Tag Archives: Penny Hancock

Why Does Literature Seem To Snub Genre?

I seem to have a backlog of random posts on my thoughts about the book world and reading at the moment. It seems I am having a phase where every book I read sparks a question about my reading habits or reading in general. I hope you all enjoy these posts because there is going to be quite an influx of them over the next few weeks. The first of these that I want to talk about came from my review of Penny Hancock’s ‘Tideline’ yesterday when I said it was ‘the sort of thriller that I want to put in the path of anyone who doesn’t deem thrillers as literature’ because this is something that seems to be a common misconception in the book world or in bookish circles. Why can’t a crime novel, and indeed any work that is deemed genre, also be deemed ‘literature’?

My initial line of thinking is the fact that on the whole crime novels are not particularly known for being flowery, you can’t really make a dead body picturesque can you – though you can make it haunting and atmospheric, yet flowery prose doesn’t mean that a book is literary either does it? Crime novels, and I am focusing on these as they are the genre I read the most outside what people deem ‘literary novels’, by their nature have to focus on plot and they have to have pace. This doesn’t have to come at the expense of good writing though as I find with authors like Kate Atkinson or Susan Hill the writing that they use in their ‘crime’ novels (atmospheric, observational, vivid) is the same as they use in the novels that would be put in the ‘fiction’ section and which are deemed to be much more literary because they lose the crime tag.

I have just recently given up on a very ‘literary’ novel because while the writing was stunning the book itself wasn’t going anywhere. The plot was there but it was fizzling out, it was dragging, and I was getting increasingly bored. So I gave up. That very rarely happens to me with a good thriller. With literary novels you often here the phrase ‘a multi layered novel’ have any of these people read the aforementioned Kate Atkinson (whose use of small coincidences to twist a tale is fantastic) or Sophie Hannah by any chance as both these authors created tales which are definitely multi layered, whilst being gripping reads with big stories at their heart, and I do think every reader loves a good ‘story’. Many people will say that genre fiction is train station or airport reading, but isn’t that in itself interesting that when people go away they want those sorts of books? Here we could go into the dangerous territory of ‘readability vs. literature’ so lets move swiftly on…

The other misconception I have often heard is that crime novels, or any genre novel actually, often feature one dimensional or rather stereotypical characters. I always find myself wanting to shout ‘what about Sherlock Holmes, people actually wrote to the man, they thought he was real’ to this, but I suppose that’s classic crime so doesn’t fit in with my discussion on modern crime now, though it was deemed literature in its day. If I was discussing chick-lit I would here use the Jane Austen argument and how at the time it was not deemed as ‘literature’ and look at how she is hailed now, Charles Dickens is another one, paid per word as a regular newspaper serialisation, now heralded as one of the greatest writers ever to have lived by many.

Let’s get back to the characters in modern crime though. I think we could find the ‘stereotypical’ characters in almost every novel we read, does ‘stereotypical’ therefore actually mean the true to life people who live next door or you might pass by on the street? What of one dimensional characters? I read few crime novels where this is the case, they wouldn’t work for me as a read if they were. Again there are a number of authors, including the above, where I could say this statement was untrue; Tess Gerritsen (I read the Rizzoli and Isles series because I want to know what they are up to, I like them, I feel I have gotten to know them over a series) and Val McDermid (Jacko Vance might be my favourite serial killer ever, if one can have one) for starters.

Val McDermid once said to me ‘it’s not the crime that’s the really important thing to me, it’s what crime or murder does to the people surrounding it that truly motivates me’. I have paraphrased there, sorry if you read this Val, but I think is one of the true signs of why crime can be counted as literature, it looks at how humans are conditioned to react, emote and deal in extreme circumstances. People say ‘oh but crime stories are so farfetched’ but they happen and often it’s the most bizarre crimes that have us sitting watching the news and saying ‘oh you couldn’t have made that up’ and ‘how would you deal with that, can you imagine?’ With a book you can from the safety of your sofa, just as you can being in a war torn country, having been bereaved, experiencing dictatorial leadership or simply being in a very dysfunctional family. All these things people are experiencing all over the world but just because it’s not happening to us or those we know doesn’t mean it is ‘farfetched’. Also thanks to crime in translation we learn about other cultures through the subject matter dealt with by the novels of the likes of Henning Mankell or Natsuo Kirino.

Of course there is some badly written and one dimensional drivel out there on the crime shelves, but the same applies to literature doesn’t it. We also all have different tastes. I have always found it interesting when I have reviewed an M.C. Beaton and then had emails saying people won’t read my blog any more as they thought I only read ‘proper’ books. What constitutes a ‘proper’ book I do not know, any ideas?

I am fully aware that I can fall prey to the same issues with other genres (aliens… like they exist) though I have just read a stunning werewolf novel (no, really) and indeed I have been umming and ahhhing about reading Jojo Moyes ‘Me Before You’ because I have heard rave reviews from people I trust and think the premise sounds interesting, but from just looking at it my mind says ‘chick-lit’ and I switch off, this has happened whenever I have been recommended Marian Keyes, which has happened a lot. Am I then adding to the literary snobbery myself, I hope not, and may now rush and get ‘Me Before You’ just to prove a point.

This might be one of those posts that often appear on Savidge Reads where I start with a question that has been buzzing around in my head, write about it and end up asking more questions than I can answer and coming out the other side without a conclusion. It is a subject that interests me and one I would love to have a good old natter with you all about, so your thoughts please…

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Tideline – Penny Hancock

They say that there is nothing new to write about under the sun, and they are probably right. So when I hear of any novel where people are claiming that it is ‘a truly original story’ or ‘quite unlike any other book of its genre’ I tend to look on sceptically. In the case of ‘Tideline’ by Penny Hancock I think those are actually two quotes that I would give the book myself. If you love a good thriller, as you probably know I do, and want something that stands out from the crowd in what is the biggest market in books then this is definitely a book you should be giving a whirl.

Simon & Schuster, hardback, 2012, fiction, 352 pages, kindly sent by the publisher

As clichéd as it may sound I was hooked from the very first page of ‘Tideline’ and found it very difficult to put down. In fact I am struggling to think of a thriller or crime novel that has thrown me into its story in such a gripping, and also rather disturbing way so instantly in quite some time. As this psychological thriller starts we are instantly drawn into the story as Sonia, a music teacher living in Greenwich, opens the door to a fifteen year old boy called Jez who she decides she won’t allow to leave… ever.

The speed with which Penny Hancock took me into the story and indeed Sonia’s thoughts was so swift and sudden that I found I had to stop reading and take stock of the situation before I could pick the book up again. This is not one of those books where the author builds up the suspense slowly and leads you on for 100 pages until something actually happens, this is a book that grabs you and simply won’t let you go and I was left pondering if Penny Hancock would keep the momentum at the pace the whole way through, indeed she does.

The speed in which Sonia makes the decision to hold Jez hostage makes us realise that this is no planned event, it also tells us that we have in Sonia a protagonist who is on the edge and has been for quite some time. This is in part what drives the story forward, Sonia’s past. Seeing Jez at her door brings backs thoughts and events either long forgotten or deeply buried (which we then get in flashbacks) and yet in a way these have been there subconsciously and may be why she is so obsessed about the house she lives in, one her father left her after he committed suicide.

Sonia’s obsession with The River House is really the only small insight that anyone, including her husband (who is often away on business, and believes is happily married) and daughter (who has recently moved out), could have that in front of there is someone who has been unhinged and rather unstable for quite some time and has been a silent ticking time bomb waiting to go bonkers. Jez’s arrival, to borrow a rare CD of her husbands, is the switch that even Sonia isn’t aware she has been waiting for. This in many ways makes it, and Sonia, all the more frightening.

The story could actually get too claustrophobic if we were in Sonia’s head all the time, there was a point, where after having got Jez so drunk he is practically unconscious that she puts him to bed and starts to stroke him, that I thought ‘I don’t think I can do this for a whole book’. I was feeling sufficiently creeped out and bordering on too uncomfortable to read on, Hancock was achieving her goal but I think she knew just Sonia would be too much, so in comes the narrative of Helen. Helen is Jez’s aunt and also an old friend of Sonia’s, though they haven’t seen each other much. After having had an affair her marriage is in tatters and she’s turned to drink, she has also become the number one suspect in her own nephew’s disappearance.

Through Helen and Sonia we also see behind the closed doors of the exclusive/middle class suburbs of London and in particular to two marriages that in differing ways aren’t working. Hancock also uses these two women to make the point that we never really know what is going on behind closed doors and what skeletons people might have in their closets. It also shows you how complex the book is at its heart, which is another thing I loved about it; I couldn’t second guess it – though of course I tried only to be proved wrong at every one of my assumptions and possible outcomes. Rather like S. J. Watson’s ‘Before I Go To Sleep’ Penny Hancock also makes the familiar suburban life seem a lot less comfortable and much darker around the edges.

Basically I thought this book was great, but I should mention a slight wobble I had with it. It was only one small thing but it was something I noticed. The speed with which the book starts and the momentum that Hancock keeps going to make you turn the page and read ‘just one more chapter’, I think, should have wound down at the end. Everything unfolds and reaches its peak all too quickly and actually a tiny bit more suspense at the end would have not only worked in dragging the ending out, in that torturous ‘oh goodness how on earth will all this end’ way, but it would have been less confusing. I had to read the penultimate chapter a few times to work out what had happened in the present and in the past because it all seemed to happen too quickly, but the epilogue was brilliant and it is a small criticism.

‘Tideline’ is the sort of thriller that I want to put in the path of anyone who doesn’t deem thrillers as literature. It’s got two incredibly interesting and gripping characters at the heart of it, multiple layers with all its back stories, looks at human behaviour (if in extremes) and its simply a cracking tale. Did I mention it’s a debut novel too? I feel it should be mentioned because it’s an incredibly accomplished one. If you love a good gripping tale with thrills and spills and one of the most morbidly fascinating (scary and disturbing) protagonists then ‘Tideline’ is a book you need to pick up pronto. Much recommended.

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Filed under Books of 2012, Penny Hancock, Review, Simon & Schuster