writing for children or young people, you need to be cautious. While even children like to be scared, you don’t want to be too explicit. Keep your descriptions general and use vague terms when crafting horror for children.

Adults expect more of everything. They pick up a novel described as “horror” and they expect more gore and more fear. Almost anything goes when writing for an audience comprised purely of adults, so let your fingers fly and create intricate and explicit scenes while writing. However, don’t be gross. If you can’t write well enough to avoid being vulgar, then you probably shouldn’t be tackling a genre as challenging as horror.

The horror genre is exciting, thrilling, and terrifying. It involves creating engaging plots, frightening your readers, and generally having a good time. If you choose to write horror fiction, you will find that you have almost limitless possibilities.

Writing a Novel: The Length of a Novel

When writing a novel, there are many things to be concerned with. Creating realistic characters. Coming up with an engaging plot. And writing something long enough to be considered a novel. Let’s face it, 2500 words isn’t a novel. A short story, maybe. But if your goal is to write a novel, you’ll have to have some idea of how long your work may eventually be.

How Long Should My Novel Be?

The length of a novel really varies depending on your audience. Specifically, you’ll need to consider the age of your average reader. If you’re focusing on children’s novels, keep in mind the attention span of new readers. You’ll want to keep your story relatively short, perhaps 15,000 to 40,000 words. Any longer and children under 10 years of age may be intimidated.

Older children, up to about age 14 or so, might be interested in longer books. But most of them are still not ready to tackle a full-length novel. These readers will expect a more complex plot, however, which usually means a longer book. A story from 50,000 to 75,000 words will satisfy their craving for a longer book without overwhelming them.

Teenagers and young adults are much more difficult to judge. Some of them are still reading 50,000 word novels, while others have moved onto adult books and ideas. It really depends on the person. Writing specifically for this age bracket is tricky, so don’t try. Those who are still reading fiction for children will continue reading fiction for children. The teenagers who are ready for specific adult genres, such as western fiction or romance, will make the effort to tackle longer works.

So how long should adult genre fiction be? The word count for a full-length can vary, but if you’re hoping to be published, you should be aware that most publishing houses won’t even look at your book if it’s below 80,000 words. This is a good minimum if you’re writing genre fiction.

Identifying a healthy maximum is more difficult. In general, your book will be as long as it needs to be. You may intend to write 100,000 words, then find that it took many more words to really tell your story. On the other hand, you may fall far short of your goal and struggle to create a novel of 80,000 words. There is no magic number.

That said, most novels will run about 100,000 to 105,000 words. This will typically give you an approximately 300-page book. A little shorter or longer doesn’t make much of a difference. However, some books run quite a bit longer, 150,000 words or more. These tend to be epic novels and are found in many different genres. Some examples include The Lord of the Rings and Pillars of the Earth. These are very long books (The Lord of the Rings was originally intended to be published as a single volume), but it works. So, if you’re writing an epic, and notice your word count approaching 200,000 words or even more, don’t worry about it. Epics do that sometimes.

How Long Will It Take to Write a Full-Length Novel?

This is a question I’m often asked and can rarely answer with any real accuracy. There are an incredible number of factors involved. Do you have a fully developed story or will you have to spend six months just ironing out the details? How quickly do you type? How many days a week can you devote simply to writing your book? The answers will dictate how long it will take you to complete your novel.

As an example, assume that you’re writing a 100,000-word novel. Also assume that you’re going to write 1000 words a day, 5 days a week. At that rate, it will take you approximately 5 months to write your story. That doesn’t include editing, revising, or encountering the dreaded writer’s block. If you can’t write 5 days a week, or you write slower than 1000 words a day, it will take you longer.

How long it takes isn’t necessarily the issue, nor is the relative length of your book. While there are authors who write 4 or more novels in a year, others produce only a single novel in that same time. And these works will all vary in length. If you’ve told your story in a way your intended audience will appreciate, then it doesn’t really matter how long it took or how many words your word processor tells you the novel is.

If the novel is too long, edit some of it out during the revision process. If it’s too short, give the reader some more information in crucial areas of the story. Either way, make sure you stay true to your story, telling your story with as many words as it takes.

Writing a Novel: The Western Fiction Genre

There are dozens of fiction genres on the market, from science fiction to fantasy. Western fiction is really part of the historic fiction genre, but it is distinctive enough to warrant its own category. The popularity of western fiction dates back to the dime novels of the late 1800s. They were considered romantic to those living on the east coast and featured gunslingers, heroes, and the exoticism of the Wild West.

What is Western Fiction?

It might be simple to state that a book, which claims to be western fiction, must take place west of the Mississippi River before the dawn of the 20th century. This might be an accurate description, but if you want to write western fiction, you’ll have to become aware of what fans of this intriguing genre are looking for in a good book.

Avid readers of western fiction will know whether you’re even attempting to be historically accurate. They’ll notice those errors that could have been avoided by a few minutes of research and won’t be very forgiving. Before you put pen to paper (or fingers to keyboard), do yourself a favor and sit down for a little research session.

You’ll want to get the right feel for your book. Westerns will naturally be rougher and less refined than an historic novel set in Victorian England, for example. The characters will be tougher, nature less forgiving, and the tows much simpler.

Finally, you need to make sure that you’re focusing on your hero (or heroine, as the case may be). Westerns are typically about the journey of the hero and less about-facing some great evil. While there’s nothing wrong with having a “big-bad” in your story, readers of western fiction are looking for more than a showdown. They’re intelligent people who are searching for realistic characters, plot, and an exciting conclusion. Don’t let them down.

Can I Use Historic Figures in My Novel?

The idea behind using historic figures in western fiction is a valid one. You’ll engage readers who know something about your real-life character and get the chance to enlighten those people who maybe didn’t even know Annie Oakley or Bill the Kid were real people. And it can be fun and exciting to recreate characters from centuries past.

However, choosing to include historic characters in your book can also present difficulties you may not be prepared for. Generally, fans of western fiction will know a great deal about historic characters. If you get something wrong, people are going to notice, and these people are going to be annoyed.

If you want to include historic characters without incurring the wrath of your readers, do so sparingly and with care. Unless you’re willing to do countless hours of research and spend many hours refining your ideas, don’t write about well-documented events. Look through the known history of Billy the Kid (or whoever the character is) and look for lapses. If there’s a period of time when little or nothing was recorded, that’s where you can get creative, at least within reason. Don’t change important dates or locations, but if you can sneak in some of your own details here and there, you’ll have a more interesting book.

Western fiction is exciting, rough, and fun. Pick your era, do your research, and start writing. Before you know it, you’ll have become an author within the western fiction genre.