While it may be only highbrow books that make us empathetic, I acknowledge that book-reading of all kinds increases brain function, and it is only by reading all kinds of brows that we may distinguish certain kinds of literature from others. I am not against the reading of lowbrow literature. In other words, highbrow books give people an increased capacity for empathy. Late last year, The New School for Social Research in New York found that those who read literary works, as opposed to more lowbrow novels and non-fiction, scored most highly on tests of ‘the ability to decipher others’ motives and emotions’. It is the way in which highbrow literature exposes us to the inner thoughts and feelings of others that we might not identify with or ordinarily care about. One of the greatest differences between highbrow and lowbrow books is this way in which the former shows us that other people’s beliefs and desires may not be what we believe and desire. It is for this reason that highbrow literature is a powerful tool against dictatorships, fundamentalists and totalitarianism. An understanding of subjectivity – its mutability, prejudices, irrationality and individuality – not only gives us a greater understanding and therefore confidence in ourselves, but enables us to see where other people – unlike ourselves – are coming from.
Highbrow literature is steeped in knowledge of outer and interior worlds, and knowledge of this kind is powerful. There is a reason why they read Nabokov, Jane Austen and F. There is a reason why the Iranian author and professor Azar Nafisi used to secretly bring together seven female students so that they could read and discuss forbidden classic works of literature. Highbrow books might not flatter you, or cater to your ego, but you know that that bareback horse is taking you somewhere. You are called upon to fill in gaps, to come to your own conclusions, to find your own explanations. In highbrow books you are not only a reader, but a writer also. Highbrow books lead you into a new environment where you have to find your own way. It isn’t harmonious with passivity, or a consumerist attitude, and there’s no one to hold your hand. Highbrow literature is a bareback gallop in the wilderness. You are no wiser, no gentler, no more thoughtful. You’re led around by the bridle: it’s amusing, it’s fun, you don’t have to do shit, but once the ride is finished you’re exactly where you started. It’s the literary equivalent of a pony-ride at a fair. The reader’s engagement with lowbrow books is one of passive consumerism, and this is why it can be pleasurable. Nothing is implied, everything is explained. In lowbrow books, the writer dictates the reader’s experience. They do not fade out ambiguity to deliver readers with monochromatic simplicity. They do not simplify characters and their motives. Highbrow books are complex, not for the sake of complexity itself, but because life is complex. It’s no secret that highbrow books can be difficult, but it is a mistake to believe that this means they’re not pleasurable, or that they’re inaccessible. Well, ladies and gentlemen, so is Fifty Shades of Grey.
‘Highbrow literature is for wankers,’ I hear them say. ‘Intellectual snobbery’ is a common accusation, as though the reason people read and write the stuff is solely to intimidate their dinner guests. I also understand why many people have a problem with highbrow literature. In small doses it can be entertaining, charming or even slightly titillating, but you don’t want to spend all your time doing it. It has its place, much like folk dancing, or Taylor Swift. I’d like to establish something before I begin my defence of one of the greatest loves of my life, and that is, I don’t have a problem with reading lowbrow literature. Here, Hannah Kent defends highbrow literature.
LOWBROW VS HIGHBROW FULL
This week, we’re publishing their speeches in full for your edification. Last week at the Highbrow vs Lowbrow Cultural Showdown, six of our favourite writers faced off to defend their preferred cultural forms.
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