Links to Jacob Silverman’s notes “against enthusiasm” have been popping up in my RSS and Twitter feeds for a few of weeks now, first when they appeared as brief remarks on Silverman’s blog and again when Silverman turned them into an article published last week on Slate. In most instances the links have been accompanied by either praise for Silverman’s argument or an absence of commentary which I take as tantamount to an acknowledgement that, at the very least, he’s on to something. In his notes, Silverman diagnoses the preeminent problem with today’s online culture of literary criticism and proposes a solution for it. I think his diagnosis is spot-on, so I’m glad to see a sustained interest in his notes — and particularly since so many of the venues that have linked to them are the very sorts of venues he faults.
“[I]f you spend time in the literary Twitter- or blogospheres,” writes Silverman,
you’ll be positively besieged by amiability, by a relentless enthusiasm that might have you believing that all new books are wonderful and that every writer is every other writer’s biggest fan. It’s not only shallow, it’s untrue, and it’s having a chilling effect on literary culture, creating an environment where writers are vaunted for their personal biographies or their online followings rather than for their work on the page. … Critics gush in anticipation for books they haven’t yet read; they ❤ so-and-so writer, tagging the author’s Twitter handle so that he or she knows it, too; they exhaust themselves with outbursts of all-caps praise, because that’s how you boost your follower count and affirm your place in the back-slapping community that is the literary web.
One problem with this situation is that, for Silverman, “it’s a critical dead-end, a conversation nonstarter. It’s opinion without evidence — or, really, posture without opinion. For every ‘+1,’ ‘THIS,’ or ‘<3’ we offer next to someone’s fawning tweet, a feeling is expressed without saying much at all.” And because such “cloying niceness and blind enthusiasm are the dominant sentiments” of online literary criticism, their very dominance gives rise to a second problem: “biting criticism has become synonymous with offense; everything is personal — one’s affection for a book is interchangeable with one’s feelings about its author as a person.” The result is a literary culture “dependent on personal esteem and mutual reinforcement,” in which criticism has ceased to function as such. Because every member of this culture wants their own writing to be read, they seek to receive praise for their writing by praising the writings of others and, as a result, the culture overflows with writings of which none are ever not worth reading. Continue reading A Reorientation