By Shawn StJean
Another one star review on Amazon, bringing the reviews of Clotho’s Loom there in, as the novel approaches a year since publication, exactly split down the middle (ignoring the five-star reviews that were taken down). Seven positive, and seven negative. I doubt you’ll find a more even spread, anywhere. And enough of a sample to signal a love-hate trend that may always continue.
So based on this uncanny balance, I’m awarding myself an official Most Controversial Novel of 2012 title. No, there is not a lot of sex. There is, rather, a lightning rod that brings together diverging assumptions over what good writing is in our culture, and is not.
Rather than present both sides–lest this be seen as a promotional piece–I’d like to re-consider here only the negative comments. As always, I’d prefer anyone contemplating buying the book to read the sample first. Positive reviews can be as equally misleading as negative ones. Though bad reviews tend to be shorter, and not particularly informative–often due to the fact that the reviewer has neither bothered to finish the book, nor bothered to say so. However, there are a few recognizable trends, and a gap between what I expected and what I’ve gotten (SPOILER-FREE):
I expected folks to have a bit of sympathy for a veteran who learned to hate war, yet got sucked in to fighting another one and endured a brutal moral crisis over it. I had in mind the entire generation of Vietnam vets that history has tried to forget ever since they returned home, not in a wave or to a mass welcome, but individually and isolated, and to mistrust and apathy.
By contrast, several readers have found Will Wyrd cowardly–though they haven’t said that directly. “Spineless” and “without a backbone” seem to be the preferred expressions for a sniper who eventually discovers he can’t follow orders, and (unlike most Hollywood heroes,) is not vindicated by unqualified success.
I expected readers would enjoy reading about a strong woman (co)protagonist who is neither a vampire succubus, werewolf, or derivative, but rather, a career woman facing more lifelike challenges at home and work–though I have rendered them in as dramatic a fashion as realism allows.
Instead, she’s barely been mentioned in the bad reviews. Perhaps I should have expected this, given the gender biases of our culture, and shortened her skirts/augmented her breasts. But this overlooking her to focus nearly every remark on the male really is shocking to me, given that 90% of the book-buying public are women.
I expected people to have trouble accepting the ending, knowing that Americans prefer closure, and hearts-and-flowers affirmation.
What I didn’t expect was pretty clear evidence that half the readers aren’t making it to the ending at all, but many that do are resentful when they fail to understand it. Comments like “What was the point?,” “doom,” and “no resolution” leave little room for doubt there.
I expected quality of prose to matter; another mistaken assumption–perhaps my biggest.
But even for the “baddest” reviewers, one can sense the spectacularity of Clotho’s Loom’s failure for them: “Reads like complex history and literature,” “sensory overload,” and “it wanted to be mythology.” These are indeed some of the very qualities that other readers enjoy.
Oh, one final note: if your novel is long, that will only amplify people’s love or hate of it.
So based on my own, admittedly limited experience as a writer and educator for about 20 years, I’m concluding that we truly have reached the point at which some authors–me–will need to choose between what they expect from readers, and what the buying public expect of a novel. If you are, like me, one for whom those two sets of expectations stand on either side of a very wide chasm, you’ll need to either adjust your sights in toward conservative, commercial viability, or stick to your guns as currently zeroed.