A Culture Show Special: The Books We Really Read, BBC Two

A Culture Show Special: The Books We Really Read, BBC Two | reviews, news & interviews

A Culture Show Special: The Books We Really Read, BBC Two

What the popular bestseller can teach the literary novel. Apparently

by Fisun GunerSaturday, 05 March 2011

Sue Perkins, a self-confessed 'literary snob' is fed up with 'plotless' literary novels

Unlike Sue Perkins, I’ve never sat on the Booker Prize judging panel. So I’ve never had the dubious pleasure of wading through 130-plus contemporary “literary” novels, of supremely variable quality, in a supremely short space of time (it’s approximately a novel a day, I’ve heard, given the allocated time). But still, I was left somewhat puzzled by the Culture Show special, The Books We Really Read, because Perkins – who was a Booker Prize judge in 2009 and is yet to recover from the experience – comes to a conclusion I found slightly odd.

Many “literary” writers who self-consciously think of themselves as literary writers, often just aren’t that good

Explore topics

Share this article

...

Permalink Submitted by Mike (not verified) on Tue, 08/03/2011 - 09:39

This review only seems to give half the story of the programme, which seemed to have been scripted by someone who was so hung-up on plot that the documentary tried to take Perkins on her own mini-Odyssey. She was dreadfully snobbish (in the sort of inverted self-deprecating way that showed she really meant it) about having read English at Oxford and judged the Booker at the start of the programme. I thought after a few minutes that the inevitable conclusion was that she would report on her own personal journey of partial conversion and redemption from her own high-mindedness about the trash she was going to investigate. And that's what we got. If you're going to criticise literary fiction then plot is a pretty tame thing to go for. Absence of a conventional plot or narrative is something of a badge of pride -- see the comments at the end of the 12 debut novelist programme about how only one book used third person omniscient narration. Like so many current documentaries you wonder why on earth we had to have this intrusive personality stamping their ego all over it. It really wasn't necessary.

Add comment

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more TV

Paris Has Fallen, Prime Video review - Afghan war veteran wreaks a terrible vengeance Cynical politicians and amoral arms dealers feel the heat

Wolf Hall: The Mirror and the Light, BBC One review - handsome finale for Hilary Mantel adaptation Mark Rylance is on top form as his Thomas Cromwell re-emerges after nine years

The Day of the Jackal, Sky Atlantic review - Frederick Forsyth's assassin gets a modern-day makeover Eddie Redmayne shoots to kill in lavish 10-part drama

Until I Kill You, ITV1 review - superb performances in a frustrating true-crime story Anna Maxwell Martin and Shaun Evans are compelling, but the script needs more ballast

Road Diary: Bruce Springsteen and the E Street Band, Disney+ review - the Boss grows older defiantly Thom Zimny's film reels in 50 years of New Jersey's most famous export

Industry, BBC One review - bold, addictive saga about corporate culture now Third season of the tale of investment bankers reaches a satisfying climax

Rivals, Disney+ review - adultery, skulduggery and political incorrectness Back to the Eighties with Jilly Cooper's tales of the rich and infamous

Disclaimer, Apple TV+ review - a misfiring revenge saga from Alfonso Cuarón Odd casting and weak scripting aren't a temptation to keep watching

Ludwig, BBC One review - entertaining spin on the brainy detective formula David Mitchell is a perfect fit for this super-sleuth

The Hardacres, Channel 5 review - a fishy tale of upward mobility Will everyday saga of Yorkshire folk strike a popular note?

Joan, ITV1 review - the roller-coaster career of a 1980s jewel thief Brilliant performance by Sophie Turner as 'The Godmother'

The Penguin, Sky Atlantic review - power, corruption, lies and prosthetics Colin Farrell makes a beast of himself in Batman spin-off

Follow @theartsdesk