12.Reading and Guilty Pleasure

Reading and Guilty PleasureBy GARY GUTTING June 21, 2012As we move into the summer season of beach and hammock reading, many of us reachfor book s that we describe as “guilty pleasures.”This notion has become an important category in our thinking about literature. Two prominent examples are NPR’s regularGuilty pleasures without guilt.”Can’t reading “The Sound and the Fury” be as enjoyable as a good game of tennis?Reading Krystal’s subtle and savvy piece, it struck me that our talk of guilty pleasures involves two controversial assumptions: that some books (and perhaps some genres) are objectively inferior to others and that “better” books are generally not veryenjoyable. Combined, the two assumptions lead to a view under which, to pick up Krystal’s metaphor, we think of books the way we often think of foods: there those that are “good for you” and those that merely “taste good.”Here I want to reflect on the viability of these two assumptions.Are some books objectively better than others, or are literary preferences ultimately just matters of subjective taste? In our democratic society, many take a relativistposition: you can’t argue about taste, because there are no standards that allow us to establish higher quality as an objective fact. If I think that Proust’s “In Search of Lost Time” is a magnificent probing of the nature of time and subjectivity and you think it is overwritten self-indulgent obscurantism, we both have a right to our opinions. So doesn’t it follow that each opinion is only relatively right (right for me, right for you)?This is a difficult question in principle, but I doubt that it’s of much pract ical significance. In fact, even the most vehement supporters of relativism as a general theory make absolute judgments when they start talking about specific cases.We often appeal to relativism as a general theory to soothe incipient disputes about the relative value of “serious” and “popular” genres.If a friend and I are verging on an uncomfortable dispute about the merits of literary fiction compared to mysteries or thrillers, we may avoid conflict by saying, “Different people just like different thi ngs; we shouldn’t try to impose our views on others.”But once we return to our preferred genres, we are perfectly happy to make strong judgments about, say, the superiority of David Mitchell to Jonathan Franzen or of Raymond Chandler to Mickey Spillane. Regarding the books we really care about, few of us are relativists about quality.It’s plausible, in fact, that the standards we appeal to in support of comparative judgments within a genre (complexity, subtlety, depth, authenticity and so on) could just as well be used to judge one genre, overall, better than another. I suspect it’s just a democratic preference for tolerance that keeps many of us from this path. In any case, as I’ve noted, much of the discussion about “guilty pleasures” assumes a domai n of higher quality “serious” fiction that is superior to but less enjoyable than “lower” forms of fiction.But when we think this way, what do we mean by “enjoyment”?Sometimes, as Krystal points out, we mean escape from the grubby difficulties of real life into a more enticing fictional world. But Jane Austen or Thomas Mann (or even Homer or Chaucer) can as effectively take us away from our daily cares as can Ken Follett or John Grisham.Seemingly more plausible is the idea that serious fiction is not enjoyable because it is difficult, requiring intellectual effort to untangle complexities of plot and syntax, to appreciate obscure allusions, or understand deep philosophical themes. Literature of previous centuries is likely to pose problems simply because of unfamiliar modes of expression or cultural contexts; and more recent literary fiction—beginning with the great modernists like Proust, Eliot and Joyce—often seems deliberately constructed to be hard for readers.But why should we think that what is hard to read is not enjoyable? Here there is a striking difference between the way we regard mental and physical activities. Running marathons, climbing mountains and competing at high levels in tennis or basketball are very difficult things to do, but people get immense enjoyment from them. Why should the intellectual work of reading “The Sound and the Fury” or “Pale Fire” be any less enjoyable? If I take pleasure only in the “light fiction” of mysteries, thrillers or romances, I am like someone who enjoys no physical activities more challenging than walking around the block or sitting in a rocking chair. Vigorous intellectual activity is itself a primary source of pleasure—and pleasure of greater intensity and satisfaction than that available from what is merely “easy reading.”Fans of popular genres implicitly recognize this when they insist that their favorite books deserve the same sort of detailed attention we give to canonical classics. That’s why we find Library of America editions and articles in professional journals on writers like Raymond Chandler, Dashiell Hammett and H. P. Lovecraft. Sometimes the attention is misplaced, and the high-powered analysis is more a matter of reading into the text than extracting from it. But the sign of a superior text of whatever genre is its ability to continue rewarding—with pleasure—those who work to uncover its riches.。