One of the things I want to do sometimes is to repost stuff from Printculture’s archives, because it tends to be hard to find. Here is a series of discussions on the topic of something I called “leverage,” by which I meant, as Mark McGurl pointed out in the comments, “critical distance.” The conversation that ensues sees the two of us thinking through and explaining some of the things that motivated The Program Era and The Hypothetical Mandarin. The entire conversation series of posts (which are combined below) dates from October 2007. I will also say that one of the weird things about rereading this stuff is realizing how old some of my ideas are; I swear I’ve repeated some of the things I say below in the last couple of years as though they’d just occurred to me.
Leverage as a function of critical capability and interest
It occurred to me the other day — and in fact I may have already bored one or two Printculture readers with this — that it would be useful to think about why so much academic work on contemporary material isn’t very good. But perhaps the premises bear repeating: (1) a higher percentage of literary critical or cultural analysis of contemporary material — fiction, poetry, film, the culture in general — says, by my standards, completely predictable things (than does work on material removed from us in time) and (2) is therefore no good. I have no data to back the first part of this up; it’s merely an impression. For the movement from the first to the second premise, I rely on my belief that literary critical analysis should, in general, aim to teach us things we don’t already know about the world.
The question I’m setting out to answer here is why this is true. Why, that is, does work on contemporary material so often simply tell me what I (feel like I) already know.
The answer has to do, I think, with leverage. By leverage I mean to indicate the degree to which my ability to tell you something about X that X doesn’t already know about itself and isn’t obviously saying to anyone who’s paying attention, depends to a very large extent on the difference I am able to generate between myself, and what I know or see, and what X knows or sees on its own.