Plutarch's 'Lives' and the critical reader

This paper analyses the kind of reader constructed in the Lives and the response expected of that reader. It begins by attempting a typology of moralising in the Lives. Plutarch does sometimes make general 'gnomic' statements about right and wrong, and occasionally passes explicit judgement on a subject's behaviour. In addition, the language with which Plutarch describes character is inherently moralistic; and even when he does not pass explicit judgment, Plutarch can rely on a common set of notions about what makes behaviour virtuous or vicious. However, the application of any moral lessons is left to the reader's own judgement. Furthermore, Plutarch's use of multiple focalisations means that the reader is sometimes presented with varying ways of looking at the same individual or the same historical situation. In addition, many incidents or anecdotes are marked by 'multivalence': that is, they resist reduction to a single moral message or lesson. In such cases, the reader is encouraged to exercise his or her own critical faculties. Indeed, the prologues which precede many pairs of Lives and the synkriseis which follow them sometimes explicitly invite the reader's participation in the work of judging. The syncritic structure of the Parallel Lives also invites the reader's participation, as do the varying perspectives provided by a corpus of overlapping Lives. In fact, the presence of a critical, engaged reader is presupposed by the agonistic nature of much of Greek literature, and of several texts in the Moralia which stage opposing viewpoints or arguments. Plutarch himself argues for such a reader in his How the young man should listen to poems.

'Response and Responsibility: Theories of the Implied Reader in Children's Literature Criticism'

Reader Response Theory remains popular within Children's Literature Criticism. It seems to offer a sensible resolution to the question of whether meaning derives from text or reader. Through a close reading of one example of this criticism, I suggest that its dualisms are constantly collapsing into appeals to singular authority. at various stages the text or the reader is wholly responsible for meaning. I further suggest that the criticism bypasses the question of interpretation through claiming knowledge of a child reader whose opinions and reactions can be unproblematically accessed. We do not have to worry about reading texts, because we can, apparently, know the child's response to them with certainty. Anything other than this claim to certainty is taken to be a failure of responsibility, a wallowing in the subjective, obscure and perverse. My intention is to reinstate reading as the responsibility of criticism.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

Boots Book-lovers' Library and the novel: The impact of a circulating library market on twentieth-century fiction

In a Report for the Society of Bookmen in 1928, British publishers estimated that between a quarter to two thirds of all the books they published went to four circulating libraries: Boots, Smith’s, Mudie’s, and The Times bookclub. This essay examines the literary impact of one of the largest of these, Boots Book-lovers’ Library (1899-66), which by 1935 had around 400 libraries attached to their high-street pharmacies catering for the tastes of over one million subscribers a year. Compared to the wealth of studies examining the influence of the library market in the Victorian period, the significance of the subscription libraries as key distributors of fiction in the twentieth century is not well known. But private libraries expanded rapidly in the early twentieth century to cater for what Sidney Dark termed a ‘new reading public’, and records in publishers’ archives indicate that authors routinely adapted their unpublished manuscripts in order to meet the perceived demands of this library reader. This article examines the impact of the Boots Book-lovers’ Library market on authors’ practices of writing and revision, and on literary marketing and censorship. It focuses in particular on the author James Hanley (1897-1985), using unpublished correspondence in the Chatto & Windus archive at the University of Reading to demonstrate how the publisher’s sense of the tastes and expectations of the Boots library reader influenced the editorial process.

Is it still King Lear? English teachers and the e-reader phenomenon

E-reading devices such as the Kindle have rapidly secured a significant place in a number of societies as at least one major platform for reading.To some extent they are part of the overarching move towards a fully digitised world, but they have a distinctiveness in being deliberately‘book-like’. Teachers generally have some suspicion towards ‘New Media’, especially when it challenges their established practice. This chapter reports on a survey of English teachers in England to gauge their reactions to e-readers, both personally and professionally, and describes their speculations about the place of e-readers in schools in the future. There is a mixed reaction with some teachers concerned about the demise of the book and the potential negative impact on reading. However, the majority welcome e-readers as a dynamic element within the reading environment with particular potential to enthuse reluctant readers and those with special or linguistic needs. They also, some grudgingly, view the fact that reading using this form of technology appeals to the ‘egeneration’ and may succeed in making reading ‘cool’. This form of technology is, ironically [given that it appears to threaten traditional books], likely to be rapidly adopted in classrooms.