With the increasing commercialization of publishing at the end of
the nineteenth century, the polarization of serious literature and
popular fiction became a commonplace of literary criticism. Andrew
McCann cautions against this opposition by arguing that popular
fiction's engagement with heterodox conceptions of authorship and
creativity complicates its status as mere distraction or
entertainment. Popular writers such as George Du Maurier, Marie
Corelli, Rosa Praed and Arthur Machen drew upon a contemporary
fascination with occult practices to construct texts that had an
intensely ambiguous relationship to the proprietary notions of
authorship that were so central to commercial publishing. Through
trance-induced or automatic writing, dream states, dual personality
and the retrieval of past lives channeled through mediums, they
imagined forms of authorship that reinvested popular texts with
claims to aesthetic and political value that cut against the
homogenizing pressures of an emerging culture industry.
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