By K. Macdonald
Who used to be the early twentieth-century masculine middlebrow reader? How did his analyzing offerings reply to his surroundings? This booklet seems to be at British middlebrow writing and examining from the past due Victorian interval to the Nineteen Fifties and examines the masculine reader and writer, and the way they challenged female middlebrow and literary modernism.
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Additional resources for The Masculine Middlebrow, 1880–1950: What Mr Miniver Read
Sample text
J. Wells worried that the teaching of ‘tit-bits’ of literature had become anchored to the examinations process, which encouraged pupils to ‘learn by rote’ (Wells, 1893: p. 491). One writer in 1888, concerned with the relations between literature, examinations and occupational class, suggested that the boy destined to become a ‘post office clerk’ will answer questions that require only ‘a portative memory’ that ‘simply conveys matter’ like ‘a message being delivered as it was received’. ‘Mere snippets’ of literary knowledge, culled from textbooks and primers, will enable the ‘dull boy’ to ‘scrape’ through (Westminster Review, 1888: p.
186). Q. D. Leavis’s point in Fiction and the Reading Public that the anthology is an ‘easy’ read but not good ‘mental training’ (Leavis, 1932: p. 227), alongside her argument that The Sheik is a ‘contemporary version of Pamela’ that embodies ‘the typist’s day-dream’ (Leavis, 1932: p. 138) resembles the way ‘emotional woolly’ feminine criticism is linked to kinds of anthologies which allow the reader free access to snippets without the guidance of a masculine, scholarly touch. Meanwhile, commentary about how anthologies were still used for educational purposes, along with the format of examination papers, continued to distinguish the professional from the amateur reader.
104) For Ainger, such an exercise illustrates the necessity for literary authorities – teachers or scholarly editors – to make story play a central role in the formation of pupils’ taste for poetry. In this sense, annotated editions of Shakespeare’s works that elucidate meaning by notes, used commonly, he says, in public schools, can work for state-school boys if accompanied by a teacher’s transformation of ‘style’ into ‘story’ (Ainger, 1889: pp. 105 and 108). Further, if teaching and examinations were to focus more upon the male reader’s pleasure in ‘great literature’, and if anthologized pieces were used less, then the reader’s capacity to distinguish ‘beauties’ from ‘bad’ writing would be enhanced (Ainger, 1889: p.
