Twilight | Musings of the Monster Librarian

Why Read The Classics?

Well, for one thing, they’re available. The Brevard County Library System in Florida pulled the erotic bestseller Fifty Shades of Grey from its shelves this week after determining that it didn’t meet the library system’s selection criteria. Library services director Cathy Schweinsberg said,

“Nobody asked us to take it off the shelves. But we bought some copies before we realized what it was. We looked at it, because it’s been called ‘mommy porn’ and ‘soft porn.’ We don’t collect porn.”

What I find most interesting about this is that the intrepid reporter covering the story (click here to see it) did a little browsing in the library catalog, and found a variety of well-known erotic titles, including The Complete Kama Sutra, Fanny Hill, Lolita, Tropic of Cancer, Lady Chatterly’s Lover, and Fear of Flying (if she ever leaves journalism, she could have a bright future as a readers advisory librarian). When the library director was asked why these titles, with content of a similar nature, were on the shelves, she said:

“I think because those other books were written years ago and became classics because of the quality of the writing… This is not a classic.”

(I wonder if they own Twilight?)

So if I want to check out erotica from the Brevard County Libraries, it has to be well-aged, and well-written. (I guess it’s a good thing that I don’t live in Brevard County). But this whole incident raises an interesting point. There are many who look down on the horror genre- on post 1974 horror in particular (to use Becky Siegel Spratford’s demarcation) and who wouldn’t dream of having those nasty covers, those possibly badly written books, anywhere nearby, because they’re not old enough and haven’t been canonized yet. And a lot of books ARE badly written and never will become classics. But people want them. They want that feeling. It’s not fair to dismiss the desires of your readers and users, whether those desires involve erotic Twilight fanfiction or ravening zombies.

If you happen to have a library that doesn’t have the horror fiction you are looking for, it doesn’t mean you’re out of luck. They are in disguise, lurking in the depths of the library- Edgar Allan Poe, H.P. Lovecraft, Ray Bradbury, Shirley Jackson… Jekyll and Hyde, Dorian Gray, Dracula, Victor Frankenstein. If you can’t find the latest, try out the early greats. And then harass your librarian to get you the new stuff while you read… the classics.

Vampires: The New All American Hero?

I was excited to see that the American Library Association had published a new readers advisory guide, Fang-tastic Fiction, with the subtitle “Twenty-First Century Paranormal Fiction”. It’s not often that a professional readers advisory guide appears that supports the librarians and readers who use our site (kind of- the author, Patricia O’Brien-Matthews, attempts immediately to remove the horror genre from her definition of paranormal fiction- but that’s not as easy as it sounds).

I’ll try to do a complete review of the book soon, but something she said in her introduction really jarred me. She wrote that vampires have “all the traits of the all-American hero”. What?

To put it in context, she’s writing about the transition of vampires from monsters to sympathetic leading characters. She attributes the change to the Twilight books and Anita Blake series, but I think that’s a stretch. Would you really pair Edward or Jean-Claude with Mom and apple pie? Deborah Wilson Overstreet was writing about this evolution before Twilight was even published, in her book Not Your Mother’s Vampire (Twilight came out in the fall of 2005, and Overstreet’s book was published shortly afterwards, in 2006, so it doesn’t mention Twilight), and she described the new, more sympathetic vampire as the “postmodern vampire”, which I think is a more accurate description. The postmodern vampire owes a lot to the media and literary franchise created by Joss Whedon, called Buffy the Vampire Slayer. He (usually he) is more angsty, more likely to land a human soulmate, and may be a little more public- heck, he may be working towards redemption- but he isn’t any less a monster. A sympathetic character, perhaps, but what makes them sexy is the danger. Not the sparkles.

Of course, there are differences between the scholarly book Overstreet produced in the pre-Twilight days and O’Brien-Matthews’ guide to readers’ advisory for practicing librarians looking for immediate references. O’Brien-Matthews isn’t doing critical literary analysis- that would be WAY outside the scope of her book, which still has to cover an extremely broad field of literature for some very busy people. But all-American hero? Isn’t it enough to be a sympathetic protagonist in the world of the book?