Though not the intention Sadokierski draws attention to the limitations of her dissertation and how it may detract from innovation. Sadokierski highlights work outside the scope of the definition ofHybrid Novels and calls them Hybrid Texts and Hybrid Books which includes “illuminated manuscripts, visual poetry, artists’ books and graphic novels”. The justification is that it did not meet her criteria, but was commonly understood to be within the scope of her work by others involved in the project. This suggests that the ambiguity in terminology exists, as well as in the perspectives of people.
On illuminated manuscripts, the definition given actually implies that they should be within the scope of her definition. The writers of the texts believed their compositions, illustrations and additions to be crucial to the texts interpretation.
On artist books there is the belief that because multi-modality is an expectation, it cannot be included in her work. In addition this is because they are not do not become commercially produced. Here we perhaps need to look at the authors intentions in a different way. While the artist is not looking to create a work dictated by a market, or produce commercial work, the possibility to transport these works into other formats exists. What is lost in texture and interaction with the art object, it could be argued, is the same loss any text undergoes when published online in various forms rather than printed. Tactility can be interpreted and understood visually nonetheless based on previous interactions with other tactile surfaces. It is not critical that I touch paper, metal or plastic to understand the sensation I would have if I was to touch them. While intent may be lost through this means, it is an accepted and understood practice to translate works into digital media. Just as manga, comics, and novels are read online, I can equally state that without seeing the Mona Lisa in person, I am still familiar with it. What is lost here is a consequence of changes to media experience that we have all come to expect. The atmosphere and aura of work is lost to varying degrees, but interpretable and understood nonetheless.
On Visual Poetry the argument is again that “experimenting with form” is expected. While I believe that the term consideration rather than experimentation is preferable, I believe this distinction should be taken no further.
On Picture books the difference is between audience. Children’s books are put outside her work, while adults books are left in. Another arbitrary distinction that should not be taken forward.
I am attacking this work in particular because it exemplifies something more universal. Others citing this work and using it as a resource relates directly to an area which is currently evolving and progressing. Unlike more defined areas like the differences between genres, fiction and non-fiction, or prescriptive and descriptive texts, this areas lack of definition has been of benefit to its development.
It is worth noting that in creating new work those definitions are guidelines that are possible to break. It is made more difficult with the existing conventions however.
One such instance is the book The Design of Everyday Things (Donald Norman). The conventions behind titling created the title rather than the author. Originally the title was The Psychology of Everyday Things, however with that title the book would be placed in the psychology section of stores rather than the design section. While the book addresses the crossover between both, the audience is designers, so the titles compromise was made.
Another work which had issues because of titling conventions was The Four Hour Chef (Timothy Ferriss). The book is part of a series including The Four Hour Work Week and The Four Hour Body, so the title in its description of cooking practices was appropriate. However the book uses cooking only as an illustration of the practices behind deconstructing learning. The existing Ferriss audience understood this, while more generally the title lead to misinterpretations and misunderstanding.
The term hybrid novel relating to a work of multiple genres actually is more appropriate for most work than the term is used for. This is seen most often with new books in particular being placed in numerous sections of book stores so that readers with varied interests may find it as it relates to numerous practices. While some authors choose to create work within a single genre or for a particular audience, often the work can be identified within numerous areas.
Take Harry Potter which is children’s fantasy, read also by adults, where the underlying stories in the series are murder mysteries. The work therefore negotiates crime fiction, fantasy, children’s novels, and adult novels. In addition it is a work that relates significantly to contemporary pop-culture studies especially given its translation to other mediums including toys, a theme park, and films; it is a book which has engaged young people with reading and therefore contributes to education levels and international literacy; with its history of being banned in fundamentalist religious schools is of significant importance to studies of religious history, education politics and ethics, and censorship debates; and given the popularity of the work and the availability in numerous languages, it can be used as a tool to learning new languages by reading the work both in a native language and another. The book remains in the fantasy section.