Abstract

Is Rabinowitz seriously suggesting that his “rules” of reading are equally applicable to the analysis of British and American forms of popular writing and their readerships between 1920 and the 1960s? Is he seriously suggesting that Gone with the Wind, for example, would be “read” in the same way and for the same meanings in the southern states, the northern states, in Yorkshire and London? In this particular case the issue of cultural reproduction is also crucial—the complex relations between the book and film “texts” and readerships for both. Is the book now read “through” the film and the mythos of Hollywood? Can the novel’s “history” of the Civil War and the period of Reconstruction be seen in relation to experience of the Depression on the one hand and to dominant historical discourses of the period privileged within American educational institutions on the other?2Or, if we take a British example like A. J. Cronin, whose work was regarded as both “serious” and “popular” in the late 1930s, what happens to Rabinowitz’s distinction? Clearly, Cronin’s fiction is not “acceptable” in the literary canon but his example illustrates the weakness of any critical analysis of the popular rooted in “literary” assumptions. Very important questions are raised by the commercial success of The Citadel, not among “the people” in any generalized sense but among specific constituencies of professional, middle-class readerships in both New Deal American and in Britain during a period of history remarkable for the regrouping of the forces of social-democratic consensus politics—an alliance between “sympathetic” fractions of the professional middle class and “the people” which culminated eventually in the postwar Labour party election victory. Thus readers are not only readers, and the processes of reading—especially perhaps of popular fiction—are not reducible to abstract rules which exclude all considerations of cultural=political institutions and discourses. 2. This example is partly indebted to discussion with Greg Gaut and Jane P. Tompkins during a University of Minnesota Conference, “On the Social Edge” . Derek Longhurst is principal lecturer and course leader in communication studies at Sunderland Polytechnic and general editor of the forthcoming series Culture and Popular Fiction. His publications include chapters in Re-Reading English and An Introduction to Contemporary Cultural Studies. He is currently working on a book about the political thriller