The Problem of the Alive Author

14th November 2016 | Margaret Graton.

The reader can only exist once the author dies – this is an idea famously explained by Roland Barthes. Traditionally, once a book was published, it seemed complete, reprints and subsequent editions aside; it was out of the author’s hands and straight into the reader’s. Authors today simultaneously have more and less control over their works than ever thanks to the utilization of digital spaces like blogs, news outlets, and social media. As an example, J.K. Rowling’s Harry Potter universe has grown in many ways, and Rowling has faced both support and backlash from fans due to the frequent and very public additions and changes she’s made. Meanwhile, J.R.R. Tolkien’s texts, published both as books and letters, have quietly become canon with approving readers. This leads me to wonder…is there a problem with the alive author?

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Who Owns Bridget Jones? The Contemporary Canonicity Conundrum

14 November 2016 ¦ Juliet Conway.

Recently a child showed me his favourite book; a written version of The Angry Birds Movie, which is already a film based, of course, on the popular App. When asked what he thought of the book, his reply was ‘it was good’, but ‘the birds weren’t the same as the game’. As a literature student I should probably balk at the idea that his favourite literature is the account of a pixelated bird, but instead he got me thinking. In a world where fiction is communicated in so many forms, which one is given precedence when contradictions occur?

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In Defence of the Dark Arts: Academic Resistance to the Fantastic

November 10, 2015 | Anahit Behrooz.

“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living.”– Dr Seuss.

Read any review of the Western canon and the absence of one particular genre becomes immediately obvious. Despite being one of the most dynamic and commercially successful genres in literature, fantasy is rarely taken seriously in the academic world. Iconic works such as C. S. Lewis’ Narnia series, J.R.R. Tolkien’s The Lord of the Rings, or J.K. Rowling’s Harry Potter novels are frequently swept aside in favour of ‘serious’ works which are considered more suitable for literary, artistic and socio-political analysis. Why, however, does this tension between fantastic and ‘high-brow’ literature even exist?

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