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The Current in Criticism is meant to provide the reader with a wide spectrum of current thinking, a sampling of some of the arguments, attitudes, and perspectives, which participate in the swirl of intense speculative energy that is so characteristic of contemporary theory. The editors describe this collection of 14 essays as a tentative assessment of where we are and where we might be going in literary study, of what is current in criticism and of where the critical current might be tending.
“The Current is a rare creature: a gripping thriller and page-turner but also a masterwork of mood and language—a meditation on memory and time. You’ll want to go fast at the same time you’ll be compelled to savor each and every word.” —Ivy Pochoda, author of Wonder Valley Tim Johnston, whose breakout debut Descent was called “astonishing,” “dazzling,” and “unforgettable” by critics, returns with The Current, a tour de force about the indelible impact of a crime on the lives of innocent people. In the dead of winter, outside a small Minnesota town, state troopers pull two young women and their car from the icy Black Root River. One is found downriver, drowned, while the other is found at the scene—half frozen but alive. What happened was no accident, and news of the crime awakens the community’s memories of another young woman who lost her life in the same river ten years earlier, and whose killer may still live among them. Determined to find answers, the surviving young woman soon realizes that she’s connected to the earlier unsolved case by more than just a river, and the deeper she plunges into her own investigation, the closer she comes to dangerous truths, and to the violence that simmers just below the surface of her hometown. Grief, suspicion, the innocent and the guilty—all stir to life in this cold northern town where a young woman can come home, but still not be safe. Brilliantly plotted and unrelentingly propulsive, The Current is a beautifully realized story about the fragility of life, the power of the past, and the need, always, to fight back.
Cover -- Title Page -- Copyright -- Contents -- Preface -- Introduction -- 1. The Critical Revolution Turns Right -- 2. The Scholarly Turn -- 3. The Historicist/Contextualist Paradigm -- 4. The Critical Unconscious -- Conclusion: The Future of Criticism -- Appendix: The Critical Paradigm and T.S. Eliot -- Notes -- Acknowledgments -- Index
Why do critics feel impelled to unmask and demystify the works that they read? What is the rationale for their conviction that language is always withholding some important truth, that the critic's task is to unearth what is unsaid, naturalized, or repressed? These are the features of critique, a mode of thought that thoroughly dominates academic criticism. In this book, Rita Felski brilliantly exposes critique's more troubling qualities and proposes alternatives to it. Critique, she argues, is not just a method but also a sensibility--one best captured by Paul Ricoeur's phrase "the hermeneutics of suspicion." As the characteristic affect of critique, suspicion, Felski shows, helps us understand critique's seductions and limitations. The questions that Felski poses about critique have implications well beyond intramural debates among literary scholars. Literary studies, says Felski, is facing a legitimation crisis thanks to a sadly depleted language of value that leaves the field struggling to find reasons why students should care about Beowulf or Baudelaire. Why is literature worth bothering with? For Felski, the tendencies to make literary texts the object of suspicious reading or, conversely, impute to them qualities of critique, forecloses too many other possibilities. Felski offers an alternative model that she calls "postcritical reading." Rather than looking behind the text for its hidden causes, conditions, and motives, she suggests that literary scholars place themselves in front of a text, reflecting on what it calls forth and makes possible. Here Felski enlists the work of Bruno Latour to rethink reading as a co-production between actors, rather than an unraveling of manifest meaning, a form of making rather than unmaking. As a scholar with an abiding respect for theory who has long deployed elements of critique in her own work, Felski is able to provide an insider's account of critique's limits and alternatives that will resonate widely in the humanities.
2022 National Book Awards Longlist for Nonfiction Essays about migration, displacement, and the hope for connection in a time of emotional and geopolitical disruption by a Soviet-born writer and former war correspondent. Called a “chronicler of a world on the move” by The New York Review of Books, Anna Badkhen seeks what separates and binds us at a time when one in seven people has left their birthplace, while a pandemic dictates the direst season of rupture in humankind’s remembering. Her new essay collection, Bright Unbearable Reality, comprises eleven essays set on four continents—roving everywhere from Oklahoma to Azerbaijan—and united by a common thread of communion and longing. In these essays, Badkhen addresses the human condition in the era of such unprecedented dislocation, contemplates the roles of memory and wonder in how we relate to one another, and asks how we can soberly and responsibly counter despair and continue to develop—or at least imagine—an emotional vocabulary against depravity. The subject throughout the collection is bright unbearable reality itself, a translation of Greek enargeia, which, says the poet Alice Oswald, is “when gods come to earth not in disguise but as themselves.” Essays include: • In “The Pandemic, Our Common Story,” which takes place in the Great Rift Valley of Ethiopia, one of the locations where humankind originated, the onset of the global pandemic catches Badkhen mid-journey, researching human dispersal 160,000 years ago and migration in modern times. • In “How to Read the Air,” set mostly in Philadelphia, Badkhen looks to the ancient Greeks for help pondering our need for certainty at a time of racist violence, political upheaval, and environmental cataclysm. • “Ways of Seeing” and the title essay “Bright Unbearable Reality” wrestle with complications of distance and specifically the bird’s eye view—the relationship between physical distance, understanding, and engagement. • “Landscape with Icarus” examines how and why children go missing, while “Dark Matter” explores how violence always takes us by surprise.
This work is the first history and evaluation of contemporary American critical theory within its European philosophical contexts. In the first part, Frank Lentricchia analyzes the impact on our critical thought of Frye, Stevens, Kermode, Sartre, Poulet, Heidegger, Sussure, Barthes, Lévi-Strauss, Derrida, and Foucault, among other, less central figures. In a second part, Lentricchia turns to four exemplary theorists on the American scene—Murray Krieger, E. D. Hirsch, Jr., Paul de Man, and Harold Bloom—and an analysis of their careers within the lineage established in part one. Lentricchia's critical intention is in evidence in his sustained attack on the more or less hidden formalist premises inherited from the New Critical fathers. Even in the name of historical consciousness, he contends, contemporary theorists have often cut literature off from social and temporal processes. By so doing he believes that they have deprived literature of its relevant values and turned the teaching of both literature and theory into a rarefied activity. All along the way, with the help of such diverse thinkers as Saussure, Barthes, Foucault, Derrida, and Bloom, Lentricchia indicates a strategy by which future critical theorists may resist the mandarin attitudes of their fathers.
An inside look at the politics of book reviewing, from the assignment and writing of reviews to why critics think we should listen to what they have to say Taking readers behind the scenes in the world of fiction reviewing, Inside the Critics’ Circle explores the ways critics evaluate books despite the inherent subjectivity involved and the uncertainties of reviewing when seemingly anyone can be a reviewer. Drawing on interviews with critics from such venues as the New York Times, Los Angeles Times, and Washington Post, Phillipa Chong delves into the complexities of the review-writing process, including the considerations, values, and cultural and personal anxieties that shape what critics do. Chong explores how critics are paired with review assignments, why they accept these time-consuming projects, how they view their own qualifications for reviewing certain books, and the criteria they employ when making literary judgments. She discovers that while their readers are of concern to reviewers, they are especially worried about authors on the receiving end of reviews. As these are most likely peers who will be returning similar favors in the future, critics’ fears and frustrations factor into their willingness or reluctance to write negative reviews. At a time when traditional review opportunities are dwindling while other forms of reviewing thrive, book reviewing as a professional practice is being brought into question. Inside the Critics’ Circle offers readers a revealing look into critics’ responses to these massive transitions and how, through their efforts, literary values get made.
Critical philosophy has always challenged the division between theory and practice. At its best, it aims to turn contemplation into emancipation, seeking to transform society in pursuit of equality, autonomy, and human flourishing. Yet today’s critical theory often seems to engage only in critique. These times of crisis demand more. Bernard E. Harcourt challenges us to move beyond decades of philosophical detours and to harness critical thought to the need for action. In a time of increasing awareness of economic and social inequality, Harcourt calls on us to make society more equal and just. Only critical theory can guide us toward a more self-reflexive pursuit of justice. Charting a vision for political action and social transformation, Harcourt argues that instead of posing the question, “What is to be done?” we must now turn it back onto ourselves and ask, and answer, “What more am I to do?” Critique and Praxis advocates for a new path forward that constantly challenges each and every one of us to ask what more we can do to realize a society based on equality and justice. Joining his decades of activism, social-justice litigation, and political engagement with his years of critical theory and philosophical work, Harcourt has written a magnum opus.