A Quote by Mason Cooley
When appearance and reality coincide, philosophy and literary criticism find themselves with nothing to say.
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Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen.
...there ... remains a huge following [of Ayn Rand's philosophy] of those who ignore the indiscretions, infidelities, and moral inconsistencies of the founder and focus instead on the positive aspects of her philosophy. There is much in it to admire, if you do not have to accept the whole package... Criticism of the founder or followers of a philosophy does not, by itself, constitute a negation of any part of the philosophy... Criticism of part of a philosophy does not gainsay the whole.
People have been predicting the death of philosophy since the 17th century. When I was a student, people were saying, 'We're in the last days of philosophy.' Then we were told in the '60s it would be replaced by sociology, then by literary criticism.
I also encourage my students to read literary criticism that is deeply personal yet formally inventive and intellectually expansive... books that offer unorthodox ways of doing double duty as literary criticism and as love letters to the power of literature per se.
The problem is no longer getting people to express themselves, but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.
There is nothing sacred or untouchable except the freedom to think. Without criticism, that is to say, without rigor and experimentation, there is no science, without criticism there is no art or literature. I would also say that without criticism there is no healthy society.
It was taunted as reality. It was dangled as a carrot. In terms of people's hopes and dreams, to say that that is less of a reality than the daily grind they find themselves in is maybe not correct.
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
After the last line of a poem, nothing follows except literary criticism.
Most loverspicture to themselves, in their mistresses, a secret reality, beyond and different from what they see every day. They are in love with somebody else--their own invention. And sometimes there is a secret reality; and sometimes reality and appearance are the same. The discovery, in either case, is likely to cause a shock.
The point of literary criticism in anthropology is not to replace research, but to find out how it is that we are persuasive.
What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .
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