Escapist fiction

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Bookstores will typically shelve science fiction and fantasy books separately from the general or literary fiction section. Katowice, Poland. Polish sci fi fantasy books.JPG
Bookstores will typically shelve science fiction and fantasy books separately from the general or literary fiction section. Katowice, Poland.

Escapist fiction, also known as escape fiction, escapist literature, or simply escapism, is fiction that provides escapism by immersing readers in a "new world" created by the author. [1] The genre aims to compensate for a real world the reader perceives as arbitrary and unpredictable compared to the clear rules of the constructed "new world". [1] Typically, an author of escapist fiction offers structure, rationality and resolution to real world problems throughout their medium. [1] The genre facilitates mentalisation; that is, escapist fiction encourages psychological engagement from the reader. [1] Escapist fiction is often contrasted with realism, which confronts the reader with the harsh reality of war, disease, family dysfunction, crime, foreclosure, death, etc. [2] It encompasses a number of different genres within it; any fiction that immerses the reader into a world different from their own is fundamentally escapist fiction. [3] Escapist literature aims to give readers imaginative entertainment rather than to address contemporary issues and provoke serious and critical thoughts. [4]

Contents

Historically, the arts, and literature in particular, have been acknowledged for its ability to distract readers from the hardships of reality. During the Great Depression, readers turned to escapist fiction as it provided them a mental escape from the bleakness of the economy during that period of time. [5] Fiction books and novels were an affordable and easy means for readers to escape into another world, so people used escapist fiction to provide them with a temporary psychological escape from the realities of their world. [5]

Labelling a work "escapist fiction" can be to minimise it. Those who defend works described as escapist either assert that they are not escapist—for example, that a science fiction novel's satiric aspects address real life—or defend the notion of "escape" as such, not "escapism".

Escapist fiction does not have a formal literary definition and can variously be used as a synonym for genre fiction, commercial fiction, popular fiction, or formula fiction. Genres that can function as escapist fiction include:

Characteristics

The concept of individuals using different forms of medium, such as fiction, to "escape" from the limitations and dissatisfaction of everyday life is known as "escapist fiction". It is because of this that some people may argue that most fiction and the act of reading itself, is a pursuit of escapism. [6]

J. R. R. Tolkien, a linguistic scholar, is one of the essential figures in escapist fiction. He is the author of The Lord of the Rings , which is a classic example of escapist fiction. He wrote it to illustrate the meaning of his essay "On Fairy-Stories". He admitted that fairy stories were something of an escape, he believed people should be provided an escape from the world of factories, machine guns and bombs. [7] Though fairy-stories are by no means the only medium of escape, they are one of the more obvious and (to some) outrageous forms of "escapist" literature. [8] The popular titles such as the Harry Potter series by written by J. K. Rowling, The Chronicles of Narnia by C. S. Lewis, Suzanne Collins' The Hunger Games, and Tolkien's The Lord of the Rings, are examples of escapist fiction. Each of these novels allow the reader to essentially escape into a fantasy world that is not their own. It can be argued that these novels, and similar novels, add to the understanding that escapist fiction is not a negative thing stating that literary fiction critics misunderstood the term as denial or evasion of real life issues instead of layered and complex way of looking at the world and that escapism and realism are not mutually exclusive. [9]

These novels can provide readers with a moral compass or teach them lessons, they can be interpreted as a medium to represent and overcome an individual's personal fears, shortcomings, and, at times the need for this "escape". The secondary world, or fantastical one, is something that closely mirrors the primary one and would not be successful or satisfying if readers could not imagine it as realistic and relatable. [10] Escapist fiction employs narrative strategies that engage and immerse readers whilst also distancing reader from their world and society. Escapist fiction seeks to engage readers in reflective and inquisitive processes encouraging readers to question and challenge their own cultural and social realities. A key element in escapist fiction is using techniques that encourage readers to enter into a new world whilst dually constructing a position of critical engagement. That is, a position whereby readers are encouraged to think critically and reflect upon contemporary social ideologies; identity, agency, the environment, social constructs, politics etc. [11]

Context and origin

During the Great Depression in the 1930s, people began to turn to escapist fiction because it provided readers with a mental escape from the alarming rates of unemployment and the overall decline of the economy during that period of time. Despite the economic devastation of the Great Depression during this period of time people were granted the opportunity to experience leisure time. Popular culture, and the entertainment and amusement it provided may be considered crucial in maintaining the public's well being during the harsh reality of the period. Reading genres such as escapist fiction during this period allowed people to escape from the uncertainties, anxieties and loss of self-esteem resulting from the Great Depression period. Popular culture, in particular escapist fiction as a genre, thrived and evolved during the 1930s unlike other industries. Owing to the unemployment during the depression, people had more free time and sought-after ways to fill their time and escape the bleak reality they faced. [12] Most popular culture and fiction created during the period of 1929 to 1941 did not deal with or contain any explicit references to the harsh realities of the Great Depression as a topic. This further supports this idea that in this context popular culture and fiction were largely utilised as a vehicle to escape the deprived and alienated living conditions characteristic of the period. [13] In the 1950s and 1960s people tended to view the topic of escapism through a socio-political perspective, analysing how the dysfunctions of society trigger peoples need for escape. [14] Reading fiction during the Great Depression was popular, readers searching for escapist literature had a vast array of materials to choose from, such as "pulps", comic strips, comic books, fiction novels, etc. [13]

Historically reading has been a way to "escape" from the harshness of reality The Magdalen Reading - Rogier van der Weyden.jpg
Historically reading has been a way to "escape" from the harshness of reality

The designation of escape in literature, known as escapist fiction, dates back to the 1930s. The word "escapism" was born in the 1930s and grew rapidly in usage. In the 1940s and the 1950s the term escapism in terms of literature was largely criticised. In the 1960s and 1970s the concept of "escape" in literature emerged as a mode of dealing with imperfect existence where the reader could temporarily escape reality. [5] The conceptual idea and intention of escapist literature is to erase difference and to free readers of the intricacies and responsibilities of historical specificity. [10]

Ideology

Fantasy literature is escapist in nature, creating another world where the reader and protagonist escape their familiar surroundings and enter into a different and new environment. Escapist fiction creates these alternate, fantasy worlds to escape the immediate socio-political and economic settings of the real world. [15] The secondary world created in works of escapist fiction is something that closely mirrors the primary one. The secondary world is also a way of understanding and coping with the things we want to escape from in our primary world. This secondary world would not be successful if readers did not see it as plausible, real, and relating to their own world. [10] Escapist fiction, in particular fantasy fiction, does allow a departure from our world in that it frees itself from the restraints of normality and everyday life. Much of escapist fiction is allegorical and utilises features of worldliness in a variety of ways in order to comment on modern life. Escapist fiction often seeks to examine a deeper element of human existence and purpose. Escapist literature tends to confront contemporary issues, in particular moral and political matters, through a moral journey the reader undertakes where they can learn important life lessons in the fictional world. Escapist fiction can provide readers with a rich literature that deals with universal issues of humanity, especially the matters of childhood experience and adolescence. Escapist fiction authors construct alternate worlds in order to comment on our world implicitly through the differences and explicitly in the similarities. The fundamental purpose of escapist fiction is to comment on the real world and explore the moral, social, political and philosophical dilemmas that exist within it. Through confronting contemporary issues, escapist fiction authors aim to shift conventional perspectives and reveal a moral insight. [15] As a genre of fiction that requires a substantial level of immersion into the world of the text, escapist fiction has the potential to greatly influence readers.

Scholarship and criticism

There are many negative connotations attached to escapist fiction. [10] Some literary critics and academics have classified escapist fiction and genres of science-fiction, thriller, mystery, romance and fantasy, as sub-literary and unworthy of being regarded as true literature. [6] Early critics complained that escapist fiction as a literary genre misleads readers in terms of the harsh truths of reality. Early entertainment and literature tended to view escapist fiction as a lower-class phenomenon. Assuming that the alienation, deprivation and restriction of lower-class life caused a desire to escape in these "underprivileged" individuals. [14] These critics deem escapist fiction to be shallow and superficial, with its worth being degraded to simply a source of entertainment. Some literary critics have deemed escapist fiction as frivolous and frequently dismiss it as a literary genre. [6] These people argue that escapist fiction has little value for adolescent socialisation. [11]

On the other hand, some literary critics hold escapist fiction in high regard, expressing it as a genre possessing a thematic depth and ideological complexity that is both appealing to readers and influential. These people argue against the negative connotations associated with escapist fiction. They argue that through encouraging readers to "escape" escapist fiction has the ability to position its readers to be perceptive to didactic and potentially formative ideological assumptions. Those who advocate for escapist fiction as a genre believe it holds a formative value for adolescents as they mature and can therefore offer similar socialising value to readers. [11] For a long time creators and consumers of escapist fiction have been placed (and still are placed) in a position of inferiority, therefore, escapist fiction is an excluded genre from recognition and scholarship. [16] The ideological views presented in escapist fiction are often implicit, that is, representations throughout escapist literature are informed and structured according to the accepted cultural and societal constructions. [11]

Examples

Most genres that belong under the title of popular fiction are considered to be escapist literature, including, romance novels, mystery novels, fantasy novels, horror fiction, science fiction, pulp fiction, thrillers. Popular fiction authors, such as, Agatha Christie, Enid Blyton, Barbara Cartland, Stephen King, J. K. Rowling, J. R. R. Tolkien, and Danielle Steel can be categorised as authors of escapist literature. [4]

Common characteristics, techniques and features

One of the most well-known canonical examples of escapist literature is Tolkien's The Lord of the Rings. This work of escapist fiction describes characters in an entirely new, fictional universe complete with its own history and languages. Tolkien explores the themes of right and wrong, and emphasises the significance of small acts of bravery. These are themes that are prominent in most escapist literature. [17]

Escapist literature aims to create a relatable and believable alternate world, where the inhabitants struggle with dilemmas that the reader may encounter. [17] Escapist fiction contains elements of reality, self-improvement and deep-seated truths, and can explore moral and ethical themes within an entertaining medium. There is an intrinsic need for escape that is embedded within humans to maintain sanity, escapist literature allows a window for readers to view historical and instinctual lessons. Escapist fiction can be a representation for how things ought to be in the world, encouraging readers to understand underlying problems and challenges of the real world within the context of an alternate world. [10]

As a multifaceted literary from containing several genres, escapist fiction contains thematic depth and complex ideologies that seek to persuade the reader to reconsider their views of the world. Escapist fiction uses techniques that seek to encourage readers engagement and fulfilment of "escape" through the use of closely focalised narration. The use of present tense narration is also prevalent in escapist fiction as it invites readers to engage directly with character, story and setting. Narration is a significant feature of escapist fiction as it is imperative for maximum engagement, as such, the displacement of readers into another world affects ideological interpellation and interpretations. [11]

See also

Related Research Articles

High fantasy, or epic fantasy, is a subgenre of fantasy defined by the epic nature of its setting or by the epic stature of its characters, themes, or plot. High fantasy is usually set in an alternative, fictional ("secondary") world, rather than the "real" or "primary" world. This secondary world is usually internally consistent, but its rules differ from those of the primary world. By contrast, low fantasy is characterized by being set on Earth, the primary or real world, or a rational and familiar fictional world with the inclusion of magical elements.

<span class="mw-page-title-main">Sword and sorcery</span> Genre of fantasy fiction

Sword and sorcery (S&S), or heroic fantasy, is a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures. Elements of romance, magic, and the supernatural are also often present. Unlike works of high fantasy, the tales, though dramatic, focus on personal battles rather than world-endangering matters. The genre originated from the early-1930s works of Robert E. Howard. While there is a chance example from 1953, Fritz Leiber re-coined the term "sword and sorcery" in the 6 April 1961 issue of the fantasy fanzine Ancalagon, to describe Howard and the stories that were influenced by his works. In parallel with "sword and sorcery", the term "heroic fantasy" is used, although it is a more loosely defined genre.

Magical realism, magic realism, or marvelous realism is a style or genre of fiction and art that presents a realistic view of the world while incorporating magical elements, often blurring the lines between speculation and reality. Magical realism is the most commonly used of the three terms and refers to literature in particular. Magic realism often refers to literature in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, commonly found in novels and dramatic performances. In his article "Magical Realism in Spanish American Literature", Luis Leal explains the difference between magic literature and magical realism, stating that, "Magical realism is not magic literature either. Its aim, unlike that of magic, is to express emotions, not to evoke them." Despite including certain magic elements, it is generally considered to be a different genre from fantasy because magical realism uses a substantial amount of realistic detail and employs magical elements to make a point about reality, while fantasy stories are often separated from reality. The two are also distinguished in that magic realism is closer to literary fiction than to fantasy, which is instead a type of genre fiction. Magical realism is often seen as an amalgamation of real and magical elements that produces a more inclusive writing form than either literary realism or fantasy.

Genre fiction, also known as formula fiction or popular fiction, is a term used in the book-trade for fictional works written with the intent of fitting into a specific literary genre in order to appeal to readers and fans already familiar with that genre.

<span class="mw-page-title-main">Fantasy literature</span> Literature set in an imaginary universe

Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. Magic, the supernatural and magical creatures are common in many of these imaginary worlds. Fantasy literature may be directed at both children and adults.

<i>Malazan Book of the Fallen</i> Fantasy book series by Steven Erikson

Malazan Book of the Fallen is a series of epic fantasy novels written by the Canadian author Steven Erikson. The series, published by Bantam Books in the U.K. and Tor Books in the U.S., consists of ten volumes, beginning with Gardens of the Moon (1999) and concluding with The Crippled God (2011). Erikson's series presents the narratives of a large cast of characters spanning thousands of years across multiple continents.

Literary fiction, mainstream fiction, non-genre fiction, serious fiction, high literature, artistic literature, and sometimes just literature, are labels that, in the book trade, refer to market novels that do not fit neatly into an established genre or, otherwise, refer to novels that are character-driven rather than plot-driven, examine the human condition, use language in an experimental or poetic fashion, or are simply considered serious art.

<span class="mw-page-title-main">Escapism</span> Mental diversion from unpleasant or boring aspects of life

Escapism is mental diversion from unpleasant aspects of daily life, typically through activities involving imagination or entertainment. Escapism also may be used to occupy one's self away from persistent feelings of depression or general sadness.

Low fantasy, or intrusion fantasy, is a subgenre of fantasy fiction in which magical events intrude on an otherwise-normal world. The term thus contrasts with high fantasy stories, which take place in fictional worlds that have their own sets of rules and physical laws.

<span class="mw-page-title-main">History of fantasy</span>

Elements of the supernatural and the fantastic were an element of literature from its beginning. The modern fantasy genre is distinguished from tales and folklore which contain fantastic elements, first by the acknowledged fictitious nature of the work, and second by the naming of an author. Authors like George MacDonald (1824–1905) created the first explicitly fantastic works.

<span class="mw-page-title-main">Adventure fiction</span> Fiction in which an adventure forms the main storyline

Adventure fiction is a type of fiction that usually presents danger, or gives the reader a sense of excitement. Some adventure fiction also satisfies the literary definition of romance fiction.

Fiction writing is the composition of non-factual prose texts. Fictional writing often is produced as a story meant to entertain or convey an author's point of view. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types of fictional writing styles. Different types of authors practice fictional writing, including novelists, playwrights, short story writers, radio dramatists and screenwriters.

<i>Imaginary Worlds: The Art of Fantasy</i> Book by Lin Carter

Imaginary Worlds: the Art of Fantasy is a study of the modern literary fantasy genre written by Lin Carter. It was first published in paperback by Ballantine Books in June, 1973 as the fifty-eighth volume of its Ballantine Adult Fantasy series; it was the only nonfiction entry in the series. The book was among the earliest full-length critical works devoted to fantasy writers and the history of fantasy. It was the third of three such studies by Carter, being preceded by Tolkien: A Look Behind "The Lord of the Rings" (1969) and Lovecraft: A Look Behind the "Cthulhu Mythos" (1972). These works, together with his editorial guidance of the Ballantine Adult Fantasy series, established Carter as an authority on the genre.

J. R. R. Tolkien's bestselling fantasy novel The Lord of the Rings had an initial mixed literary reception. Despite some enthusiastic early reviews from supporters such as W. H. Auden, Iris Murdoch, and C. S. Lewis, scholars noted a measure of literary hostility to Tolkien, which continued until the start of the 21st century. From 1982, Tolkien scholars such as Tom Shippey and Verlyn Flieger began to roll back the hostility, defending Tolkien, rebutting the critics' attacks and analysing what they saw as good qualities in Tolkien's writing.

<span class="mw-page-title-main">Fantasy</span> Genre of speculative fiction

Fantasy is a genre of speculative fiction which involves themes of the supernatural, magic, and imaginary worlds and creatures.

A novel is an extended work of narrative fiction usually written in prose and published as a book. The English word to describe such a work derives from the Italian: novella for "new", "news", or "short story ", itself from the Latin: novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". According to Margaret Doody, the novel has "a continuous and comprehensive history of about two thousand years", with its origins in the Ancient Greek and Roman novel, Medieval Chivalric romance, and in the tradition of the Italian Renaissance novella. The ancient romance form was revived by Romanticism, in the historical romances of Walter Scott and the Gothic novel. Some novelists, including Nathaniel Hawthorne, Herman Melville, Ann Radcliffe, and John Cowper Powys, preferred the term "romance". Such "romances" should not be confused with the genre fiction romance novel, which focuses on romantic love. M. H. Abrams and Walter Scott have argued that a novel is a fiction narrative that displays a realistic depiction of the state of a society, while the romance encompasses any fictitious narrative that emphasizes marvellous or uncommon incidents. Works of fiction that include marvellous or uncommon incidents are also novels, including Mary Shelley's Frankenstein, J. R. R. Tolkien's The Lord of the Rings, and Harper Lee's To Kill a Mockingbird.

<span class="mw-page-title-main">Outline of fantasy</span> Overview of and topical guide to fantasy

The following outline is provided as an overview of and topical guide to fantasy:

J. R. R. Tolkien, the author of the bestselling fantasy The Lord of the Rings, was largely rejected by the literary establishment during his lifetime, but has since been accepted into the literary canon, if not as a modernist then certainly as a modern writer responding to his times. He fought in the First World War, and saw the rural England that he loved built over and industrialised. His Middle-earth fantasy writings, consisting largely of a legendarium which was not published until after his death, embodied his realism about the century's traumatic events, and his Christian hope.

References

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  2. ↑ Crossen, C. (2012). Escapist Fiction. The Wall Street Journal. Eastern Edition.
  3. ↑ MasterClass. (2021). What is Speculative Fiction? Defining and Understanding the Different Genres of Speculative Fiction.
  4. 1 2 Hasa. (2016). What Is Escapist Literature. Pediaa.com.
  5. 1 2 3 Cappello, M. (2017). How We Escape It: An Essay. JSTOR Daily.
  6. 1 2 3 Hussain, S. (2014). Literary or Not – The Reality of Escapist Fiction. The Missing Slate. Issue 12.
  7. ↑ Special to The New York Times. (1973). J. R. R. Tolkien Dead at 81; Wrote Lord of the Rings: Creator of a World Escapist Literature. New York Times (1923-Current File), p. 18-.
  8. ↑ Tolkien, J. R. R. (1947). On Fairy Stories. Essays Presented to Charles Williams.
  9. ↑ Literary or Not - The Reality of Escapist Fiction — The Missing Slate
  10. 1 2 3 4 5 Mazour, A. (2018). The Reality of Escape in Fantasy. Honors Theses, University of Nebraska-Lincoln. 54.
  11. 1 2 3 4 5 Hodder, L. (2014). Engaging escapism: narration and persuasion in young adult fantasy fiction. Macquarie University, Sydney, Australia.
  12. ↑ Romer, C. D., & Pells, R. H. (2020). Great Depression. Encyclopedia Britannica.
  13. 1 2 Encyclopedia.com. (2021). Escapism and Leisure Time 1929-1941. Historic Events for Students: The Great Depression.
  14. 1 2 Halfmann, A, & Reinecke, L. (2021). Binge-Watching as a Case of Escapist Entertainment Use. In P. Vorderer & C. Klimmit, The Oxford Handbook of Entertainment Theory. Oxford University Press. doi : 10.1093/oxfordhb/9780190072216.013.11
  15. 1 2 Cuthew, L. (2006). Fantasy, Morality and Ideology: A Comparative Study of C.S Lewis'The Chronicles of Narnia and Philip Pullman'sHis Dark Materials. The University of Birmingham Research Archive.
  16. ↑ Ravasi, M. (2019). 'Getting Constructively Lost:' Narratives of Escapism in Contemporary American Fiction. Department of English Literature, University of Reading.
  17. 1 2 Lombardi, E. (2019). Escape Literature. ThoughtCo.
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