Fewer and fewer men read fiction. They compose only about 20% of the fiction market according to surveys. Some lay this off to genetics, suggesting that the way men’s minds work discourages them from entering into another’s experience the way fiction demands.
“Boys and men are, in general, more convergent and linear in their thinking; this would naturally draw them towards non-fiction,” wrote author Darragh McManus, pondering the question.
Others, like Jason Pinter, suggest that the overwhelmingly female publishing industry simply overlooks books that appeal to men because they fall outside the female experience. In other words, men now suffer the same fate women suffered at the hands of a male-dominated publishing industry for so many years—and payback’s a bitch.
Others suggest that boys are discouraged from reading at a young age by children’s books that fail to engage them. Give them the proper material, the story goes, and young boys will engage with reading. As proof, they point to the fact that young males were principal consumers of the Harry Potter books. “More boys than girls have read the Harry Potter novels, according to U.S. publisher, Scholastic. What’s more, Harry Potter made more of an impact on boys' reading habits. Sixty-one percent agreed with the statement ‘I didn't read books for fun before reading Harry Potter,’ compared with forty-one percent of girls.”
I always balked at these rationales because I, and men I know, read fiction all the time. However, thinking on it, I had to admit that I avoid modern fiction like the plague. I have tried the popular plot-thick page-turners and the feel-good tearjerkers and the occasional cause celebre with a literary reputation. So many have left me so cold, that I simply won’t shell out the cash for a paperback or ebook version, much less a hardcover.
It then made sense that men would ask why they should read something “made up” about this world when there was plenty of factual reading material on that subject. I have never approached fiction to re-visit “this world.” I’m already here. Instead, I want an alternative—a vision of this world exhaled through the writers’ and characters’ hearts, minds and eyes. Exhaled with the distinction of the smell of an individual’s breath. Fitzgerald’s Long Island in The Great Gatsby is his own creation, no kitchen sink recreation. Fitzgerald’s people and prose warp this place into something utterly unique.
Raymond Chandler’s Los Angeles is his distinctive projection of that city. You don’t pick up Jim Thompson’s The Killer Inside Me with the idea of identifying with the protagonist. You don’t grab Faulkner to meet the boys next door or titter with recognition of your kith and kin. You don’t visit Patricia Highsmith or Mary Renault to look in a mirror. You pick them up to enter worlds as fantastical in their way as Harry Potter’s. I read fiction to meet characters I otherwise would not. I read fiction for the larger than life—not a retread of this one. I want to watch and think with characters who are nothing like me, who dare what I never would, who experience in ways that I cannot.
In an article titled, “Why Women Read More Than Men,” NPR quoted Louann Brizendine, author of The Female Brain, suggesting a biological reason why women read more fiction than men:
The research is still in its early stages, but some studies have found that women have more sensitive mirror neurons than men. That might explain why women are drawn to works of fiction, which by definition require the reader to empathize with characters.
Reading fiction does not require that you empathize with characters in the sense of “ascribing… feelings or attitudes present in oneself.” It requires that you regard and grow intrigued by characters such that you may come to a greater understanding of them—perhaps even to the point of empathizing with them. However, you need not imagine yourself as them, or believe that they behave as you or as members of your social circle would. That’s not reading; it’s narcissism.
Perhaps more men stopped reading fiction when fiction stopped regularly presenting unique, literary revisions of this world, and settled for presenting a photographic facsimile such that readers (most of them female) could better “empathize.” Maybe we’re too megalomaniacal and obsessed with grandeur for that, and thus want words recreated and re-imagined, instead of rehashed.
“Shall I project a world,” asks Oedipa Maas in Thomas Pynchon’s The Crying of Lot 49? Somewhere along the line, in tandem with the female domination of the publishing industry and fiction readership, the ideal of doing so fell from vogue. Instead, writers rely more and more on identification with this one. Male readers seem to have checked out.
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About the author
Leonce Gaiter is a prolific African American writer and proud Harvard Alum. His writing has appeared in the NYTimes, NYT Magazine, LA Times, Washington Times, and Washington Post, and he has written two novels. His newly released novel, In the Company of Educated Men, (http://bit.ly/ZyqSuN) is a literary thriller with socio-economic, class, and racial themes.Twitter * Blog
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