My friend Robby Burleigh had a bit of an existential freakout the other day. He was sitting in a Perks cafe in Baton Rouge preparing a class when a graduate student in English he knows plopped down next to him and began reading a much thumbed through edition of Eudora Welty.
Robby had a vision of all the dissertations, monographs, and papers written about Eudora Welty. And it made him feel physically ill.
When he described it to me I thought of the time I saw a 60 Minutes special about the production of cigarettes, and how sickened I was when I saw these gigantic machines funneling millions of cigarettes into boxes then cartons. If you smoked a tiny fragment of all those cigarettes you would feel horrible.
This kind of existential freakout is something like the Romantic era notion of the sublime, which was supposed to happen when you lose yourself before the immensity of something beautiful and overwhelming like an oncoming tropical storm or mountain peak (having been through Hurricanes Katrina and Gustav I can tell you that Kant really is correct when he says you only get the sublime when you know that things are going to be fine; otherwise it just sucks).
But sometimes the sheer quantitative immensity of something that can be counted produces a kind of nauseau, and Robby had this at the thought of all of the discrete bits of Eudora Welty scholarship. What hope did his friend, or anybody for that matter, really have for saying anything new and worthwhile about Eudora Welty? What a joke! But then human agency disappears and you lose yourself in becoming just another Eudora Welty writing machine, just part of this immense nauseauting pile of scholarship.
Today's Chronicle has a really sobering article on this issue. Mark Bauerlein looks at publication statistics to argue that the reign of "theory" came about precisely because professors had to publish but just about every worthwhile bit of exegesis one could do about just about every worthwhile author had been done.
And the elevation of the critic as not merely an expositor but as a "theorist" whose reading are the real text (think reader response theory) was an amazingly successful strategy for professors to still be able to publish even though all the good expository work for the overwhelming majority of worthwhile writers had been done. Here's one of the moments of nausea type sublimity:
As a result:
It was liberating and enabling, as subsequent outputs show. From 1986 to 2008, Wordsworth collected 2,257 books, chapters, dissertations, etc. Faulkner came in at 2,781, Milton at 3,294, Whitman at 1,509, Woolf at 3,217, and Shakespeare at 18,799. The model worked—astoundingly so. Degrees, grants, jobs, tenure, and raises rested on those publications, and if older criticism answered questions about the meaning of Paradise Lost, well, other questions had to be found.
But now the same thing has happened with "theory."
Why the disjuncture? Because performance ran its course, and now it's over. The audience got bored.
For decades the performative model obscured a situation that should have been recognized at the time: Vast areas of the humanities had reached a saturation point. Hundreds of literary works have undergone introduction, summation, and analysis many times over. Hamlet alone received 1,824 items of attention from 1950 to 1985, and then 2,406 from 1986 to 2008. What else was to be said? Defenders of the endeavor may claim that innovations in literary studies like ecocriticism and trauma theory have compelled reinterpretations of works, but while the advent of, say, queer theory opened the works to new insights, such developments don't come close to justifying the degree of productivity that followed. Also, the rapid succession of theories, the Next Big Thing, and the Next … evoked the weary impression that it was all a professional game, a means of finding something more to say.
At what point does common sense step in and cry, "Whoa! Slow down! Hamlet can't give you anything more." The system has reached absurd proportions. Better to admit that books by M.H. Abrams, Hartman, and a few others covered Wordsworth's poems for most practical purposes several decades ago, or that Joseph N. Riddel (my adviser) unveiled the enigmatic lyrics of Wallace Stevens well enough in 1965. Hundreds of excellent books and articles on Henry James have seen print and amply render the meaning of his oeuvre. Further additions to the 6,000-plus items that have been published since 1950 are, to be blunt, in nearly every case unnecessary.
Unfortunately, Bauerlein's solutions to this problem of "oversaturation" feeds into the hands of the educational industrial complex:
One, departments should limit the materials they examine at promotion time. If aspirants may submit only 100 pages to reviewers, they will publish less and ensure that those 100 pages are superb.
Two, subsidizers should shift their support away from saturated areas and toward unsaturated areas, in particular toward research into teaching and even more toward classroom and curricular initiatives.
It's hard for me to believe that anyone who has ever taken part in a "curricular initiative" could write something like that without suffering some kind of Stockholm Syndrome. The reality of his suggestions would be just wasting more time jumping through infuriatingly stupid hoops designed by education school types. No thanks.
I think the real solution to the problem of "theory" is coming from people who take are hooking up traditional problem spaces in the language departments with approaches and issues from other departments both in the social and life sciences.
Also we should humbly accept that most scholarship is not going to be that important. That's the one way I think analytic philosophy is pretty good. Everybody is just doing their little part, and your little part might not come to anything in the broader dialectic. O.K. I can do that and go teach my classes. In a Nietzschean fashion, the question should be whether the background of mediocrity is such that an atmosphere exists that is conducive to the few bits of greatnes that is the most any generation can reasonably expect.


Another bad dream last night.







Last night's was a doozy. It involved not being able to check in to the Francis Drake hotel in San Fransisco during an American Philosophical Association meeting. The woman at the desk wasn't able to work the keypad because of these grotesque really long fingernails, I mean as long as Howard Hughes' were when he was holed up on a closed off floor of that Vegas hotel during the last phase of his madness (which also involved collecting his own waste in big glass jars that were then set up artfully around the room). She kept having to start over. In the dream this somehow telescoped into thirty minutes, at which point the time for presenting my paper had passed.
I was sure that the wonder-working powers of Mr. Bowie would get me through this though. I hailed him like an old friend, confident that he'd recognize me as a humble foot soldier of Rock, and in the ways of all great generals through history, help me out of this bind. George Patton did the same kind of thing for his men. So did Caesar.

But then through my veil of tears I saw David Lewis (David Lewis!) checking in. But instead of awe, I tried to score cheap points off of his metaphysical status. "Hey! Hey! He's not even alive!" Given the level to which I'd sunk, perhaps it is better that nobody listened. I grew more disconsolate.
So Emily and I are all finished with our childbirth class. It was pretty helpful in that we know more of what to expect. In the second to last class we watched videos of four different births involving different levels of anaesthesia: two "natural" childbirths (given its prominent use by left-wing Puritans, I object to this word in most contexts, and certainly in this one; nothing is more natural than humanity's centuries long noble quest for better and better forms of anesthetization), one attempted "natural" childbirth where the mom progressively gave up and finally availed herself of the full panoply of drugs, and a c-section. I managed to watch all of them without getting sick like I did during that where-do-we-come-from video in my tenth grade biology class at Jefferson Davis Public High School in Montgomery, Alabama. It's good to know that I (or at least my vomit reflex) have matured somewhat since then.



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