GOING FURTHER

Gabrielle Roy (19091983) is one of Canadas most beloved and admired writers. A Francophone born and raised in Manitoba, Gabrielle Roy went on to become internationally famous for her sensitive, compelling stories and novels. If you enjoyed The Dead Child and would like to read more of Gabrielle Roys works, your librarian is sure to be able to help you. If youd like to learn about her life and writings, youll turn up a good number of sites dedicated to this famous Canadian writer with an Internet search.

In this lesson, youve thought about the difference between personal and critical responses to textsespecially to works of fiction like short stories. In the next lesson, youll begin to analyse works of fiction according to how accurately and honestly they reflect reality and what they have to say about the human experience.

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escape fiction fiction intended chiefly to entertain, providing little or no insight and usually emphasizing plot and action interpretive fiction fiction intended both to entertain and to offer some insight into human nature or society

esson 17: Escape Fiction and Interpretive Fiction

English language arts teachers have traditionally often divided works of fiction into two categories: escape fiction and etiv e fiction interpr interpretiv etive fiction. The distinction between these two types of literature can be shown clearly with the aid of a chart.

Two Types of Fiction

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Escape Fiction
helps readers escape from the problems of the real world is meant to give readers pleasure provides a false or illusionary view of life

Interpretive Fiction
takes readers deeper into the real world and its troubles is meant to give readers pleasure and an increased understanding of life tries to clear up illusions and depict reality honestly

This distinction requires a bit of explanation. First, its important to remember that all fiction, whether escape or interpretive, is meant to give readers pleasure; otherwise very few people would bother to read it. Interpretive fiction, though, goes beyond mere entertainment; it offers significant insight into human life as well. In other words, to the degree that a work is truly interpretive, its insight wont be some commonplace and generally accepted moral or adage. Rather, it will be an unusual and thought-provoking viewpoint that should make readers think and question their own ideas. Second, bear in mind that this escape/interpretive distinction isnt cut and dried. Its really a matter of degree. For this reason, today many teachers no longer use these two terms; they dont want to give students the idea that every work of fiction they encounter can be neatly pigeonholed. So as not to fall into this trap, you should think of the escape/interpretive distinction as a scale or continuum along which you can place the works of fiction you read.

Its not always easy to determine where on this scale to place a work of fiction. Sometimes an escapist story masks itself as interpretive by appearing to say something serious about life. At other times you might be convinced that an interpretive story youve just read must be essentially escapist because you found it exciting or suspenseful. What you should do in such cases is ask yourself questions such as these: How honest is the story in depicting life? Are there last-minute escapes and an unlikely happy ending, or do things work out in a truly believable manner? Is what the story says about human life a commonplace idea or a moral; or is it a new and unusual insight that makes you think? Does the story rely heavily on things like suspense and excitement to keep readers interested, or are there better reasons to keep reading?

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 Are characters like real, believable human beings, with good qualities and bad; or are there heroes and villains, good guys and bad guys?

When youve finished the story, does it leave you with a warm, cozy, sentimental feeling of happiness; or do you think that yes, thats just the way life really does workeven though you wish, perhaps, that it didnt? Bearing all this in mind, respond to the following questions. 1. Tell approximately where on the escape/interpretive scale youd place these two stories: The Dead Child Harrison Bergeron

2. For each of these stories, explain why you placed it where you did on the escape/interpretive scale.
Compare your responses with those in the Appendix, Section 2: Lesson 17 on page 141.

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Escape and Interpretive Fiction in the Media

Reading maketh a full man, conference a ready man, and writing an exact man. Sir Francis Bacon (15611626)

Just as short stories and novels can be classified as having been written either to take readers away from the real world and entertain them (escape literature) or to take them deeper into the real world and broaden their awareness of life and people (interpretive literature), so can many of the TV shows and movies you watch. 3. With a partner or a small group, generate a list of TV shows and movies that youve watched recently. These works should tell stories; dont select things like enty news or variety programming. Make sure that your list contains at least tw twenty items. Discuss each show or film in turn and determine whether its escapist or interpretive. You may wish to suggest that some works are a bit of boththat is, that they fall somewhere near the middle of the scale. When this happens, try to decide which side of the centre line the work falls on; use the criteria youve been given earlier in this lesson to help you decide. In your notebook, copy out a chart like the one that follows and use it to respond to this question. Its been started for you.

Show or Film

Escape or Interpretive

Friends Band of Brothers

escape interpretive

Compare your responses with those in the Appendix, Section 2: Lesson 17 on page 142.

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Two Types of Reader

Some books are to be tasted, others to be swallowed, and some few to be chewed and digested: that is, some books are to be read only in parts, others to be read, but not curiously, and some few to be read wholly, and with diligence and attention. Sir Francis Bacon

Just as there are two broad categories of fiction, so are there two types of reader: readers who can enjoy only escape fiction readers who have learned to enjoy interpretive fiction as well as escape literature Readers in the first category, whenever they read a story or novel, tend to insist on things like an exciting plot a sympathetic hero a nasty villain a happy ending a reinforcement of their own beliefs about lifefor example, that good always triumphs over evil, that hard work is always rewarded, or that true love always prevails Readers in the second category, when they read a work of fiction, often look for something that makes them think, causes them to reconsider their own preconceived ideas, and leaves them feeling that theyve somehow grown because of what theyve read. Again it should be stressed that this sort of reader can still enjoy a good escape story now and thenbut not as steady fare.

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Writing Folder Suggestion 2G

In your Writing Folder, assess yourself as a reader. Use the following questions as guides: What sort of reader are you? How would you characterize yourself according to the preceding descriptions? What sorts of fiction do you like to read most? Elaborate. What sorts do you dislike? Explain why.

The type of reading you like most is ultimately a matter of personal taste, but factors like your experience and maturity as a reader also come into play. Just as young children first drink milk, then eat pures and sauces, and finally move on to food with more substance to it, so can readers develop in their reading tastes. If youre someone who hasnt yet developed a taste for good interpretive literature, perhaps this course will help you along.

What Kind of Viewer Are You?

Just as there are at least two different types of readers, so too are there different kinds of viewers. To determine the kind of viewer that you are, do the following.

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4. Make a list of the last ten movies youve seen. These can include films youve seen in the theatre, on television, or on video or DVD. When youve made your list, identify as many attributes or qualities as you can that these films have in common. This list should give you an idea of what it is you tend to look for in movies. If youve found that your preferences are quite narrow, you may want to challenge yourself to expand your viewing habits. Make a commitment to watch a film thats very different from your usual fare something you ordinarily wouldnt consider watching. You may be surprised at your response.
For helpful comments, see the Appendix, Section 2: Lesson 17 on page 142.

The fact is that most people go to the movies to have a good time; they want excitement, comedy, or romance to help them escape reality for a time. And theres nothing wrong with this. But films, like written works of literature, can offer much more than entertainment. Interpretive films, like interpretive stories, can present fascinating insights into life that broaden and deepen viewers awareness of the human condition. If you want to take a look at a good interpretive film, the movie reviews in newspapers should help you find a film that purports to do more than entertain; or you could consider browsing in your local movie-rental outlet. The Internet can also help you select a film. If you live in a larger centre, there may be outlets that specialize in alternative films that offer more than just entertainment; there may even be a theatre that regularly shows such movies. You may find that if you really give a serious film a chance, youll come away with much more than you do from watching traditional, largely predictable, escapist movies.

GOING FURTHER
Have you ever thought about the fact that different types, or genres, of movies have different conventions that moviegoers expect and accept? For example, one type of film is the romantic comedy. Here are some of the conventions of romantic comedies that viewers expect: At first the male and female leads will probably dislike each other, but theyll end up with each other just before the movie ends. There will be roadblocks on the path of true love. True love will win out in the end.

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Having many predictable conventions is an earmark of escape films. Here are a few other types of film that normally (but not always) fall under the classification of escapist. With a study partner, if possible, list some of the conventions that moviegoers expect from each genre. horror fantasy science fiction western action/adventure murder mystery road film

Using Questions for Better Understanding

As you work through this module, you should be building a repertoire of strategies that will help you become a better reader (and viewer)one who can comprehend and appreciate the authors purposes, themes, and effects. No one strategy works best for everybody. You need to determine what works best for you.

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Tyson has offered a very effective reading techniqueone from which most students could benefit. Educational philosopher Neil Postman once said that In the development of intelligence, nothing can be more basic than learning how to ask productive questions. What does this mean? What is a productive question? And is Postman talking about teachers or students asking questions? In terms of reading, a productive question is a question that, if asked and answered, will enable the reader not only to arrive at the meaning of a work but also to better appreciate the mastery or craft of the writer. Obviously, its the learner or student who must learn this most basic of skills. How do you go about learning how to ask productive questions? The first step is to consider every block of text (sentence or paragraph) as an answer to a question. Then all you have to do is generate the question that the block of text answers. Its sort of like Jeopardy!: The answer comes first, and you have to come up with the question. For example, read the first paragraph of Nadine Gordimers short story Happy Event. Youll find the story on page 219 in the Readings section of the Appendix, but, for your convenience, the opening paragraph is reproduced here one sentence at a time.
There were so many things in life you couldnt ever imagine yourself doing, Ella Plaistow told herself.

5. Now generate as many questions as you can that you believe this first sentence answers or that you feel are questions that need to be asked.
Before continuing with the next block of text, compare your response with the one in the Appendix, Section 2: Lesson 17 on page 143.

6. Read the second block of text and repeat the process of asking the questions that, if answered, will get you deeper into the meaning of the story.
Once or twice she had said it aloud, too, to Allan. But mostly it grew, forced its way up out of the silences that fell upon her like a restraining hand during those first few days after she had come home from the nursing home.

Again, before continuing with the next block, compare your response with the one in the Appendix, Section 2: Lesson 17 on page 143.

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When you compared your own response with the suggested ideas in the Appendix, did you ask yourself whether or not many of the questions you posed are similar to those suggested? Is the process becoming easier? Do you think that your understanding of the story is better because of this process? Now read the final block of text in the first paragraph, but dont pose any questions on it just yet.
It seemed to burst through her mouth in a sudden irresistible germination, the way a creeper shoots and uncurls into leaf and stem in one of those films which telescope plant growth into the space of a few terrifying vital seconds.

If you read the suggested responses in the Appendix for this story, you should have noticed that a number of questions were phrased in such a way as to determine the authors intent or intended effect. This is a questioning habit that you should foster. Frequently ask yourself questions such as these: Why would the author include this particular detail at this time? What does the author emphasize about the character by mentioning this particular detail? What idea, feeling, or tone does the author suggest by including this particular detail? These are the kinds of questions that, if asked and answered, will result in a clearer comprehension of the storys purpose and a better appreciation of the authors craft. 7. Ask a series of productive questions on the final block of text that follow the three models youve been given.
Compare your response with the one in the Appendix, Section 2: Lesson 17 on page 143.

Now turn to the Readings section in the Appendix, page 219, and read till the end of the fourth paragraph of Gordimers Happy Event. Then respond to the questions that follow. 8. The opening sentence of this story is There were so many things in life you couldnt ever imagine yourself doing, Ella Plaistow told herself. Readers are never really told what it is that Ella has done that she couldnt previously have imagined; but by the end of the fourth paragraph, theyve been given enough information to determine this. a. What is it that Ella has done? b. How do you know shes done it?

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9. Ella Plaistow, in considering what shes done, thinks (in the second paragraph) You start off as a child, pretending to think the blonde doll prettier than the brunette, so that your loved sister may fall into the trap of choosing the one you dont want for yourself. What does this thought imply about Ellas view of human nature? 10. What inference can you make about the sort of people Ella and her husband are from these four paragraphs? What do they value or consider important? Defend your ideas by referring directly to the text. Now complete the reading of Happy Event before answering the following question. 11. Did you think that the time and energy you spent on the first paragraph helped you with understanding the rest of the story? Explain your response.
Compare your responses with those in the Appendix, Section 2: Lesson 17 on page 143.

Asking questions is a very effective strategy for coming closer to the meaning of a text. You may be concerned that this will involve too much time and effort, but rest assured that this isnt the case. Your brain is an amazing organ; it can perform complex functions extremely quicklyif you train it and expect it to do so. If you develop the habit of asking questions as you read a passage, youll find that the process will soon become automatic and that youll actually be spending very little time focused on the process itself. But for now, do it consciously and purposefully to ensure that the habit takes root. In this lesson, you looked at two different kinds of literature and two different kinds of reader. You then practised a reading strategy that involved asking productive questions. Lesson 18 will begin your study of short stories in greater depth, focusing on narration or point of view.

Now turn to Assignment Booklet 2A and complete the assignment questions for this section.

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