In July of 2019, I published an academic book titled Weird Tales of Modernity: The Ephemerality of the Ordinary in the Stories of Robert E. Howard, Clark Ashton Smith, and H.P. Lovecraft. Academic books typically don't attract a large readership, with sales of 100 to 200 copies considered successful in the humanities. However, the true measure of an academic book's success lies in its influence, often gauged by reviews in academic journals.
My book received two significant reviews. The first, in The
Journal of the Fantastic in the Arts, a leading journal for literary
studies scholars who focus on fantasy, stated: "Carney’s book is a
valuable addition to the literature on its topic. It deserves a wide
readership, and a prominent place in the scholarship of American fantastic
literature in the early twentieth century." This recognition was
encouraging, affirming my book's contribution to 20th-century fantastic
literature scholarship. The second review, from American Literature, a
flagship journal in literary studies, noted that my book "plac[es] pulp
fiction in a broader historical and literary context." This suggested that
my work could help traditional American literature scholars link interwar pulp
fiction with the broader saga of American literary tradition.
2019 was shaping up to be a promising year, especially as I
anticipated the academic year 2019-2020. Publishing an academic book in the
summer typically leads to opportunities to share work, respond to rebuttals,
and clarify contributions at academic conferences. I was looking forward to
attending events like the National Conference of the Popular Culture
Association and the International Conference of the Society for the Study of
the Fantastic in the Arts, expecting to disseminate my unique perspective on pulp
fiction.
However, the unforeseen events of March 2020, just 8 months
post-publication, disrupted these plans. The pandemic led to the cancellation
of most academic conferences. The shift to online classes consumed my focus,
leaving little room to consider the potential impact on my book's influence.
Nearly three years later, I realize the unfortunate timing
of my book's release. It's disappointing because I believe my study is
important. Traditionally, scholars have separated the histories of canonical
literature and genre fiction. My book aimed to bridge this gap, illustrating
how both must be understood in response to the same social, economic, and
aesthetic developments.
Despite the setbacks, my book did begin to make waves in the
academic world, with positive reviews in The Journal of the Fantastic in the
Arts and American Literature. Additionally, genre fiction
enthusiasts also reviewed it. Dave C. Smith, a celebrated sword and sorcery
writer, wrote a thoughtful review for Black Gate. Bobby Derie, a
Lovecraft scholar, also reviewed it positively but noted its challenging
appeal: Would scholars find its focus on pulp fiction (i.e. noncanonical
literature) a barrier? Would genre fiction fans find it too theoretical, dense,
and granular? Derie concluded, "Weird Tales of Modernity sits
comfortably on a shelf next to The Unique Legacy of Weird Tales (2015), Conan
Meets the Academy (2013), and New Critical Essays on Lovecraft (2013).
Whether it will find an audience only the future can tell, but it certainly
deserves one."
Reflecting
on the years spent working on the book and its modest impact thus far, I feel a
tinge of sadness. But academic books are often slow burns. I remain hopeful
that in time, people will discover it and engage with my ideas.
