Title should say it all.
I’m curious what others’ responses might be to this aesthetic (aestheticist) argument in light of yesterday’s conversations re: sensation, cultural studies, etc.
KT
MDaddy: Another mediocre novel??
I was initially pleased at the various positive endorsements of Sarah Waters’s ‘Fingersmith.’ Apparently, according to a zealous NY Times Book Review, she writes with “descriptive skill augmented by an acute ear for dialogue…Dickens…would surely have blushed to read it.” Well, blushes may have diverse causes, including embarrassment on behalf of a writer, thus while reading the book I attempted to find evidence that supported the author’s “acute ear for dialogue.” Matter of fact, since we just might consider literary texts as aesthetic objects of sorts (fancy that) I was also looking for evidence that lends merit to esteemed pronouncements and worthy aesthetic judgments. I also happened to notice that the book was a “finalist for the Orange Prize for Fiction,” an award that I previously had not known or heard of. That’s why Google was invented, I suppose. One can search these things. I hastily wondered whether there was a Red, Green, or Blue Prize. Mauve, anyone? As it turns out, the Orange Prize is a fairly prestigious literary award in the UK (let’s simply say England). Matter of fact, Kate Grenville’s ‘Idea of Perfection’ won the award in 2001, and Ann Patchett’s ‘Bel Canto’ won in 2002. Wonderful! Books that one can easily obtain at Costco and Wal-mart!! Prior winner history confirms a certain glimpse at the height of the proverbial literary bar. I gained no confidence in the report that ‘Fingersmith’ was a finalist and not a winner. Nor, one might observe, has Oprah endorsed the book. Eventually, these facts become telling, hold no surprise, and seem to be substantially indicative of aesthetic value.
‘Fingersmith’ has been compared to Dickens’s ‘Oliver Twist.’ Let us appeal to Mr. Dickens. The critic Gilbert Keith Chesterton says (a long quote), “Relatively to the other works of Dickens Oliver Twist is not of great value, but it is of great importance. Some parts of it are so crude and of so clumsy a melodrama, that one is almost tempted to say that Dickens would have been greater without it. But even if be had been greater without it he would still have been incomplete without it. With the exception of some gorgeous passages, both of humour and horror, the interest of the book lies not so much in its revelation of Dickens’s literary genius as in its revelation of those moral, personal, and political instincts which were the make-up of his character and the permanent support of that literary genius. It is by far the most depressing of all his books; it is in some ways the most irritating; yet its ugliness gives the last touch of honesty to all that spontaneous and splendid output. Without this one discordant note all his merriment might have seemed like levity.” In terms of analogy, this statement may not reflect well on ‘Fingersmith.’
Can we garner evidence for stylistic mastery and craft? As Kantian ‘disinterested’ observers, do we discern aesthetic quality in sentences that are distinguished as sensually pleasurable or clever? How are we affected? What do we feel in our subtle, keen nerves? Are there passages in ‘Fingersmith’ comparable to “gorgeous passages” in Dickens?
Surely there are such passsages since comparisons have been made. Perhaps we can find in Waters’s novel sentences as resoundingly lovely and remarkable as the following most astounding gem in Collins: “My hour for tea is half-past five, and my buttered toast waits for nobody.” Well, that is a special specimen!
Where shall we begin to look for “gorgeous passages” in Waters’s novel? Perhaps this: “He finished his smoke, then smoked another. He went off for a piddle, and I went off for a piddle of my own. I heard a whistle blown as I was tidying my skirts; and when I got back, I found the guard had sent out the word and half the crowd had started up and was making in a great sweating rush for the waiting train” (54). Nice!
And here is dialogue on the same page that surely supports “an acute ear”: “Fuck this cheap tobacco, too…Fuck this cheap life, in all its forms–eh, Suky? No more of that for you and me, soon.”
There are numerous instances in the book that seem to support a lack of stylistic imagination, which may be somewhat attributable to the fact that the narrative is told in a naive first-person perspective (rather than the third person in Dickens’s ‘Oliver Twist’). I have been unable to find passages in ‘Fingersmith’ that are worthy of comparison to Dickens. Perhaps you can and have done so. I would welcome enlightenment on those merits. Does ‘Fingersmith’ exemplify properties of good writing craft? The canon snob in me longs for aesthetic value, blissful immersion in sentence variety and prose mastery, otherwise we have reason to view the novel as not so much an orange, but a lemon.
I was particularly struck by this passage that you wrote:
“Books that one can easily obtain at Costco and Wal-mart!! Prior winner history confirms a certain glimpse at the height of the proverbial literary bar. I gained no confidence in the report that ‘Fingersmith’ was a finalist and not a winner. Nor, one might observe, has Oprah endorsed the book. Eventually, these facts become telling, hold no surprise, and seem to be substantially indicative of aesthetic value.”
I may be misinterpreting your point here, but from what I understood, it seems as if you are saying that because something is available in Wal-Mart or Costco, or if, God forbid, Oprah endorses the work, the literary work is cheapened. I really hope I’m misinterpreting your point.
After all, Dickens and many other writers we “value” in the canon had a mass appeal. What’s so bad about having your book in Wal-Mart anyway? Does it have to do with the “type” of people who are assumed to shop there?
I’m sorry if my interpretation is wrong, and this is nothing against you, but I’m frankly pissed off that anyone could judge value based upon where a novel was sold and what “type” of people might pick it up and buy it.
And maybe I’m too much of a (insert word here about my “class”/”caliber”/whatever) writer, but if I wrote a book, I’d be quite happy to have ANYONE read it, and that INCLUDES the people who shop at Wal-Mart. And I’d be an idiot if I’d turn my nose up at an Orange Prize for Fiction.
Best,
NSAH
There is an old-ish anarchist slogan that roughly says we must kill the cop that sleeps in each of us… I think this should also be applied to the “canon snob” that sleeps within us too…if applicable ☺
I think Natasha’s post and Jen’s question (“How are the narrative aesthetics of both Woman in White and Fingersmith in some sense “classed”?”) point to what is at stake in killing that kind of snobbery.
Enjoying the reading so far, I also see the potential for a rich discussion around class, labor, gender, pathology, sexuality, criminality/harm, justice, etc. that has already been started by Jen, Jessica, and Natasha. I’ve always been annoyed when people critique works on aesthetic (as ‘stylistic mastery’) grounds because I value art and cultural production on the basis of pleasure, politics, and/or the opening up of possibilities for discussion and inquiry. I’ve also worried that this annoyance marks me and my approach to literature and art as simple, but still I have never really been convinced of the value of debating aesthetics in that way. So, at risk of sounding too simplistic, I hate those types of debates precisely because of the history that Jen points to in which “low” art and those who consume it have been pathologized, something that continues today when Walmart readers are conjured up to represent stupid consumers who read rubbish (as opposed to us smarty academic types).
Jen’s question about “classed” aesthetics helps me think about new ways to approach aesthetics, though, and I’m interested to hear more from folks about this tomorrow.
–raeanna
They sell Harry Potter at Wal-Mart, don’t they? But seriously, I don’t care where books are sold, who reads them, or who endorses them. I could say more but it might come out bitchy because, honestly, the “tone” of the “Mediocre Novel” post is offensive to me. What is being “valued” here anyways? What is being disregarded?
I will say, though, that despite sentences about “piddling” and cheap tobacco, I find many passages touching, beautiful, and “well-written.” Although I am more interested in the themes raised by Jen and Raenna in their posts, I will follow Jonathon’s lead and share a passage from Fingersmith that I enjoy for aesthetic reasons:
The book is a slim one, and when it is filled my job is to render it blank again with a piece of india-rubber. I remember this task, more than I remember the pieces of matter I am made to copy: for the pages, from endless friction, grow smudged and fragile and liable to tear; and the sight of a smudge on a leaf of text, or the sound of tearing paper, is more than my uncle, in his delicacy, can bear. They say children, as a rule, fear the ghosts of the dead; what I fear most as a child are the specters of past lessons, imperfectly erased. (204)
Don’t we all, as critics, need to erase past lessons? Forget what’s “good,” or what’s “bad?” Like Maud, erase some “matter” from the palimpsest of past lessons and start anew?
I Love you girls
Bay
I’ll respond to the above statement since it was reposted…
Carla said:
“Don’t we all, as critics, need to erase past lessons? Forget what’s “good,” or what’s “bad?” Like Maud, erase some “matter” from the palimpsest of past lessons and start anew?”
OK, ‘palimpsest’ is a pretty big word for me, so I’ll have to sound it out with phonics…naturally, from what I remember of it. Erase past lessons? What? Are you kidding me? Ask Marjorie Perloff that question and I think we all know what the response would be. A hearty (and very brief) laugh. The logical structure of the above statement is analogous to the following questions: Why can’t I forget that I don’t like strawberry ice cream? Or polka music? Or Aunt Sally’s meatloaf? Why can’t I seem to shake the idea that rolling around in a patch of poison oak is brilliant fun?
Why would anyone forget what he or she doesn’t like? I’m not sure it’s at all possible…
Don’t we all, as critics, need to recognize ridiculous questions and meaningless statements? Aren’t we in the business to make claims about what is good and bad? Isn’t that what we do in our capacity as teachers in grading student papers? In a way, earning the PhD is about finally obtaining the ‘professionalism’ and ‘credibility’ to make claims about that which is good and bad…certainly, our students will take our statements on such things very seriously…Don’t we think that certain personal life choices are better than others? Don’t we pursue our interests b/c we think they are ‘good’?
Prefererences and choices are a fact of the human condition. Making choices about ‘good’ and bad’ are facts of evolution–it’s an ability which has led to our survival (for good or bad). As critics, we have to take responsibility for such things and the logic we use to defend them. Otherwise we’re no longer ‘critics.’
And I wish I could respond like so many folks on this blog do: “I love you,” “I love you girls,” or “I feel that.” Gee, that’s great. Just swell. The Ya-Ya Sisterhood thrives…
I think the fundamental point that Carla is trying to make is that past hierarchies that privilege certain forms and denigrate others contain certain prejudices, prejudices that valorize the forms of dominant cultural expression and denigrate the forms that are not concurrent with a reinforcement of dominant forms of meaning making which in turn reinforce dominant forms of power. Forgetting that you don’t like strawberry ice cream in relation to vanilla (I’m guessing?) is so different from forgetting that you don’t like realism in relation to abstraction as to be a non-sensical comparison. I don’t know Professor Perloff, but from what I have heard of her she would certainly think that upholding sexist, classist, Eurocentric standards of ‘good/bad’ without interrogating the basis of the judgment is downright irresponsible. But I don’t know her, so that is just a guess.
You say “As critics, we have to take responsibility for such things and the logic we use to defend them. Otherwise we’re no longer ‘critics.’” I want to raise a point that Angela Davis made when a member of the audience at a recent talk asked her what feminism is (and I think it is useful in the sense that the kind of criticism we are talking about in this class, cultural criticism, is at this point in time heavily influenced by feminism, though of course I realize this hasn’t always been the case). She said that feminism is a commitment to criticality and a search for social justice. “As critics, we have to take responsibility for such things and the logic we use to defend them.” This means owning up to the times when the judgments we use are harmful. When they lead to the invalidation of certain forms that aren’t the dominant forms. Like when the English denigrated things on the basis of provinciality, when the Irish were defined as provincial. Or something, I have to plead ignorance on the details and say I made that up as a hypothetical example, like Barthes’ “Japan.” Carla is calling for what you call for, taking responsibility for the injustice of past standards. Which you start of your post asking us to ignore, to ignore the oftentimes detrimental effects of our judgments. Which seems the antithesis of taking responsibility. But maybe I’m confused, you know, without any pictures.
Reading Between Women this week, I was reminded of several thematic threads that have been at the heart of the course, especially the complexities of female friendship, prevailing notions of domesticity and the intense societal need to “categorize” relations between women. Marcus’s details of Victorian lifewriting as both a personal endeavor and a cultural custom reveal much about ordinary daily life, and I was fascinated by the language she uses to describe the practice: “Preformatted diaries adopted features of almanacs and account books, and journals synchronized personal life with the external rhythms of the clock, the calendar, and the household, not the unpredictable pulse of the heart.” (35) The notion of diary as accounting book reminded me of Wilde’s De Profundis, a blend of both personal remembrances and bookkeeping ledger. The language of finance and labor comes up quite a bit throughout Marcus’s book and I would like to return to this idea in a moment, but for now I’d like to consider some issues of Victorian domestic life that she brings up in the text. For example, the women that Marcus describes in chapter one are each so varied in many ways—age, life experiences and expectations—yet she seems to be saying that they each want to adhere, at least in some ways and some more than others, to the prevailing model of domesticity. This left me with a lot of questions—Is it that the framework of the household as it stands (and has stood since before Victorian times) is so deeply ingrained that there is no real way for these women to break out of it and reconstruct it to suit different life choices, experiences, and preferences? (If that is what they want to do, that is.) In attempting to reimagine a new configuration of home life, and the relationships that define it, what other variations were possible for Victorian women? Did they try different forms of domesticity and if so what has been written about it? (Can someone suggest some reading material on this?)
I was also deeply interested in Marcus’s idea of friendship as a form of labor. She writes, “A woman who had a close friend was able to display that she could afford to lavish time and attention on someone who did not directly promote her interests. As such, paradoxically, sentimental friendship became a form of labor, for the middle class values that discouraged women from waged employment taught them to consider emotional work their business.” (69) We’ve explored different variations of labor and its attendant forces throughout the class, including both consumption and use value (Wilde and his meticulous recordkeeping comes to mind here again.) And while she doesn’t expand much on this particular aspect of the topic, I wonder what more can be said about the “market” of friendship. Friendship by its very nature relies upon and to a certain extent requires some degree of reciprocity (something Marcus does address later in the text) to ensure both its longevity and its viability. Wilde pointed to an unpardonable lack of reciprocity in his relationship with Bosie, as did Meredith in “Modern Love” when he gave an accounting of the failed marriage. Though both are dealing primarily with men (as opposed to the women Marcus writes extensively about) and both pieces deal with ruined love and the aftermath of their respective relationships, it can be argued that friendship formed the initial bond that brought these couples together, and it was the blatant disregard for, and dismissal of, the most basic rules governing friendship—consideration for the other—that led to the demise of both relationships. That said, it is important to consider how friendship can produce power struggles and how in some ways, class is still an issue that needs to be addressed in the female friendships Marcus discusses in the book.
As she points out in the quote above, the notion of (self) interest was not far from the Victorian lady’s mind when she formed friendships and assessed their “market value”, however consciously or not she thought of it in those terms. Under this framework, and given the parameters of feminine friendship that Marcus lays out, the negotiation of power and class had to be dealt with in a suitable manner and I wonder how this played out in daily life. For example, could a rich woman befriend a poor one, and if so, what were the politics of such an alliance? Marcus mentions Browning’s anxiety about “avoid[ing] reducing the working class female friend to a mere accessory of the heroine’s marriage plot” (94) and asserts that “[a]n unpaid debt…establishes a social connection and a balance of power between giver and receiver” (95) but not much else is discussed here in terms of power dynamics and how that works out in the realm of feminine friendship.
The notion of this giving “benefactor” can be linked with the hero and rescue motif Marcus brings up in chapter two to discuss the literary presentations of Victorian friendship. She cites Vladimir Propp’s work on folklore, including the recurring archetypes that are necessary for plot development. She writes, ”Like the donor or helper in Vladimir Propp’s analysis of the folklore, the female friend is not a static or dispensable secondary character but one with a crucial role to play in achieving the marriage plot’s end.” (79) It is interesting to note that “donor” and “helper” can both have monetary connotations and fit well with the labor-market-rescuer argument I’m tracing here. These essential female characters “work” (yet another term of labor) to ensure a happy ending. She argues, “Female friendship generates the novel’s final marriage between a man and a woman, but given the ways that the male hero is also a female one, that ultimate marriage can itself be read as a female friendship.” (90) The idea of the woman rescuing the other woman subverts traditional notions of the Prince Charming rescue motif and ultimately serves to empower the rescuer. Here, as Marcus points out, the rescuer could be the woman providing monetary support, clever assistance or sisterly guidance. But again, if we think of her value within the system of exchange I see transpiring, her “worth” is therefore higher because she serves an important function within the economy of friendship. Yet, other questions arise here—is she empowered because she “saved” the woman, or because she took over the traditionally male role and inhabited the space normally delineated for the man? And does the same paradigm exist for Victorian women as it does for their literary counterparts?
There is so much to consider in Marcus’s book—her brief foray into female fandom on pages 60-61 is also quite interesting as she begins to consider the implications of the feminine gaze and its different manifestations, including the varying ways to read the female habit of “looking” at other women that don’t dwell on competition, jealousy or inadequacy. Ultimately, she points out, “Victorian novels do indeed depend on the union of a man and a woman for their narrative structure—but that union does not negate bonds between women.” (76) After all her examples, I like her fundamental assertion that Victorian friendship, despite attempts to devalue it, nonetheless manages to not only endure but promote the values of lasting feminine friendship.
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