Whatever | Guilty pleasures
They’re songs and books. What’s to feel guilty about?
In May 1933, when the Nationalsozialistischer Deutscher Studentenbund decided to collectively haul themselves out of bed before the Third Reich equivalent of Loose Women and organise a nationwide purge of “un-German” literature at universities across Germany, more than 25,000 titles were burned on bonfires which must have smelt powerfully musty. Around that time and under that particular regime in that particular swathe of Europe, if you chose to leaf through a play by Bertolt Brecht in the park, or a novel by Thomas Mann on the tram, or Erich Maria Remarque’s All Quiet On The Western Front just about anywhere, you were by definition experiencing the illicit thrill of a guilty pleasure.
Similarly, your enjoyment in the old Soviet Union of The Gulag Archipelago, Doctor Zhivago or Nineteen Eighty-Four would have been laced with that bracing buzz of the forbidden, as each might have earned you the bracing buzz of a KGB show trial. In 2008, South Korea’s Ministry of Defence banned the military from reading an armful of “seditious” books, including that well-thumbed squaddies’ standby Bad Samaritans: The Myth of Free Trade and The Secret History of Capitalism by Cambridge professor Ha-Joon Chang.
Even today, owning a copy of Dianetics by L Ron Hubbard in the new Russia carries a 3,000 rouble fine and a jail term of up to 15 days. (Most of the arch-Thetan’s canon was banned under a recent law, for “undermining the traditional spiritual values of the citizens of the Russian Federation.”) It remains illegal to read The Diary Of Anne Frank, Sophie’s Choice and Schindler’s List in Lebanon, all de-listed by the Sûreté General for portraying Jews, Israel or Zionism “favourably”. And The Da Vinci Code is conspicuous by its absence on the streets of Beirut, too, thanks to lobbying by Lebanon’s Catholic Information Center, who officially have nothing better to do.
Bear all of this in mind when you consider that in May 2010, the Guardian newspaper asked various browsers on a knoll at the Hay Literary Festival to reveal their “literary guilty pleasure”. Their willing responses included Marian Keyes, David Nicholls, Zadie Smith, Alan Bennett, “heavy metal biographies”, and The Kite Runner.
Why should anyone literate enough to attend a Guardian-sponsored book fair in a country that even Mark Thomas would be hard pushed to call a totalitarian state, feel guilty about reading Zadie Smith, or Marian Keyes, or a heavy metal biography? These answers, like the spurious questionnaire standby itself, may be lightly thrown but they reveal weightier truths about our national neurosis: we are rendered daft by keeping up appearances like a bunch of insecure teenagers. Though we have little to fear from secret police or religious junta, we merrily and self-mockingly go along with the flimsy pretext that some books, films and TV shows can be consumed without guilt, while others must be enjoyed behind locked doors. Such as, apparently, the Celebrity Come Dine With Me of literature, Khaled Hosseini’s The Kite Runner. Hey, people might think you’re reading a book about kites, rather than the rise of the Taliban in the power vacuum after the Soviet invasion of Afghanistan. Incidentally, the popular film was banned in Afghanistan, making the DVD a cinematic guilty pleasure in Kabul.
In 2007, commissioned by the Costa Book Awards, a YouGov poll declared Stephen King “the UK’s favourite literary guilty pleasure.” UK readers also “freely admitted” to feeling a bit self-conscious about whipping out a Rowling, a Grisham or a Pratchett without first slipping it between the covers of a decoy copy of Fiesta or Knave. Expert comment on the coffee chain’s press release came from a contributing editor of The Encyclopedia of Guilty Pleasures: 1001 Things You Hate To Love, published in hardback in 2006 and described by the Times Literary Supplement as “something of a guilty pleasure.” Its very opportunistic existence flagged up the phrase’s sudden marketability.
That this sado-masochistic concept should still linger in the popular imagination and across so many artforms is, I’m afraid, rock music’s fault, where lines are forever being drawn and redrawn in the dunes of credibility. It was enterprising London DJ Sean Rowley who first trademarked Guilty Pleasures™, which now covers an entire cheeky empire of club nights, compilation albums, SingStar tie-ins, a Fearne Cotton-fronted ITV1 karaoke show, and a mobile disco available for hire at festival tent, arena warm-up, corporate jolly and private function. Rowley was astute in locating the fecund no-man’s land between cool and uncool a few years back and bagging the salvage rights.
I don’t wish to poop the party: the pics on the Guilty Pleasures website suggest a sizable slice of ongoing camp, works-outing fun in nightclubs up and down the land – verily, it is the new School Disco. But in taking the notion so irretrievably overground, gurning wig-outs of allegiance to ELO or Journey or Japanese Boy obviate any need for guilt. We live in a world of pop pluralism and Glee glasnost, where nostalgia packages and tribute bands make everything alright and, for anyone over 30, the last vestiges of embarrassment have been cast aside like a pair of crutches at Lourdes. Now is not the time to transfer our guilt to books.
Among the Guilty Pleasures website’s “celebrity confessionals”, Russell Brand cleverly eschews the obligatory Toto or Wham and plumps for Gary Glitter. “I feel a bit guilty about this,” he declares. “What with him being a convicted paedophile.”
In the same spirit of literalism, three cheers too for Alex, 70, retired, from mid-Wales, the sole Guardian respondent at Hay to break ranks and say, “I don’t feel guilty about reading anything.” Nor should you. Now, where’s my copy of Mein Kampf? I need something to wrap around The Encyclopedia of Guilty Pleasures on the bus.