New working paper. Title above, links, abstract, contents, and introduction below.
SSRN: https://papers.ssrn.com/abstract=6352618
Abstract: This working paper examines the intellectual status of literary criticism as an academic discipline in the United States. Beginning from a playful prompt inspired by Tyler Cowen’s book GOAT: Who Is the Greatest Economist of All Time and Why Does It Matter?, the essay initially sets out to identify the “greatest” literary critics. Very quickly, however, the exercise reveals a deeper problem: unlike economics, the population of figures who count as literary critics is difficult to define, and the criteria by which they might be evaluated are far from clear. The project therefore shifts from ranking critics to examining the boundaries, origins, and intellectual ambitions of the discipline itself.
The essay traces the emergence of contemporary academic literary criticism to the mid-twentieth century, using Cleanth Brooks and Robert Penn Warren’s Understanding Poetry as a marker of the New Criticism’s institutional consolidation within American universities. From there it examines the crisis that arose in the 1960s when disagreements about interpretation raised doubts about whether literary criticism could claim the status of cumulative knowledge. The 1966 Johns Hopkins structuralism conference serves as a pivotal moment, bringing figures such as Claude Lévi-Strauss and Jacques Derrida into the orbit of literary studies and helping to catalyze the rise of “Theory”—a broad set of interpretive approaches drawing on philosophy, psychoanalysis, Marxism, feminism, and other disciplines.
Through discussions of figures such as Coleridge, Frye, Girard, Derrida, and Harold Bloom, the essay explores competing conceptions of literary criticism: as pedagogy, as cultural guardianship, as theoretical inquiry, and as personal commentary on great works. Bloom’s eventual retreat from academic criticism toward a more public and personal mode of literary judgment is treated as emblematic of the discipline’s ongoing uncertainty about its intellectual foundations.
Contents
Introduction: The Formation of an Academic Discipline 3
1. The search for GOAT Literary Critics 6
2. A discipline is founded: Brooks & Warren, Northrop Frye, and S. T. Coleridge 23
3. Structuralism and its aftermath: Girard, Lévi-Strauss, and Derrida 32
Character in the Age of Adam Smith [GOAT economist], an interlude 56
4. What’s up with the Bard? [Bloom, Cowen, and Girard] 59
Harold Bloom and Hillis Miller on the Demise of Literary Studies 71
5. Harold Bloom, the one and only 73
Appendix 1: The Chatbots Comment on this Essay 94
Appendix 2: Commentary on the Profession 98
Appendix 3: Open Letters about Literary Criticism 100
Appendix 4: Naturalist Literary Criticism 101
Introduction: The Formation of an Academic Discipline
I started this project on a whim, as I often do. Tyler Cowen had just announced his book, GOAT: Who is the Greatest Economist of all Time and Why Does it Matter, and I thought: Why don’t I do the greatest literary critics? And that’s what I set out to do.
But I had no plan, just a vague intention. When I began this project I had no idea, for example, that I would end it with a discussion of Harold Bloom, giving him more attention than any other critic or that I would deposit a longish piece about Susan Sontag in the middle of my Bloom discussion. No, I didn’t plan that, I hadn’t even anticipating discussing Bloom at all.
Once I got started, however, whole thing evolved more or less organically and is something of an opportunistic hodge-podge of various kinds of intellectual materials, prose that I’ve written (the biggest single chunk of material), lists from Wikipedia, queries to ChatGPT, charts from Google Ngrams, and topic model charts. Why don’t we agree that its form is an exercise in avant-garde criticism intended to mime the jagged and fuzzy state of the discipline?
This diagram depicts the argument that has emerged during this exercise. Read it as moving from the past, at the left, on through the present to the future, at the right:
I locate the beginning of the contemporary academic discipline of literary criticism in the mid-20th century pedagogical anthology, Understanding Poetry, edited by Cleanth Brooks and Robert Penn Warran, which I discuss in some detail later in this essay. Commentary on literature shades off into the past back through Samuel Johnson in the modern world and through Aristotle in the ancient world, and both classical and vernacular literature was studied in the nineteenth-century German universities that provided the model on which American universities were established, but the contemporary academic study of literature is based on interpretive methods and ideas that crystalized in the middle of the 20th century. Brooks & Warren are a convenient marker of that activity. It was known as the New Criticism, a term still in use for a certain body of work.
By the 1960s, however, that interpretive activity had become problematic. Some critics became bothered by the fact that different critics arrived at different interpretive conclusions about the same texts. “How,” they came to wonder, “how can we count this as knowledge if we can’t agree on meanings?” And so, some scholars at Johns Hopkins invited a group of Continental thinkers, mostly French, but not entirely, to a symposium in the Fall of 1966. The symposium was organized around structuralism, an interdisciplinary movement of the human sciences that emerged in Europe at the middle of the century. A French anthropologist, Claude Lévi-Strauss was the nominal head of the movement. He was invited to the symposium, but couldn’t make it. As it turned out, however, the star of the conference was a young philosopher, Jacques Derrida, who skewered Lévi-Strauss with his contribution, thus sowing the first seeds of poststructuralism. Note that neither of them is a literary critic, but they have had as much if note more influence on literary criticism than anyone who was and is primarily a literary critic.
And so I have indicated them at the middle of the diagram, with one of them pointed toward the future and the other pointing toward the past. The direction of those arrows reflects my judgment, but it should by no means be considered as reflective of the discipline. The discipline would come to reject Lévi-Strauss, but an increasingly large portion of it would come to at least accept, if not embrace, the insights of Derrida. I have a great deal to say about that later in the essay. And I want to say a bit about my own position in this – I was a student at Johns Hopkins when the French landed – just a bit later in this introduction.
Derrida’s method, deconstruction (a word he coined), opened the floodgates to a variety of interpretive methods that came to be collectively known as “Theory,” with a capital “T.” Theory is the application of some approach to the study of the human mind and/or society that is used as a vehicle for interpreting literary (and other) texts. Psychoanalysis and Marxism were the first through the door followed by feminism, African-American studies and so on and so forth.
Understandably many (older) critics resisted these new dispensations, none more forcefully than Harold Bloom. While he spent a few years trying to go along with the program, during the 1980s he broke ranks and not only abandoned poststructuralism but he pretty much abandoned academic literary criticism in favor of addressing himself to the general educated public in through edited collections and a variety of books, including one on American religion (which I’ve read), and big fat books on The Western Canon and Shakespeare. I’ve given over the last 20 pages of this essay (excluding the appendices) to Bloom, with a diversion into Susan Sontag, though it becomes 35 pages if you include the immediately preceding remarks on Shakespeare’s position in the canon, a reasonable inclusion given that Bloom is Bardolator in Chief.
That accounts for the position of Bloom on the chart, right of center at the apex of a triangle trailing off into the past. He abandoned the modes of thought ushered in by Brooks & Warren and retreated into a more personalistic mode of criticism, one that allowed him to luxuriate in his own opinions as amplified through his tremendous, but ultimately narrow, erudition. Bloom became an empire unto himself.
As for me, as I said, I was a student at Johns Hopkins when the structuralism conference took place. I didn’t attend it, didn’t even know it was happening, but I was introduced to structuralism and semiotics by Dr. Richard Macksey, a book-collecting polymath who did much of the organizational groundwork for the conference. Without going into detail, I decided that the natural progression from Lévi-Strauss was into cognitive science and computational semantics, which I pursued with David Hays in linguistics while getting a Ph.D. in English at The State University of New York at Buffalo. And that effectively took me well beyond the disciplinary boundaries of literary criticism.
While I have continued my interest in literature and have written both practical commentary and theoretical and methodological studies, I have also pursued other intellectual interests – cultural evolution, cognitive science, music, film, graffiti, this and that. The upshot is that I am not as widely and deeply read in literary criticism as I would have been had I decided to mind my Ps and Qs for the last 40 years.
That’s an obvious disqualification for writing a longish essay intended to do for literary critics what Tyler Cowen did for economists, identify the GOATs (Greatest of All Time). But that, as you will quickly see, that’s not what I ended up doing. Rather, I used that objective as a vehicle for examining the origins and boundaries of the academic discipline of literary criticism, which I have depicted in that diagram. And that, I would argue, is a task for which my outsider status suits me well. I can see what’s going on in a way that those in the middle of it cannot.
You be the judge.
Have at it.
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Note: I’ve included appendices listing various articles I’ve written about the profession. The last one is about the opportunities opened up by computing, both as a conceptual model and a practical tool.




























