Interpretive vs. Escape Literature
Interpretive vs. Escape Literature
Interpretive vs. Escape Literature
Consider this question: why read fiction when there are so many other things to do? There
are theoretically two answers to this question: for entertainment— that is, for pleasure— and
for understanding the world around us. Unlike watching YouTube or a television series, reading
tends to remain in your conscious mind to a much greater extent. If you read it, there is a
greater level of retention; and if you write about it afterwards, there is an even greater level of
retention. Many authorities suggest this comes from centuries of human oral story-telling that is
passed down from generation to generation.
2 Categories of Fiction:
Note that although these are distinct categories, it exists on a spectrum. Like any
generalization, all literature doesn’t neatly fit into one category.
Like with how there are categories for literature, it would follow that there would be categories
for writers as well:
Escape Writer: Full of tricks and surprises as they pull a rabbit out of the hat, saves the
day with a flick of their finger and snatches balls out of mid air.
Interpretive Writer: Takes you behind the scenes showing the props and mirrors in
order to clarify the illusions. Also gives shape and form to the material with the intent
that we may see, feel, and understand to a higher level.
Escape and Interpretive Literature
2 Types of Readers:
While there are two kinds of fiction and writer, there are also generally two kinds of readers:
● This reader seeks only escape ● Takes deeper pleasure in fiction that
● Doesn’t mind a moral or interpretation deals with life rather than the formula
as long as it returns them to their of escape
pleasant or exciting image of the ● Does not reject escape literature
world and a flatter image of immediately because it is not always
themselves (the Hero) cheap or trite
● Any fiction which does not do this is ● Knows that too much escape may:
dismissed as “boring” ○ Leave us with superficial
● Seems stuck at the fairy-tale stage attitudes towards life
● Makes fixed demands of every story ○ May actually distort our view
they read and are disappointed or of reality, giving us false
frustrated unless these demands are concepts and expectations
met ● Critical reader; thinks about what they
● Usually sticks to one type of story, are reading
romance, crime, fantasy, or sports ● Have an opinion about what they
● If they try other types of stories, the have read and why they did or did not
story must conform to a set of criteria like it
or it will be quickly set aside. The ● Can discuss the story’s strengths and
criteria are as follows: weaknesses even though their
○ A sympathetic hero or heroine personal response to the story may
who the reader can imagine not have been positive
themselves as, sharing in their ● Depth of the reader’s literary
adventure, difficulties, and experience affects their response to
triumphs allusions, structure, form, technique,
○ Plot in which something and style
exciting is always happening ● Willing to experience growth in their
and has a high level of understanding and judgement of
suspense what they read
○ Happy outcome that leaves
the reader undisturbed and
optimistic
Escape and Interpretive Literature
Humour: The quality of being amusing or comic, especially as expressed in literature or speech.