… Among several other things, the UK lockdown has drastically changed the way in which we consume media, including literature. Historically, periods of major political and social upheaval have shaped literature, with literary movements reflecting and reacting to times of societal and economic stress and change. … Though it may take several years before we are able to clearly see how this global crisis will spark and influence literary movements, three prominent threads have already emerged from our pandemic reading that may hint at trends we can anticipate over the next few decades…
Laurie Beckoff | March 27, 2018
Fantasy, science fiction, and other speculative genres are often pejoratively labelled ‘escapist’, accused of being too distant from real-world issues and allowing audiences to dissociate from reality to indulge in daydreams. They let us forget about the problems plaguing our society so that we can enjoy an action-packed adventure or a whimsical jaunt through a magical land.
Scheherazade Khan | 10th July 2017.
The humanities in higher education are often looked down upon as a wasted pursuit. In the presence of doctors, engineers, scientists, policy makers and accountants, the humanities can be considered rather pointless. Most students in the arts are well accustomed to jokes regarding poor employment opportunities in our fields. Though these comments may hint at the difficult reality of job searching for those in the arts, generally humanities students have learnt to laugh along. We understand and have accepted that we did not choose this field for its financial potential but for a passion we felt determined to follow and explore.
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?