Literary Values

A researcher at the Yale Modernism Lab, Elyse Graham, raises the question of why the early twentieth century literary review The Egoist had such troubling selling, despite its stellar contributors. She puts the blame on regulars Dora Marsden and Richard Aldington. I offer an alternative hypothesis.

This paper inquires further into how reliable Milan Kundera’s assessment of the taxi driver is. It seems to me that Kundera, though probably from a highly privileged background, approaches fiction writing like a member of an oppressed group: as soon as there is some problem, such as a difficult to digest sentence or a boring passage, the mainstream reader is shutting this book. Possibly the taxi driver would not be on this last chance saloon system.

In this brief paper, I present a paradox of the unnew, derived from nineteenth and early twentieth century fiction, and consider an obvious solution.

This paper presents critical reactions to the use of the ostriches in Milan Kundera’s The Book of Laughter and Forgetting, focusing on the fact that he does not use their most striking quality. But, despite the demand, I struggle to find much to criticize, though I do flag a worry about Kundera’s consistency regarding what is common knowledge.

Shashi Tharoor criticizes R.K. Narayan for using expressions that seemed to have been learnt from a school textbook and have been hollowed by repetition. But he does so using an expression that sounds as if from school. What are we to make of this? I propose that it undermines one of his other criticisms, which is that Narayan’s style reflects his narrow experience and cannot be used beyond that range.

In this paper, I present a pastiche of Kathleen Stock responding to Raymond Tallis’s defence of realism. It is followed by a note in which I briefly explain why I have approached this task by means of pastiche.

In this paper, I present a little puzzle to do with a book of prefaces.

I make a proposal for how one can continue to teach poetry through official channels in a liberal society, conceived as a set of rules for citizens who disagree on a lot of things, including the value of poetry. The proposal is to quote inspiring or relevant poems in textbooks for other disciplines.

P.E. Easterling presents a brief description of the life of Sophocles according to which he was “evidently a classic from the start.” I note a concern about the description, that all classics would seem to be classics from the start.

This paper presents a puzzle that occurred to me while reading Milan Kundera defining graphomania: a mania for writing books for an unknown public. I also present a solution.

This is a two page handout summarizing a number of objections made against Robert Graves's book of Greek myths.

Christina Rossetti’s short fiction has been long-neglected, we are told. In this paper, I respond to her fiction “Pros and Cons,” which perhaps provides a clue regarding why there has been neglect: it leaves the impression of being an imitation of George Eliot, a mocking imitation even. I identify two differences between Rossetti and Eliot.

In this paper, I try to define literary pastiche and present five uses of the practice. The appendix briefly presents a response I anticipate from Davidsonians to Michael Morris on alternative conceptual schemes.

This paper responds to a European novel presenting the development of a poet. The novelist depicts a stage in which the poet seeks to escape from his mother, but I show that there are textual resources for an alternative interpretation of why.

Helen Constantine's collection French Tales is something of a puzzle, although I personally am grateful for it. I present some reactions I anticipate to the collection, or elaborated versions of these reactions. I do so by means of a pastiche of a widely read European author, varying the opening of his Life is Elsewhere.

In this paper, I present two puzzles arising from J.M. Coetzee’s novel Elizabeth Costello, a fiction which is closely connected to analytic philosophy.

George Bernard Shaw did various things to make his essays readable, such as using short sections. In this paper, I raise the worry that they are at risk of being replaced by vocabulary and sayings from folk culture.

Shashi Tharoor criticizes R.K. Narayan in the following way: “Narayan’s prose was like a bullock-cart: a vehicle that can move only in one gear, is unable to turn, accelerate or reverse, and remains yoked to traditional creatures who have long since been overtaken.” I think there is a quick defence, which is that it is very unlikely that one can write the different kinds of works he did without being able to significantly change pace; but there is an objection from (...) Joseph Conrad criticism. (shrink)

I raise a worry that Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation” is inconsistent with his criticism “the ABC of bad writing – archaisms, banalities and cliches – abounded” because these things tend to be worded in a way that exploits local linguistic features, such as alliteration, making translation difficult. I also flag another inconsistency worry, but earlier in this paper.

When evaluating R.K. Narayan, Shashi Tharoor seems to commit himself to these theses: Narayan has a natural style of writing, or a style which is second nature to him; to go significantly beyond his limited range he would have to experiment more with language, reducing the accessibility of his fictions. I cast doubt on this combination by proposing that Narayan’s middle-of-the-road style requires suppressing linguistic innovations in earlier drafts.

I observe that the aim and method of a Victorian text within Shakespeare criticism overlaps significantly with deconstruction.

Shashi Tharoor criticizes R.K. Narayan for ignoring the English canon and for reading like a translation. A question that arises if these criticisms are sound is: why write in English at all? I propose an answer.

In this paper, I predict a reaction within the English literary world if Ukrainian poets head to England owing to war. I also identify two reasons for pastiche. I attempt to do so by means of a pastiche of a notable writer from the Indian sub-continent, for a version of one of these reasons.

This paper examines what is said about a craze for essay writing in Rose Macauley’s 1923 essayistic novel Told by an Idiot, comparing the material with Milan Kundera on graphomania. In the appendix, I note a passage on crowds which is reminiscent of the widely read European author.

There is a novel which presents a general scheme for the development of a poet but this paper presents a problem for it. The problem is: can a believer in the scheme both account for the universality of some poets and the association it makes between poetry and revolutions?

This paper argues against a thesis that Shashi Tharoor seems to accept: that R.K. Narayan’s style is bound up with a very specific context, of people left behind by the times in South India. It cannot deal with other subject matter. I present a little fiction to challenge the thesis.

This paper proposes (once again) that a controversy has been omitted from Robert Graves’s account of how the Greek myths became an established part of the British education system. I address a question from the secondary literature on Bruno Latour: why can’t we see this controversy? Two reasons are speculatively identified.

Influenced by Martha Kuhlman, I am disposed to read Milan Kundera as personally disliking crowds. But I speculate that there is a practical reason for his writing against crowds, if we see him as part of a system of novelists.

This paper contains my attempt to pastiche the Lacanian philosopher and social theorist Renata Salecl. The pastiche focuses on the effects of coronavirus on liberal societies, the invasion of Ukraine, and offers a definition which I think is of interest to analytic philosophy.

In this paper, I respond to an essay by Tatyana Tolstaya, which describes a contrast between the Russian and the Western perspective on words. Her contrast may generally be true, but I know of a counterexample: a tale about a Western philosopher and his followers and what happened to them.

This paper proposes that there is common ground between H.J. Rose’s A Handbook of Greek Mythology and Robert Graves’s The Greek Myths, in that both seem to think that it is a bad idea to meet a certain demand: to provide a handbook that is reliable, easy to consult, and suitable for students of certain literary tastes.

In this paper, I draw attention to two problems that Milan Kundera’s The Book of Laughter and Forgetting faces. I propose that a single word change can solve both.

I begin with a quotation from Manchester School anthropologist Clyde Mitchell about demarcating the boundaries of the object of study. I then propose that the functions attributed can alter significantly depending on how one demarcates the boundaries, distinguishing between two cases. In the appendix, I present a solution to a paradox presented by Josephine Guy concerning commentary on Victorian literature.

I consider an alternative to the explanation that it was just a macho time, a time of strong men in literature: a certain pessimistic evaluation system just leads in the direction of building up your muscles. The answer is presented by means of an imitation of the Japanese writer, as he reads in translation.

Adam Smith’s vision of fields of narrow specialists seems incompatible with the singly authored pastiche book: one which imitates a variety of styles. Furthermore, at least one pastiche book takes inspiration from another notable Scottish figure, raising a question of the consistency of the Scottish heritage. I draw attention to the suggested solution.

I observe common ground and differences between the first page of Edith Wharton’s The House of Mirth and Christina Rossetti’s Commonplace.

I argue that Henry Heine's assessment of the English - that they are either universal geniuses or self-interested mediocrities - is prone to an objection that draws upon his own characterization. I tried to write this in an Edwardian style but the result is a mishmash.

This paper makes a comparison between Milan Kundera and Annie Saumont. I assume there is a message being sent by Saumont in her highly recommended short story “You Should Have Changed at Dol,” regarding history in Kundera, but what is the message? I offer two interpretations.

This paper, or little essay actually, presents a response to Shashi Tharoor on R.K. Narayan, starting with “I would be afraid of writing that.”.

As an answer to the title question, some stories you can operate on and then get something good. I explain why I find a story about a tiger attack good, because of this reason, “courageously” presenting what I take to be something good. In the appendix, I present an attempt to clarify a distinction.

In this paper, I propose that there are or will be examples where the principle of charity recommends an interpretation which makes a text more true than another interpretation, whereas the rival interpretation improves on making sense of its form.

This paper responds to an essay by Elena Ferrante on male literary figures acknowledging the influence of female ones. She poses a question about her reception by males which I address.

This paper responds to Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation.” He does not name any writers in another language to back up his claim and without doing so there is an explanation for his impression, but one which leaves it looking misleading.

I anticipate someone who dismisses Sophocles as mere literary craftsperson of high skill, arguing that such craftspeople turn up generationally and that the credit should go to the mythmakers.

This paper is an imitative response to Kathleen Stock’s book Material Girls, another faux chapter. This effort may be fractionally closer by some measures than my previous effort. I include an appendix with my own response to the essayist targeted: Alain Robbe-Grillet.