Author: Ophelia Benson

Oh dear – that’s one of the best laughs I’ve had in – well, a few hours, anyway. It was the surprise, partly. You know how a surprise can yank a loud sudden blurt of laughter out of you without your consciously intending it. It was that kind.

What, what, you eagerly cry, tell us so that we can laugh too. It was just a letter on the Letters page about my silly parodic wall article, which said ‘This is one of the silliest things I have ever read.’ Well good! That was the idea, so I’m delighted he thinks so! Mind you, he seems to have missed the fact that the silliness was intentional, but that’s all right – all the better in fact. Shows that it’s plausible enough. That was intentional too – I did try to make it enough like the real thing that the parody would be about something as opposed to merely absurdist. (That’s the basic thinking behind the entries in the Dictionary, too, I suppose. They’re meant to be hooked onto the real thing enough that they’re not just random cartoons. In fact my co-author often had to check a tendency in me to go past the borders of credibility. ‘I just don’t believe that one,’ he would say coldly. I would argue and shout and throw things, but in the end I usually gave in. I put most of the rejects on the B&W version of the Dictionary. I finally removed one of those a few days ago, after the fourth or fifth person emailed to tell me that I had ‘Chinatown’ and ‘The China Syndrome’ confused. I knew I did, that was the joke, but if so many people didn’t realize that – well that must have been a joke that didn’t work.) Mind you, I also included one or two fairly broad hints that it was a joke. The bit about decaying corpses, for instance – I’d have thought that was a bit of a giveaway. But probably the reader was so irritated and incredulous by the time he got to that part that he didn’t quite take it in. And rightly so! If you’re not already familiar with B&W, you wouldn’t asume that it’s a joke, so irritation in that situation is the correct response.

All this reminds me of an article Ellen Willis wrote in the Village Voice in response to the Sokal Hoax. I like her writing, but her partiality for the hoaxed Stanley Aronowitz may have clouded her perception on this occasion. Whatever the reason, she made a surprisingly glaring error:

Roger Kimball, who himself had been totally fooled by Sokal’s parody and blasted it at length in an anti-Social Text polemic in the new Criterion…

But – Ellen – oh dear, don’t you see, don’t you get it? The fact that he blasted it means he wasn’t fooled by it, not that he was! The fact that he thought Sokal meant it literally is not the point, the point is that he recognized what Sokal wrote as bullshit, which Aronowitz signally failed to do.

Quite an embarrassing mistake, that.

H. E. Baber reminds us of this splendid item, which I’d read before but forgotten.

Go into any of the little cafés or horlogeries on Paris’s Left Bank (make sure the Seine is flowing away from you, otherwise you’ll be on the Right Bank, where no one is ever seen) and sooner or later you will hear someone say, ‘Les choses sont contre nous.‘ ‘Things are against us.’ This is the nearest English translation I can find for the basic concept of Resistentialism, the grim but enthralling philosophy now identified with bespectacled, betrousered, two-eyed Pierre-Marie Ventre.

All accidentally (as Henry James might have put it), I was gesturing toward the same idea – but not because I remembered Resistentialism. The inspiration was that review of a history of barbed wire we were discussing last week. I was trying to inflate the element of paranoia as much as possible – and ended up in much the same place. Which is quite funny, really.

Clark-Trimble was not primarily a physicist, and his great discovery of the Graduated Hostility of Things was made almost accidentally. During some research into the relation between periods of the day and human bad temper, Clark-Trimble, a leading Cambridge psychologist, came to the conclusion that low human dynamics in the early morning could not sufficiently explain the apparent hostility of Things at the breakfast table…

I have a longstanding, consuming interest in human bad temper. I consider myself an expert in the field.

And speaking of writing and thinking – as we so often are, one way or another – here is a good article on the subject. Unfortunate that it was first published in the Weekly Standard, but sometimes things fall out that way. It is republished in Theory’s Empire.

…bad academic writing nowadays has become something worse than an aesthetic offense…Academic writing in our own time, however, exhibits a disregard, not merely for style, but for truth. Once upon a time, no matter how badly they wrote, scholars imagined that they were contributing to knowledge. But no longer. Much of the scholarship now published in the humanities—primarily in English and comparative literature, but increasingly in history, musicology, art history, and religious studies—has no other purpose than to confirm the scholar’s own status and authority. It is not a contribution to knowledge, but to political power.

A harsh comment, but all too believable. I say ‘believable’ in that waffly way because obviously one can’t know for sure – we have no way of knowing for certain what people’s motivations are for writing what they do. But it is believeable, because when you look at the actual work in question, it simply is very difficult to think that anyone writes it in order to contribute to knowledge. That just doesn’t seem to be what’s going on – what’s going on looks like something else entirely.

Although she agreed that even leftist scholars “should be able to clarify how their work informs and illuminates everyday life,” Butler insisted that academic writing needed to be “difficult and demanding” (her words) in order to “question common sense”—the truths which are so self-evident that no one thinks to question them—and so to “provoke new ways of looking at a familiar world.” If the only choice is between academic obscurity and the pseudo-clarity of “common sense,” who wouldn’t choose the former? But who said that’s the only choice? In the limited range of options she offers us, Butler reveals much about the real politics behind bad academic writing.

Thus – and so soon, too – we meet the false dichotomy again. Who, indeed, said that’s the only choice?

The desire to “question common sense” is merely the self-congratulation of someone whose “sense” is different, but no less “common.” Although Butler wishes to disrupt “the workings of capitalism,” the effect of her writing is exactly the opposite. Its effect is to safeguard the power and privilege of academic capitalists—among whom she is one of the great robber barons.

Wishes, or perhaps claims to wish to disrupt those workings. I myself (suspicious rat that I am) tend to think it’s far more of a claim than a wish.

What Butler’s writing actually expresses is simultaneously a contempt for her readers and an absolute dependence on their good opinion. The problem is not so much her lack of concern for clarity; it’s her lack of concern for clarification. If Butler took seriously her academic responsibility—her duty to teach—she would take pains to make herself clear. Her concern, though, is not to clarify a difficult subject but to justify her position in the front ranks. Hers is not writing to be read and understood; it is a display of verbal majesty, which is to inspire awe and respect. Its one purpose is to confirm Butler’s authority as a leader of the academic left.

A knock-down point, I think. The lack of concern for clarification is telling.

But you can sense the strength of Butler’s party even more strongly among those who support the Bad Writing Contest. In the last two years, at least five young scholars have submitted entries, asking that their names not be released if they should win. In an unsigned June 1997 letter, one entrant confessed that he was “loathe to upset senior scholars in my field,” since alienating them could do “significant damage” to his career…In the current crisis of hiring freezes and intense pressure for tenure, the need to publish is perhaps greater than any time before. Yet to publish in most journals means flinging the jargon, toeing the party line (which is somewhere to the left of gibberish), and quoting the usual suspects (Benjamin, Foucault, Derrida, Said, Jameson, Butler, etc.). I’m often appalled at my own writing, but since jargon, rather than substance, gains a publication, I succumb to verbiage.

Maybe they all hate it, maybe even Butler does, maybe they’re all caught in a trap of their own making. Let’s hope they find the way out soon.