Literature's False Brilliance

Last week, I wrote an article about balancing consumption with production when it comes to hobbies and artwork. Now, I would like to address the latter aspect in more detail. I have been pondering the consumption of clichéd and popular literary works.

Any popular work that we dislike or have no desire to engage with can haunt us. Works that we are constantly exposed to through advertising can put us off, even if we bear no grudge against their authors. Rather than piquing our curiosity, we may find ourselves in a constant state of rejection. Books that we would enjoy reading — this can be applied to other artistic expressions as well as literary works — may no longer seem as appealing simply because they have been overhyped. Such impositions, made against our will, can have negative consequences, eliciting negative feelings or fuel our prejudices.

Another possibility is that the work was not popular at the time, but came to our attention through our own research. Perhaps we stumbled upon it randomly in a second-hand bookshop, or it was a pleasant book that had somehow remained hidden away. However, once it becomes the talk of the town, it may no longer feel special to us. Some people guard what they find personally important from others. In this case, the work's popularity could have the opposite effect.

Photo by Nong on Unsplash

Looking at the word 'cliché', we can see a similar structure. It should be noted that the two expressions do not contain each other. Popularity does not necessarily give rise to clichés, nor do clichés necessarily give rise to popularity. However, they can create areas of overlap. In other words, it makes more sense to think of this as a Venn diagram. Those in the intersection are in trouble.

Remember that you can apply these examples to other works of art that interest you. Let's assume you are reading a genre you like. Let's give a concrete example: the detective/crime genre. Characteristics such as the author's mindset, the time period in which it was written, and the original language can distinguish one written work from another. This will introduce you to different styles and perhaps help you discover some new favourites. Among the works we read, there may be popular ones as well as less popular ones.

Consider that these works have similar structures and contain certain clichéd phrases and narrative forms. Ultimately, they share common philosophical themes. For example, the killer may turn out to be someone completely unexpected, or the detective may stumble upon a clue by chance or make exaggerated, inappropriate yet clever deductions. Here, clichéd situations overshadow the important criteria mentioned. If we are frequently exposed to this structure, we may feel compelled to take a break from the genre.

Let us pause and imagine that this time, we are the creators rather than the consumers. If we wanted to write in this genre, we would examine popular books to see how authors approach certain topics. We could then proceed as usual and add another clichéd piece of literature to the mix, or we could strive to write something original. Aspiring writers with an appetite for the genre will naturally want to express their thoughts in a unique way. This is a step towards breaking the mould. But would this guarantee a better work? Sometimes, wonderful works can be created within the confines of the familiar. The choice is yours.

As we can see, the issue here is not whether popular or clichéd works are sufficient. Their frequency is actually quite understandable. Although monotonous and similar topics or themes can be tiresome, to be a good reader, we must be aware of our preferences and tastes. As mentioned in the previous paragraph, this should be reflected in our reading and writing habits.

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But what about the influence of the people around us beyond what we read? In my opinion, one of the most frustrating aspects is not so much the existence of the works themselves, but people's behaviour. I will mention a few more important points and then conclude.

The great thing about popular works is that they can be recommended to anyone. As the name suggests, they appeal to the general public. They may seem ideal, especially for people who are new to reading. However, it is illogical to recommend a popular book to someone who already reads. Even if they haven't read the book in question, they're probably aware of its existence. It's like answering the question, “Where can I find the book you mentioned?” with “Search for it on Google.” We already know that — don't give us that predictable answer. Almost everyone has read “The Little Prince” or “1984”. But did the person recommending it actually read it?

In short, people's misguided attitudes can make a book famous, even if they haven't read it, and make them appear as if they have. This cannot be attributed to the work or the author; it is a result of people's fear of missing out. This is why people read authors and works that don't usually appeal to them, simply because they saw them on social media. Another example is when publishing houses translate or republish an author's books years later with new editions simply because they won the Nobel Prize in Literature. This has similar characteristics to what we mentioned above. Both structures harbour insincerity and personal interests, whether psychological or financial, and ultimately alienate genuine readers. These types of clichéd actions are more damaging than clichéd book recommendations.

Exactly a year ago, I wrote an article about the Nobel Prize in Literature. Over the past year, I have seen the winner of the 2024 Nobel Prize in Literature, Han Kang, and her works everywhere. I even read her book The Vegetarian. However, this year's prize was awarded to László Krasznahorkai, a European (one of the main topics I discussed in my article) male writer (female writers have never won this prize consecutively). Let's see if we'll hear his name as much as Han Kang's, or if people will stop hesitating to pronounce his seemingly complicated name. Publishers, I hope you're moving quickly. You have a clichéd opportunity that you won't want to miss out on, given the increased sales that follow a Nobel Prize win.