Norwegian psychologist Frode Stenseng explored this theory, and divides escapism into two categories: self-suppression and self-expansion. In fact, by absorbing its reader into the world of fictional characters so effortlessly, lowbrow novels do something which ‘higher’ literature cannot it encourages all those beautiful qualities that are so important for coping in a pandemic-compassion, empathy, and an understanding of self. It is a type of writing that allows the reader to briefly live within a world borne by an author a world where the reader is liberated from daily responsibilities. A reality separate and far away from the reality of a pandemic. Genre, escapist, or lowbrow fiction-whatever you want to call it-permits the reader to indulge in an alternate reality. It is also highly accessible, being produced and distributed in great quantities. The lowbrow reaches diverse groups of readers, and is usually easy to devour. However, one of the lowbrow genres greatest superpowers is that it is a great source of entertainment. Whether you’re reading a feminist manifesto, an anthology of short stories about race, a non-fic about the effects of climate change, or even sifting through your local newspaper, there is a time for writing that provides the reader with facts and complex theories. Highbrow literature and non-fiction novels certainly do have their place they are educational and can inspire critical thinking on crucial topics. With this, a sort of snobbery ensued, as the upper class deemed highbrow literature as ultimately superior. As literature became more accessible for the lower classes, the upper and upper-middle classes found themselves no longer the main consumer of novels. Rooted in a system interwoven with race and class, ‘lowbrow’ literature grew in popularity in the era when mass production was taking off. Unlike their older sister, ‘lowbrow’ and ‘middlebrow’ are typically used as derogatory terms. Middlebrow literature is the novels produced in mass, yet tackling the same intellectual topics as the highbrows. And there, resting on the fence somewhere in between, like a cat surveying its surroundings, is the ‘middlebrow’. Highbrows were seen as more culturally and intellectually advanced, whereas lowbrows focused more on entertainment and ‘simplicity’. It was derived from the pseudoscience of phrenology-the study of skull shape as a determiner of character. This term was first used in print in 1884, but wasn’t popularised until it appeared in a piece for The Sun of New York City in 1902. To understand lowbrow literature, we need to take a quick glance at its predecessor, ‘highbrow’. Lowbrow fiction flooded these search results. As the level of restrictions increased, so did my google searches for ‘Best Books for Escapism’. Many of the narratives I felt drawn towards were easily found in my local bookshop, or listed on the homepage of a large bookstore website. When the news became too overwhelming, I would reach for a novel and there I would feel safe. I, myself, stretched for fiction, grasping for a chance to narrow my focus to the pages of interdimensional space travel, magical realms, and shocking plot twists. And so we held on to more books, more pages. Book sales soared as we realised that, for a while, our world would be restrained within the pages in our hands. Many people also turned to their bookshelves for comfort. When the little bubble of our world became restricted, we found creativity in the corners of our homes. In early 2020, Melbournians in lockdown found freedom in new hobbies: baking a fresh loaf of sourdough, learning to crochet, tie-dying jeans, or learning the latest TikTok dance.
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