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As a prize-winner he doubts the purpose of prizes; as a critic he has fun with the state of criticism; and as a professor he despairs at the impenetrability of scholarship.
Criticism After Adorno There has been lots of hand-wringing of late over the state of criticism.
Here's a sampling of readers' comments in response to A. O. Scott's column about the state of criticism and its goals.
A. O. Scott's constructive, clear-eyed view of the state of criticism, online at the Times, builds, like a movie, to a fascinating twist: a retrospective view of negative judgments about the state of criticism, one from the nineteenth century by Coleridge and another, from the twentieth, by T. S. Eliot.
The next stage involved a series of commentaries reflecting on these earlier phases, and wondering what it all said about the state of criticism in (oh, my) the age of the Internet.
Perhaps the negative reaction to Eisenberg's piece is not because the actor had an overly jaundiced view of the state of criticism, but because his piece hit too close to home.
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The fact that David Edelstein still earns $$ by showing his bigotry in public proves the fucking white dude privilege in film criticism & the sad state of film criticism... its same as comics.... :( https://t.co/UxWoegb2Rd.
In "Civilizing Criticism" Mr. Adams speaks against what he sees as the rancorous and upstart state of photography criticism.
But why did none of the contributors specifically address the state of poetry criticism?
And what does the fuss tell us about the state of fringe criticism?
The second installment of Paul Brunick's trenchant overview of the state of film criticism in the age of the Internet has just gone up on the Film Comment site (and I hope he expands it into a book).
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com