"I have been a reader of Science Fiction and Fantasy for a long time, since I was 11 or 12 I think, so I understand it and I'm not at all surprised that readers of the genre might enjoy my books"
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Auel’s line reads like a polite shrug, but it’s doing real cultural work: she’s negotiating her place on the literary map without begging for permission. By leading with childhood readership, she frames Science Fiction and Fantasy not as a niche indulgence but as a formative literacy, a training ground that taught her how genre audiences think and what they come to books for. The subtext is practical, almost infrastructural: if you want to write sweeping prehistoric epics with invented lifeways, spiritual cosmologies, and immersive worldbuilding, you’re already borrowing genre tools whether the bookstore shelves admit it or not.
There’s also a quiet pushback against the old prestige reflex that treats “genre readers” as a separate species. Auel doesn’t say she writes SF/F; she says she understands it. That distinction matters. It’s a way of acknowledging the readership’s appetite for constructed worlds, long arcs, and mythic stakes while keeping her work positioned as mainstream historical fiction. She’s winking at the border guards: call it what you want, the same readers will show up.
Context sharpens it. The Clan of the Cave Bear and its sequels became mass-market phenomena, often discussed in terms of anthropology, sexuality, and research. Auel’s comment reminds us that popularity isn’t an accident; it’s craft aimed at an audience trained to sink into invented realities. She’s explaining the overlap between “serious” research and “escapist” immersion, and why the divide was always more marketing than meaning.
There’s also a quiet pushback against the old prestige reflex that treats “genre readers” as a separate species. Auel doesn’t say she writes SF/F; she says she understands it. That distinction matters. It’s a way of acknowledging the readership’s appetite for constructed worlds, long arcs, and mythic stakes while keeping her work positioned as mainstream historical fiction. She’s winking at the border guards: call it what you want, the same readers will show up.
Context sharpens it. The Clan of the Cave Bear and its sequels became mass-market phenomena, often discussed in terms of anthropology, sexuality, and research. Auel’s comment reminds us that popularity isn’t an accident; it’s craft aimed at an audience trained to sink into invented realities. She’s explaining the overlap between “serious” research and “escapist” immersion, and why the divide was always more marketing than meaning.
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| Topic | Book |
|---|---|
| Source | Help us find the source |
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