Jim McCarthy on literary and commercial fiction

It didn’t surprise me when someone asked me recently what the differences are in how I handle the projects I love and the projects I work on for money. It did, however, irritate me. The question came loaded with the insinuation that there are two kinds of books—the ones people should read and the ones they actually do. Often, I find that literary and commercial fiction are pitted against each other, as though they’re totally different beasts that serve entirely separate purposes. But is that really the case?

Too often, category fiction is treated like the bastard stepchild of the written word. But, frankly, I’m a whole lot more likely to pick up Stephen King’s new book than dive into Thomas Pynchon’s latest doorstop. Which isn’t to dismiss literary fiction, either.

Years ago, I was getting a ride to a train station from an MFA student in Massachusetts, and we talked about the challenges of fiction writing and writer’s block, not to mention how competitive the marketplace is. And then he unleashed this on me: “I could knock out the sort of mystery novels that sell hundreds of thousands of copies, but I’m better than that.” If he weren’t behind the wheel of the car, I would have smacked him upside the head. I mean, really. Do you honestly think the only thing holding people back from becoming bestselling authors is…integrity?

As I patiently explained to him (who am I kidding? I sounded like a howler monkey in heat), it takes a lot of talent to write a fantastic mystery, just as it does to write an amazing literary novel. They just happen to be very, very different talents. Anyone who thinks that just because someone is a wonderful writer means they can pull off working in other genres clearly hasn’t read Michael Cunningham’s SPECIMEN DAYS. I recommend they keep it that way.

And let’s not get too far without mentioning that literary and commercial are not exact opposites. There are plenty of authors who mix the two forms freely. One can see this by reading the stunning, bleak mysteries of Dennis Lehane or the thrilling horror of Clive Barker. And is it just me, or is the award winning COLD MOUNTAIN as much a retelling of The Odyssey as it is a historical romance novel?

What I’m saying is, let’s let the snobbery go. Reading MADAME BOVARY can be as entertaining as reading VALLEY OF THE DOLLS and vice versa, and there’s nothing wrong with that. To those people who consider genre fiction to be “guilty pleasures,” let it go. I grew up on a steady diet of Stephen King, Charles Dickens, Jackie Collins, and Victor Hugo, and I’ll happily debate the merits of Lucky Santangelo and Esmeralda any day. I’m the guy on the subway reading The New Yorker and Romantic Times.

The lines for me just aren’t that sharply drawn. So whether I’m pitching a new cozy mystery or a collection of interconnected stories previously published in literary journals, you can know one thing links them: I love both.