Only in silence the word, Only in dark the light, Only in dying life: Bright the hawk's flight On the empty sky. <i> — The Creation of Éa</i> - Ursula K. Le Guin

A writer sets out to write science fiction but isn’t familiar with the genre, hasn’t read what’s been written. This is a fairly common situation, because science fiction is known to sell well but, as a subliterary genre, is not supposed to be worth study — what’s to learn? It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers — that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

In the same way, critics who set out to talk about a fantasy novel without having read any fantasy since they were eight, and in ignorance of the history and extensive theory of fantasy literature, will make fools of themselves because they don’t know how to read the book. They have no contextual information to tell them what its tradition is, where it’s coming from, what it’s trying to do, what it does. This was liberally proved when the first Harry Potter book came out and a lot of literary reviewers ran around shrieking about the incredible originality of the book. This originality was an artifact of the reviewers’ blank ignorance of its genres (children’s fantasy and the British boarding-school story), plus the fact that they hadn’t read a fantasy since they were eight. It was pitiful. It was like watching some TV gourmet chef eat a piece of buttered toast and squeal, “But this is delicious! Unheard of! Where has it been all my life?

And here’s an example of deliberate violation of a Fake Rule: Fake Rule: The generic pronoun in English is he. Violation: “Each one in turn reads their piece aloud.” This is wrong, say the grammar bullies, because each one, each person is a singular noun and their is a plural pronoun. But Shakespeare used their with words such as everybody, anybody, a person, and so we all do when we’re talking. (“It’s enough to drive anyone out of their senses,” said George Bernard Shaw.) The grammarians started telling us it was incorrect along in the sixteenth or seventeenth century. That was when they also declared that the pronoun he includes both sexes, as in “If a person needs an abortion, he should be required to tell his parents.” My use of their is socially motivated and, if you like, politically correct: a deliberate response to the socially and politically significant banning of our genderless pronoun by language legislators enforcing the notion that the male sex is the only one that counts. I consistently break a rule I consider to be not only fake but pernicious. I know what I’m doing and why.

I think the mystery of art lies in this, that artists’ relationship is essentially with their work — not with power, not with profit, not with themselves, not even with their audience.