Quiet

Quiet

Every time I look into history I get sucked back farther and farther. I’ve spent the last few days working on my research site, and realizing just how much I don’t know. It took a while to figure out why. It has surprised me to find high school syllabi which cover the same material. I certainly don’t remember anything approaching the sort of depth I see out there now; but back then the courses were “social studies” and “government,” not capital H history as it seems to be today.

After the long hiatus of debauchery that was my “adult” life, I returned to college and thought a moment about majoring in a variety of things: Art History, History, English, and as a last resort, Rhetoric. Funny how things work out. I had to settle on only two, and they ended up being Rhetoric and English, and I couldn’t settle for a minor— no, not me— I had to make it a dual major, thus removing the chance of taking “elective” courses. I figured out that this is why I feel so stupid about American history. I was only able to take two classes: US History to 1877, and an elective upper level course in US History since 1945. The two other required history courses, “History of Western Civilization” were really a waste. When you do a century in an afternoon you can’t possibly remember much.

I have never taken a single class devoted to what I am researching now. It was strange to realize that after five years of school that I know a hundred times more about British history (due to the literature stuff) than I do US history. I’ve only had one course in American literature— American Literature to 1800— so there was little need to study it. Besides, I thought most of it was crap. Because of my single-mindedness in taking over a dozen courses in eighteenth and nineteenth century British literature, I had pretty much ignored the Americans. I suppose this guarantees that my approach will be different. I know where these pesky Americans stole it from.

It’s just the time of year, I guess. I keep thinking about just how much work I really must do to pull this off. I’m really writing about the 1930s in America (as a target focus) but I just can’t get there without dealing with the period from 1877-1945, and I just haven’t been able to cram that into my head in three days. I realized how long it took before the Romantic period really began to make sense to me— and that it only became a focused response when I started studying how the uncertainty of the hundred years that preceded it boiled over in that pivotal period. The same could be said of the 1930s, and it shares much with the 1730s and the 1830s. One of the things the chair of the Rhetoric department is fond of saying is that “all roads lead to the eighteenth century”— I wish he wasn’t right. No matter how much I try to write about the twentieth century, the more I begin to drift back.

There’s always so much more to know. When I feel stupid, I always seem to get quiet. I hope I can find my voice again soon, or this blog will become a very quiet place.

Holiday

Holiday

I waited and waited for the rain to stop. It didn’t. I finally started carrying my things to the car with an umbrella. Traffic was murder, so I skipped the trip to the bank and hit the freeway. I hate driving on I-40, but because of the possibility of freezing on the mountain roads, I opted to stick to the well-traveled path. And it was well traveled.

Amazingly, the interstate was in better repair than usual. The last time I drove it, traffic was reduced to single lanes for miles in at least six places; this time, it was only three. Unfortunately, I hit the worst of it after dark. Near Clarksville, the road becomes a narrow stripe of concrete bounded by potholed asphalt, which forces you to ride with one wheel on a glassy smooth surface with the other wheel in a ditch. As the ditch fills with water, it’s more like skiing on one side and my car always wants to twist sideways. Of course, there had to be someone right on my ass with his high beams on all the way through.

I took two books with me: William Stott’s Documentary Expression and Thirties America and Documenting America 1935-43. I was in a particularly voracious mood, and read over half of Stott’s book before midnight the first night. The next morning, Christmas Eve, was perfect. A light snow had started to fall at six a.m. and by the time I got up it was coming down smoothly in large flakes. By noon, about four inches of powder was covering everything. It was much more pleasant than the rain. I got on the net to check the weather cams back in Little Rock and saw that it was only falling where I was. Wasn’t that special?

Mom had been baking for days, and decided she wanted a break for Christmas eve. She asked me if I’d go out for pizza. As I crossed the freeway, headed back to Ft. Smith I noticed that though it was snowing, none of it was accumulating on the ground scarcely two miles away. The roads were clear and sparse; the pizza place was having a “no kids” day so it was quiet and nearly empty. The snow continued to fall all day, but while the surrounding landscape looked brown and wet, the area where I was became increasingly beautiful. Just around the corner at the Choctaw casino, I laughed for a moment while I picked up a newspaper for my father. The newspaper vending machine was covered with snow, as it displayed the headline: “No White Christmas for Ft. Smith.”

It dawned on me that it was rapidly becoming a Christmas tradition— pizza on Christmas Eve. For some reason, another thing I connect with Christmas is Shakespeare’s Titus Andronicus— I first read it on Christmas day, and I now make it a point to watch Taymor’s film version some time during the holiday season as an antidote to all the “It’s a Wonderful Life” vibe. It was a holiday thrill to have a cherry pie ready to pull out of the oven a few days ago during the penultimate dinner scene, though my companion thought it might be in questionable taste. But I digress, as usual. The sobering thought for Christmas day, as the snow melted away, was that my parents will celebrate their 60th wedding anniversary in March— an achievement, by any standard.

But I ran out of things to read this year— well, almost. Mom suggested that I give a book my father got for Christmas a few years ago a try. Freedom from Fear: The American People in Depression and War 1929-1945 is a weighty tome of around 800 pages, and I only managed the first 250 before I came home. I suppose it might seem strange that I often spend holidays reading, but its sort of a family tradition. Though my father doesn’t read as much anymore now that cataracts have impaired his sight, my mother continues to read novels at a constant clip. I suspect that’s where much of my appetite comes from. In our family, the central entertainment was always just sitting around and reading.

The trip back was clear and uneventful, and I’ve got so much work to do. Stott’s book opened up new vistas to explore, including the proletarian fiction of the 1930s. His book (the parts that weren’t merely singing the praises of Let Us Now Praise Famous Men) attempts to argue that in the 1930s there was a “documentary impulse” which manifested itself in all the products of that age. There’s so much more to say on that, and I’d like to do a full close reading of the book. But for now, I’d just like to publicly thank you all for reading and hope that your holiday was as nice as mine.

Does linking mean?

Does linking mean?

Eons ago in my previous blog I was racking my head over link blogs. I came to the conclusion that under certain circumstances linking had implications in the construction of meaning— so, Jonathon, I am not nearly as averse to the idea of link blogs as a medium of self-expression as I once was. I really meant to expand that post further to embrace the “writerly types” out there— because displaying your creative talents through writing is also, as Jonathon observed, a form of show-and-tell. However, I find both of these approaches less revealing than what might be called expressivist “creative non-fiction”— manifest in blogs of personal exploration which do not rely too deeply on constructed personae. I think it was Golub who argued that link-blogging is a process of persona-construction. I disagreed at first, but I’ve since seen the light. I don’t begrudge anyone who decides they want to share something— in fact, I rather like it.

But does linking mean? I came to the conclusion that if it does, it does so only subtly. That’s why I refuse to submit to delinking. The assumption involved is that link-aggregators like blogdex are “popularity indexes”— that is a really twisted rhetorical perspective. What these devices do is highlight the subtle nature of community on the Internet. They establish the shifting context of the discourse, spread among thousands of sites— a phenomenon well worth studying, in my estimation. However, because I link to something does not mean that I like it, dislike it, or am just amused by it— to accentuate only the postive, affirming side of linking is to deny its complexity. Link networks are only “popularity” indexes in terms of affirming interest. I wondered about linking to the racial-hate material in my previous post. But I figured that what mattered most was the content of the post, not any electronic aggregation of the context. Aggregation is imprecise, inaccurate, and devoid of content.

For me at least, a blogroll has absolutely nothing to do with popularity and everything to do with context, and one of my favorite things as a lazy person— convenience. These are the sites I regularly visit. I have my history set to purge each three days, so the links to blogs change so that I know if I’ve been neglecting to read my usual ones. I really don’t think very many people use it at all, except me, to keep track of my own little “neighborhood.” I believe that linking to posts within a blog rather than on the sidebar may have a strong impact (depending on the popularity of the blog) on traffic. However, the primarily static sidebar links only show a bit of my context within the complex blog discourse community. It’s a subtle thing. When I’ve been reading a blog for long enough to be attached to its writer, I like to explore their links to find out more about what they like to read. I find it nice, convenient, and often enlightening.

Blogrolls can help you find people you’d like to read, that is, if you like the person whose blog you find them on. There are no guarantees. They subtly aid the process of developing communities without overt rhetorical posturing— which a roll of “my favorite posts” would surely involve. I often find blogs I really like by looking at my referrer logs to see who has linked me. I don’t always link back though, because my sidebar is monstrous and there are only so many hours in the day to read blogs. Being placed on my sidebar is not a vote of affirmation, only a vote of interest. To read my blogroll, or anyone’s for that matter, as a popularity contest displays a lack of subtlety— interest and affirmation are not synonymous.

Subtlety

Subtlety

One of my favorite comments (about me) came when selecting material for my first show. A photographer I respected was helping me. After looking at a large number of my prints, he said:

You aren’t very subtle, are you?

I suppose that might be a contributing factor to my current career in Rhetoric. I’ve had to learn to cope with increasing levels of subtlety, in literature and in other forms of discourse. It doesn’t come naturally to me. I’m usually embarrassingly direct.

When Spitting Image linked to a page on Hitler’s Art I was curious about just where this resource was coming from. I used several articles on the art of the Third Reich to demonstrate the rhetorical bias behind them in class last semester, so I couldn’t help but question this. The Hitler Historical Museum?

The aim of the site seems innocent enough:

The Museum’s chief concern is to provide documents and information that shed light on Adolf Hitler and the National Socialist Party. Because of the numerous contradicting, disjoint[ed], biased, confused, and deficient interpretations that exist, few scholars are able to gather the facts and to understand and explain them coherently. Whether this failure is from a lack of information, scholarship ability, or honesty is unimportant. What is important is that historical information be made freely available and gathered into exhibits that allow researchers to derive indepedent (sic) conclusions from the relatively well preserved writings of this time period.

Of course, there is an ideological statement:

The teaching of history should convey only facts and be free from political motives, personal opinions, biases, propaganda, and other common tactics of distortion. Every claim that is made about history should also be accompanied by documentation proving its basis. Only responsible scholarship and teaching should be permitted. Those who intend to support particular political interests and agendas should have their biased historical interpretations criticized for lacking proof.

Sounds great— ill informed (communication without bias is an oxymoron)— but noble at any rate. Responsible scholarship? I needed to look at this more deeply.

A quick check of the links page revealed what was really going on. As you might guess, there was no link to what I would consider a reputable historical site, The Holocaust Museum, but instead a link to an article called The Hoax of the Twentieth Century. I read the first line of the introduction, and then stopped:

I see three principal reasons for the widespread but erroneous belief in the legend of millions of Jews killed by the Germans during World War II: US and British troops found horrible piles of corpses in the west German camps they captured in 1945 (e.g. Dachau and Belsen), there are no longer large communities of Jews in Poland, and historians generally support the legend.

Legend? The scary thing that this is the page of a US computer-science academic, complete with .edu address.

I cannot believe that Northwestern University actually underwrites the presence of such utter crap on the web. But they protect themselves with a convenient disclaimer:

The content of all Pubweb pages is solely the responsibility of their authors and not the responsibility of Northwestern University or any of its employees engaged in management or administration of the Pubweb service. Northwestern University will not monitor Pubweb page content except as necessary to investigate allegations that such content violates federal, state, or local laws or University policy.

Following the link-train reminded me of the reason why I spend so much time focusing on reading responsibly. You’ve got to be careful out there. Free from political motives? Yeah, right!

Unnatural Acts

Unnatural Acts

I received so much material in the last few days for my project that its hard to keep track of. I keep getting lost in the minutiae of it all, along with several new software packages to try to help me keep things straight. Merry Xmas to me, and all that. Strange confluences keep popping up so fast that I’ve got to at least note the web related ones so I can come back to them later.

Steve Himmer noted something about Henry Wallace a few days ago and then today I encountered another article about the presidential race of 1948 which continued the theme. I was doing some research on the Southern Agrarians and then of course, the next day, Wood s Lot provided links to a bio of John Crowe Ransom and some poems. It’s nice when things work out this way. I haven’t really begun to process that part of things yet, but I’ve been reading a lot about it and eventually I’ll have to spit it out. But another link from there lead me to at least to try to sketch something I was thinking about regarding “the resistance to theory.”

Silence of the Critics was strangely appalling to me. David Herman laments the loss of critics like F.R. Leavis and T.S. Eliot, “the golden age of criticism.” I read a lot from those guys a few years ago, when I was working more with the Romantics. I hated them. They used flip rhetoric to dismiss and denigrate anything that wasn’t either 17th century or high modernist. They had goggles on so thick that it seemed incredible to me that they could function in the real world, where literature actually thrives on and depends on context. I’ve learned to get over that chip on my shoulder a little bit, and thinking of those guys again brought something into focus. It made me think of the relationship of critical schools to speech-act theory [bear with me on this].

The fundamental why behind any communicative act is to provoke an effect. Speech-act theory splits this into three phases— locution, illocution, and perlocution. Locution is the utterance itself; the ground in which the “new critics” like Empson, Leavis, etc., staked out their ground. It’s actually a lot like hard-core scientific linguistics— useful, but rather dry and boring. New critics refused to deal with any concept of intention on the part of the speaker/author. That is in the realm of the illocutionary act. Of course, New Historicism, and later schools attempted to add back in context and usually infer a motive for why the speaker would craft an utterance— a guess at what the intention might be based on genre, etc. Oddly enough, many postmodern critical strains have much in common with the New Critics in that they want to remove individual intention from the equation— communicative acts are rooted in the social and market forces that created them, rather than any motive on the part of the author (Benjamin anticipates much of this). What is important to most postmodern accounts is not what was intended, but what actually happens as the result of a text— the perlocutionary sequel.

To twist this observation mercilessly, what is going on in the locutionary and perlocutionary level does not involve an “author” in the slightest— in other words, no “agent” for the action. One level is linguistic, and the other level is sociological. No one wants to confront the concept of agency much. In writing, a sentence which has no agent for its action is called passive voice. It’s discouraged, except in cases where you want the utterance to recede from the rest of the text. The “silence of the critics” that Herman laments is not silence at all, but a passive drone of a life free from the presence of people. That’s why both the New Critics he loves— and the Postmodernists he hates— are, to me at least, just flat out boring. Don’t get me wrong— I find both approaches to be useful in many circumstances, but it just doesn’t generate “edge of the seat thrills” for reading.

Writing without people is an unnatural act.

We?

The Royal We

I always get nervous when a mythic “we” enters into things. Reacting in part to Alex Golub’s latest screed on blogging, Steve Himmer asks:

What are we writing, and how are we writing it? What constitutes good writing on the web, and is it determined by the same criteria that determine good writing elsewhere?

The easiest answer is the Tonto trope: “Whatcha mean we, Kemosabe?” What I find fascinating about blogging is the unmediated environment. I think that most people find that difficult to cope with and force their own mediatory constructs on the process. It represents a double metonymy of sorts— we internalize our own concept of “good writing” based on the criteria we are most comfortable with as we percieve it in others— a necessary illusion, because without mediation there is no standard. The impact of education cuts deeply. Alex’s anti-academic claim for blog valuation takes its core values from academic writing.

Worlds Apart is an insightful empirical comparison between the nature of academic and workplace writing. The primary difference noted by the authors is that school writing practices are “dominated by the epistemic motive and the need to rank” (224). Texts are created primarily for the purpose of short-term evaluation and ranking within a specified time frame. Ultimately, though the perception of audience is shifted in Alex’s model, the goal remains the same. It’s academic. Sort of like speaking up in class with just the right comment at the right time, rather than providing a complex dissertation on a topic.

Sometimes I think that the discourse of blogs doesn’t really reach that high. It’s more like show-and-tell— like kindergarten. See the nice link I found? Admit it, show and tell is fun and most outgoing adults still enjoy it. Some blogs stake out that territory and stay there— it’s comfortable and non-threatening. To an extent, it’s academic too. Say hello to the class and show them something so they will like you. Link heavy blogs create persona through a process of selection, of valuation. It’s interesting that this is perhaps the longest surviving mode of blogging, which does not show much sign of fading— I remember when I started that this seemed mostly bush-league. It takes guts to put yourself out on the commons without any trinkets to sell.

Workplace writing on the other hand is focused on record-keeping and task oriented activity— it is seldom ranked. There is a pressure to conserve space, to provide strictly useful information. I find this commonplace with the growth of professionally oriented link logs targeted at subject specific areas. Valuation is strictly based on ease of access, conciseness, and many of the attributes that Alex suggests— but the insistence of valuation is the worst sort of academic hangover. It goes to the construction of a necessary evil— an author to provide the agency. I think the correct question to ask is not what but why. As there are as many answers to why as there are writers on the web, the question of valuation becomes pointless here. It can only be understood within genres of writing. I remain unconvinced that because we use the same tools, we’re all building the same house. Most of us learned our tools in school, and the repercussions of that continue to be felt.

The question of reading behavior that Steve moves toward is also addressed in Worlds Apart— it’s a foundation of their perception of difference. In school, we read to evaluate. At work, we read for necessary information to get the job done. On the web, these models collide playfully with a need for entertainment, which is another complex matter to consider. Some people prefer short poems. Some people prefer long ones.