“the better the worse. If they’re bad, they merely make me pant with the effort of holding them up for a few minutes. But if they’re good, I turn into a social moron for a few days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.”
It’s impossible not to realize this is Seth’s sly joke, not at the expense of, but on behalf of the reader who has read this far (page 1371, to be precise) in A Suitable Boy. It closes the self-referential frame begun with the epigraph, a little ditty called “A Word of Thanks,” which concludes,
Buy me before good sense insists
You’ll strain your purse and sprain your wrists.
As Seth clearly anticipated, the novel’s length is a major feature of any conversation about it. For many, it is a disincentive to even starting it; for some, including me the first time I tried it, it becomes an obstacle to finishing it. Now, having read to the end of its 1474 pages, I feel obliged to address the question whether it needed to be so long: is its bulk a necessity, or even a strength?
Thinking about this question, particularly after Seth’s own allusion to Middlemarch, I’m reminded of George Eliot’s comment about that novel: “I don’t see how the sort of thing I want to do could have been done briefly.” Middlemarch is subtitled “A Study of Provincial Life,” and among its ambitions is clearly coverage of a broad but complexly intermingled portion of English society at a carefully particularized moment in history. Her achievement is enormous, but not, of course, comprehensive, as many critics have pointed out; as I have often remarked to my students, the novel might have been longer still if she had carried her theory through to its fullest realization. As it is, because of her interest in representing so many elements of her story from multiple perspectives, she concedes some horizontal reach in favour of the three-dimensional structure I have inelegantly called the “giant hairball” effect. Here too, of course, the limit on the scale of the text is set only by her not in fact trying to give us everyone’s perspectives on everything. “Every limit is a beginning as well as an ending,” she reminds us in the Finale, and with that principle in mind, we can read Middlemarch as itself revealing as many limits as insights, and leaving us with the challenge of reading the world as it has taught us. The scope of the novel, though, ensures that we realize the scope of the problem and the effort of the solution: though Book 1 is called “Miss Brooke,” there’s so much more in Middlemarch that we can hardly make the mistake of considering her errors of perception idiosyncratic personal ones, or of imagining she can take some simple, heroic step to find happiness, regardless of historical or social contexts. You need a long book to do these things effectively.
Dickens’s best long books also justify themselves by their ideas about the world they depict. One of the governing ideas of Bleak House, for instance, is relationships–often unknown or underappreciated–between people of all kinds in all places, separate by vast differences in wealth and situation, family and education, philosophy and values. That we are all, in effect, one human family is a simple idea but one that increases in potency the more dramatically its reach is extended–from Lady Dedlock, say, brightly illuminated in the glare of fashionable society, to poor Jo the crossing sweeper. To assert the connection is one thing, and Dickens’s narrator does this, but by populating the novel so densely Dickens gives his social message emotional resonance.
Thackeray, too, inVanity Fair . . . but you get the idea. Abundance in a novel reflects abundance in life; artfully deployed, it gives us both ideas and feelings about that abundance and our own relationship to it, and at its best, a long book reflects its ideas in the way its abundance is structured into a unified whole. And these are just the intellectual aspects. Despite the popularity of James’s infamous line about “loose, baggy monsters,” long books can be enormously satisfying, both formally and aesthetically. They also occupy mental and physical space in our lives so that we develop a special relationship with them, with the world into which we go when we read them. Here my chief example would be Trollope: immerse yourself, as I did one sabbatical, in the whole Palliser series, or the Chronicles of Barset, and you feel as if you are living two lives, one with your actual family and friends, the other with your friends in this enormously specific alternative universe (as Hawthorne said, Trollope’s world seems “as real as if some giant had hewn a great lump out of the earth and put it under a glass case, with its inhabitants going about their daily business, and not suspecting they were made a show of”). Escapism? Perhaps, but another way to think of it is as vicarious living, including plenty of exercise for our moral imaginations.
OK, so. What about the length of A Suitable Boy? Does the novel satisfy the standard set by these illustrious predecessors of the doorstopper form? Do its ends justify its means? I would say, mostly yes. Of the novelists I have named, Trollope seems closest in spirit to Seth, whose reach, like his, is primarily horizontal. The novel’s principle seems to be inclusivity: in brief, Seth hates leaving things out. The relatively large number of major characters in the novel is itself a bit startling, though the family trees provided are helpful here. But then there are the relatively minor characters, dozens of them, and the crowds of incidental figures, and, literally, the crowds. Then there’s the historical detail. There isn’t a lot of straight exposition, but there are long sections of political wrangling, most of which require at least some contextualizing (though one striking feature of the novel, I think, is how much it opts not to explain). And there are details of other kinds, too, crowding the book: clothes and books and food and drink (lots and lots of food, and many, many drinks) and religious rituals and holidays, both Hindu and Muslim. And cricket. And shoe-making. And curriculum wars in the English department. And singers and songs and musicians–and their instruments.
Of course, any novel interested in time and place has to include details, but the overall impression of A Suitable Boy is of crowds of them, not noisily clamouring for attention, but filling every available space, as if somehow the book is a tangible object, like Meenakshi’s lacquered box, overflowing with sights and sounds and smells (the tanneries!). Did it always seem artistically controlled? No, not always, but I would be hard pressed to single out any expendable piece: once begin trimming and tidying, and where to stop, after all? Life is cluttered: why can’t that be an artistic rationale?
With so many characters, plots and stories, too, are abundant. Here Seth’s control is more overt, as the story of Lata’s quest (or, more accurately, her mother’s quest) for “a suitable boy” provides a unifying structure used, I thought, to lovely dramatic purposes at times, as when the three top contenders–Kabir, Amit, and Haresh–meet up, quite unaware of their status as competitors for her favour. The rituals that open and close the novel also show its underlying tautness: major events (birth, marriage, death) do give shape to our lives, much as we like to insist that plots are all impositions, and yet life itself presses on, as does the momentum of the novel even as its central mission is resolved (how, I won’t tell you–read the 1474 pages for yourself!): “You too will marry a boy I choose,” says Mrs Rupa Mehra on the first page, and “You too will marry a girl I choose,” she says on (almost) the last one. (Would I read A Suitable Girl? You bet I would.)
As I neared the end, though, the unity I felt the most strongly, and found the most poignant, was precisely the one best supported by the risky choice of putting so much into the novel: that principle of inclusivity is itself, I think, a theme of the novel, perhaps its main idea. Everyone is in it together. Seth’s inclusivity reflects what the novel shows as the greatness but also the curse of India (India as he depicts it, of course). Often, people in the novel are, or feel, deeply divided by their differences: the conflicts between Hindus and Muslims, including some horrifically violent ones, are the most serious examples, refracted much more delicately through Lata’s lingering conviction that Kabir can never truly be “suitable.” Others are good friends in spite of their different religions–Maan and Firoz, for instance. That difference seems insignificant to us and them, until they are caught up in larger events that remind them (and us) that it means life or death when they are among those who define their communities by exclusion rather than inclusion. Many scenes in the novel–such as the ultimately disastrous attempt by the Raja of Marh to raise the Shiva-linga and install it at the new temple being built basically right beside the Alamgiri Mosque, or the earlier riot sparked by the same awkward proximity, or the painful memories of Partition, which haunt Hindu and Muslim characters alike–evoke the human cost of intolerance, even as the same neighbouring sites of worship have the potential to represent the peaceful alternative. By the end of the novel, the relationship I felt exemplified its most cherished possibility was that between Mr. Mahesh Kapoor and the Nawab Sahib, though I can’t point to its key moments without giving away some of the more dramatic events of the novel. Their story reminds us forgiveness is essential to friendships that persist over time and in the face of violence and difference, an idea that is easily extended from their particular case to the larger context.
As for Lata’s final decision about marriage, well, you don’t think I’m going to give that away, do you? After all, one of the most important reasons to read 1474 pages is to find out what happens. I will say, though, that I was surprised at first, and then pleased. Her choice is not conventionally romantic, or unconventionally heroic; it’s not a triumphant conclusion for her, but she rides away into a future that felt true to what she had learned from participating in the complicated panorama of A Suitable Boy.
Don’t let the lack of new posts between last week’s teaching update and this one mislead you: there has been plenty of novel reading around here lately! Specifically, I have finished A Suitable Boy–yes, just a few short weeks after deciding it would be the perfect complement to a term already well-stocked with loose baggy monsters. It became a thoroughly enjoyable and often surprisingly poignant reading experience (and there was some melodrama and some humour in there too), and I hope to write a proper post about it soon. For now, though, here’s what I’ve been doing for my day job:
In Mystery and Detective Fiction, after Monday’s midterm (too short, apparently, as over half of them were done well before time was up), we’ve moved on to hard-boiled detective fiction. For today we read Chandler’s great essay “The Simple Art of Murder” and Hammett’s “The Gutting of Couffignal.” This stuff will really wake you up when you’ve been reading Agatha Christie for a while. Though it’s not at all to my personal taste, I get pretty energized teaching it, partly from the intensity of the language and the fast-paced plotting, and partly, I think, from exactly that contrast between the world Hammett puts us in and the much more artificial world of the puzzle mystery. I am also (nearly) convinced that puzzle mysteries, though far less graphically violent, are far more morally problematic. Even Poirot’s sombre analyses of the corrupting effects of small moral lapses on ordinary men–blunting their moral fibre, as he says of Dr. Sheppard–are not sufficiently weighty to compensate for the essential frivolity of the murder story itself, the insouciance, for instance, with which Poirot seats himself in the very chair where Ackroyd’s body was found as he works out possible theories of the crime. I think Chandler is right when he argues that such works have little to do with live as it is lived–or, more important, with violent death as it is died. But the degree to which we accept violence by our hard-boiled protagonist because we accept the ends he serves does, itself, become problematic, as I know we will discuss more next week with The Maltese Falcon (yes, I faltered in my resolution to replace in with The Big Sleep).
In my George Eliot seminar, we’ve moved on to Romola, which I am thoroughly appreciating now that I’ve made it through the painfully ponderous early portion. And, having described it that way, I should add that we talked quite a lot in class yesterday about the challenge of reading it, yes, but also about the effect of struggling through so much information and about the thematic and generic purposes it serves. As I recall, George Eliot said (in a letter, I think) that she hoped to create as rich a sense of the Florentine context as she had of the environment of St. Ogg’s in The Mill on the Floss. How do you achieve such a goal, so that your characters can be seen to move in a milieu that is richly historically specific and also intensely local and personal–so that their language, values, and behaviour belong, as it were, to their place and moment–when that milieu is not already familiar to your readers? Though (as we also discussed) there seems to be even more pressure in Romola than in her earlier novels towards the universal or mythic, all of the characters embody their characteristics in ways that are entirely within realistic parameters (OK, until we get to the very end, but that’s next week). It’s fascinating how she takes her favourite abstractions (egotism and altruism) and makes them more concrete by associating them with major intellectual strains of Renaissance humanism, on the one hand, but also fanatic Christianity on the other: the impulses may transcend history, but their expression is determined by history, or constrained by it, and so in a way we are being prepped for Dorothea’s inability to express her heroic spirituality in the ways that Romola can. Last week we talked a lot about Maggie’s moral appeal to Stephen Guest: “‘If the past is not to bind us, where should duty lie?'” And here we have Tito, who personifies just the moral unmooring that results when you cut ties to the past–or try to. Of course, you can’t escape your past, and in Romola we are reminded of that with the thrillingly literal clutch of Baldassare’s hand on Tito’s arm. Romola herself is, surprisingly, not that prominent in the first half of the novel. Our installment for this week ended just as her alienation from Tito begins to undermine her dreams for fulfilling herself through marriage; next week we will be able to consider the various ways in which she (or George Eliot) attempts to imagine a different future, even a different identity, for her that will satisfy her ardent soul (yes, she’s another one of those).
In British Literature Since 1800 we are finishing up Great Expectations this week. The students are also hard at work (or so I hope) on their first major assignment for me. I’m rather proud of its design, though I have not given it before and so I won’t know whether it takes them where I hope they’ll go until I see the results late next week. In brief, it’s an annotated bibliography, but it’s tailored to a general topic which they are then supposed to shape as they build the list of sources. In the end, they will submit a list of their “best” (most relevant) sources, but also a narrative of how, through the process of the research, they identified their narrower topic and then pursued it. It’s the backstory of an essay, as I told them. I’m not actually having them write the essay, though their commentary will include a preliminary working thesis. Too often when I’ve assigned essays on Great Expectations students in past classes have skipped the preparatory stages and turned in plagiarized papers. But the thinking and reading and researching part is every bit as important as the final “writing it up into an essay” stage, so that short-cut is not only dishonest, since it isn’t their essay, but irrelevant. I’m hoping that by emphasizing this part of the exercise they will really feel that difference. Also, one of the course objectives is research skills (citation and stuff), so I wanted an assignment that would really highlight research as a process, as well as giving lots of practice in the fun stuff like MLA style.
All that and A Suitable Boy too. No wonder I’m feeling a bit run down!
It’s Agatha Christie week in Mystery and Detective Fiction, which means fun times with “words, ingeniously used.” When we start The Murder of Roger Ackroyd, one of the things I point out is that it is published in 1926, so within hailing distance of a couple of other very famous novels including Ulysses (1922) and To the Lighthouse (1927). Unlike those novels, however, The Murder of Roger Ackroyd is rarely assigned in university classes and never (to my knowledge) discussed as a modernist classic–because, of course, it is no such thing. In fact, modernism is probably one reason it’s tricky taking genre fiction seriously as literature, for reasons we spend a little time on. That said, in its own field, The Murder of Roger Ackroyd is a classic, and one of the reasons it deserves that status is that it does quite brilliantly some of the things that kind of book is supposed to do, such as giving the reader enough information to solve the mystery without ever, in fact, giving the reader enough information to solve the mystery. You have to be ingenious indeed to tell without telling. It’s fun, once the murderer has been revealed, to go back through the novel and see, not just the clues, but the delicately duplicitous way the story is controlled throughout.
Still, Christie exemplifies ingenuity only in its cunning aspects. For the full experience of language “marked by inventive skill and imagination,” Dickens is your man. I find it hard to talk about Great Expectations without wanting to sound like Dickens, just a little bit, just for the fun of it–so today I found myself helplessly muttering “J-O-Joe!” at odd moments during our class discussion. That’s the comic Dickens, of course, but there’s also the creepy Dickens (“I saw speckled-legged spiders with blotchy bodies running home to it, and running out from it, as if some circumstance of the greatest public importance had just transpired in the spider community”) and the poignant Dickens (“Heaven knows we need never be ashamed of our tears, for they are rain upon the blinding dust of earth, overlaying our hard hearts”). Sometimes, the most remarkable thing is his ability to change registers, or even to sound both funny and tragic notes at once. There’s Joe’s hat, toppling hilariously off the mantlepiece like an animated indicator of Joe’s unfitness to be in Pip’s elegant lodgings, and then moments later there’s Joe himself, showing up the superficiality of that very judgment and shaming Pip back into humility with his own “simple dignity”:
‘You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think of me in my forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing you should ever with to see me, you come and put your head in at the forger winder and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last.’
And so, of course, he has.
In my George Eliot seminar, it was week 2 on The Mill on the Floss. I wrote a bit about it at The Valve and don’t have much to add except that reading so much George Eliot at once this term is really bringing home to me how important I think intelligence is to fiction with any real literary aspirations. I’ve quoted David Masson before on the relationship between a novelist’s writing and a novelist’s thinking; here’s the most relevant bit from British Novelists and Their Styles :
the measure of the value of any work of fiction, ultimately and on the whole, is the worth of the speculation, the philosophy, on which it rests, and which has entered into the conception of it. . . . No artist, I believe, will, in the end, be found to be greater as an artist than he was as a thinker.
I’m thinking maybe I will found a school of criticism based on this principle. The Massonites? This may be the definitive answer to the whole ‘should aspiring writers go through MFA programs’: no, or at least not too early on, because they should not expect to be taught how to write before they have learned how to think–and think hard. The satisfactions of George Eliot’s novels are certainly not all intellectual or philosophical, but far from agreeing with those who object that the novels are somehow too discursive to be pleasurable, I agree with Henry James’s remark that the “constant presence of thought, . . . of brain, in a word, behind her observation, gives the latter its great value and her whole manner its high superiority. It denotes,” as he says, “a mind in which imagination is illumined by faculties rarely found in fellowship with it.”
Vikram Seth’s A Suitable Boy has been in my TBR pile for some time. I started it once before but didn’t make it much past page 300, which isn’t really that far in a 1500-page novel. It wasn’t that I didn’t like it: I just started picking up other things to read instead, because they were more portable, for instance, or met some more immediate need. Then I decided that if I were going to finish it, I’d have to start all over again, if only to remind myself who everybody is. Eventually I moved it back onto the shelf, and there it sat, until for some reason when I was looking for my next book to read for myself earlier this month, I pulled it off again.
I don’t know what possessed me, to be honest, given how busy this term was shaping up (and is turning out) to be. And yet now that I’m about 600 pages along, I think my instinct was a good one. Though the book is long, and that in itself makes certain demands, its leisurely pace and even tone make it a kind of calming retreat from the rapidity of the rest of my activities. The action (if that’s the right word) unfolds so gradually that it makes Trollope’s novels look like thrillers, but it’s certainly Trollope I am reminded of, rather than Dickens or George Eliot (both cited often as comparisons in the excerpted reviews that lead off my edition). Like Trollope, Seth exudes a quiet confidence in the intrinsic interest of people going about their business. Also like Trollope, he seems unconcerned about literary language: the prose is commonplace and persistent, not poetic or philosophical–though it can be evocative, nonetheless, partly because of its attention to details:
But even when he closed his eyes to cut out the dry brightness of the afternoon light and the monotonous fields stretching out to the huge visible quadrant of dusty sky, the sounds of the train bore in on him with amplified volume. The jolting and clicking of the train as it rocked sideways and slightly upwards, the sound of it going over a small bridge or the whooshing of a train rushing past in the opposite direction, the sound of a woman coughing or the crying of a child, even the dropping of a coin or the rustle of a newspaper, all took on an unbearable intensity. He rested his head on his hands, and stayed still. (542-3)
I assume reviewers have compared Seth to Dickens or George Eliot because A Suitable Boy is very long and has the breadth of character and incident typical of Victorian realist novels. But (so far at least) A Suitable Boy gives me none of the sense of underlying design you get from Dickens, or at least from the great later novels like Bleak House or Little Dorrit, in which the multiplicities are charged with significance because they develop a common idea. There’s also no narrative presence: no metafictional reflections, and no philosophical commentary providing perspective or a sense of purpose to the abundance of specifics. At this point, I would say that I can’t discern the “aboutness” of A Suitable Boy: it just is. That’s not necessarily a flaw, though I do find myself wondering sometimes, as characters and details accumulate, why they are necessary, whether there is anything more at stake than creating a narrative that reproduces the crowding of people and incidents in real life. The 19th-century novelists alluded to seem far more self-conscious about the constructedness, the artifice, of their results; this is why the chargesof naive realism seem so misplaced in their cases, but it does not seem so far off, about Seth.
When I tried to read A Suitable Boy before, I was frustrated at the absence of a glossary. I still find it a disadvantage, though inevitably you acquire a working understanding of what things are. I’ve been thinking this time, though, that that absence, certainly a deliberate choice on Seth’s part, may make a kind of tacit statement about the novel. Though it is definitely a learning experience for me to read the book, it is not, itself, set up with me in mind, or at least with my education in mind: it is a not a didactic book for outsiders about “understanding India.” It is “just” (and I don’t mean that pejoratively) a novel about India, or, better, about people in India. It’s my problem, not Seth’s, if I don’t know what a ‘ghazal’ is, or a ‘munshi’ or a ‘dupatta.’
Finally, for now, I’m amused at how I’ve begun imitating Mrs Rupa Mehra as I read. I look at every young man to see whether he’s “a suitable boy” for Lata.
Last week went by too quickly for comment, apparently. The usual term-time feeling of things hurtling by is exacerbated by my Brit Lit survey course: Monday was Tennyson, Wednesday was Browning, Friday was Arnold. Forget the Romantics–they’re so, like, the week before last! But I also tripped into my own small version of the perpetual ‘crisis of the humanities,’ and there went all my blogging time.
So, this week.
In Mystery and Detective Fiction it’s Sherlock Holmes week. In previous incarnations of this course I have given short shrift to the greatest detective of all, or so at least my evaluations have routinely pointed out. So this year we’re doing not just a short story (“Silver Blaze,” the one with the dog that does nothing in the night time) but also The Hound of the Baskervilles, which we start tomorrow. I find Holmes’s displays of superhuman brilliance and pseudo-scientific deduction fairly tedious, actually, and I don’t find there’s much to say about them once you’ve run through the basic “Holmes represents the comforting promise that science and reason can control the world’s complex uncertainties” theory, to but Hound has a rich mix of gothic, mythic, historical, and symbolic elements, so I hope it will prove more interesting to work through.
In the Brit Lit survey, we’re rushing onward through Victorian poetry. We read the Norton’s excerpts from Aurora Leigh for Monday. I enjoyed working them up: Aurora Leigh is one of those texts I get quite excited about, mostly because of its enormous exuberance, but also because it has such brilliant unity of form and content. As I tried to explain to the class, it’s a poem that overcomes all kinds of conventional oppositions, not just poetry / prose (it’s a ‘novel-poem,’ after all) but also epic / lyric, art / life, fallen / pure, spiritual / material, social / personal… Take Aurora’s defiant words to her practical cousin (and would-be lover), Romney:
I hold you will not compass your poor ends
Of barley-feeding and material ease,
Without a poet’s individualism
To work your universal. It takes a soul
To move a body: it takes a high-sould man,
To move the masses, even to a cleaner stye:
It takes the ideal, to blow a hair’s-breadth off
The dust of the actual.
Then there’s her radical poetics, as announced in this passage as remarkable for its imagery as for its self-assertion:
Never flinch,
But still, unscrupulously epic, catch
Upon the burning lava of a song
The full-veined, heaving, double-breasted Age:
That, when the next shall come, the men of that
May touch the impress with reverent hand, and say
‘Behold,–behold the paps we all have sucked!
This bosom seems to beat still, or at least
It sets ours beating: this is living art,
Which thus presents and thus records true life.’
I find the Norton’s choice of excerpts somewhat tendentious, selecting out those that illustrate, not so much Aurora’s development as a poet or the crucial reconciliation between her artistic ideals and Romney’s commitment to social reform, or Marian’s radical revision of the ‘fallen woman’ narrative, but the condition of women, particularly through her chafing against her limited education and then against Romney’s belittling suggestions that she abandon her art to become his “helpmate.” These choices make Aurora Leigh seem more comfortably feminist than I think it actually is, and the complications that arise (but are not excerpted) make it a less doctrinaire and more interesting work than it seems from these pieces. What about Aurora’s declaration, for instance, that “art is much, but love is more,” or that “the end of life is not a book”? It’s tempting to make her an iconic figure for the woman artist’s struggle for autonomy, but it matters, I think, that for her there really is a struggle between love and independence. Arguably, this opposition is also resolved in the poem’s jubilantly erotic conclusion, also not excerpted, which is a shame. Here’s a bit of it:
But oh, the night! oh, bitter-sweet! oh, sweet!
O dark, O moon and stars, O ecstasy
Of darkness! O great mystery of love,–
In which absorbed, loss, anguish, treason’s self
Enlarges rapture,–as a pebble dropt
In some full wine-cup, over-brims the wine!
While we two sate together, leaned that night
So close, my very garments crept and thrilled
With strange electric life; and both my cheeks
Grew red, then pale, with touches from my hair
In which his breath was…
O indeed!
And in my George Eliot graduate seminar, we’ve moved on to The Mill on the Floss. Much as I like Adam Bede, this novel feels like a substantial leap forward in artistry and intellectual reach–though, as I’m sure we’ll discuss next week, there is (arguably) an imbalance in its structure, as George Eliot herself felt (she confessed to having lingered too long on the childhood scenes for sheer delight in them, only to find herself running out of room for her conclusion). Though if anything the narrative commentary is more pervasive here than in Adam Bede, the voice seems surer and better integrated. It’s also darned funny. Here’s just a tiny sample:
But,’ continued Mr Tulliver after a pause, ‘what I’m a bit afraid on is, as Tom hasn’t got the right sort o’ brains for a smart fellow. I doubt he’s a bit slowish. He takes after your family, Bessy.’
‘Yes, that he does,’ said Mrs Tulliver, accepting the last proposition entirely on its own merits, ‘he’s wonderful for liking a deal o’ salt in his broth. That was my brother’s way and my father’s before him.’
At the same time, Mill has some of Eliot’s most poignantly evocative passages, particularly when she treats the relationship between landscape and memory:
There is no sense of ease like the ease we felt in those scenes where we were born, where objects became dear to us before we had known the labour of choice, and where the outer world seemed only an extension of our own personality: we accepted and loved it as we accepted our own sense of existence and our own limbs. Very commonplace, even ugly, that furniture of our early home might look if it were put up to auction: an improved taste in upholstery scorns it; and is not the striving after something better and better in our surroundings, the grand characteristic that distinguishes man from the brute – or, to satisfy a scrupulous accuracy of definition, that distinguishes the British man from the foreign brute? But heaven knows where that striving might lead us, if our affections had not a trick of twining round those old inferior things, if the loves and sanctities of our life had no deep immovable roots in memory. One’s delight in an elderberry bush overhanging the confused leafage of a hedgerow bank as a more gladdening sight than the finest cistus or fuchsia spreading itself on the softest undulating turf, is an entirely unjustifiable preference to a landscape gardener, or to any of those severely regulated minds who are free from the weakness of any attachment that does not rest on a demonstrable superiority of qualities. And there is no better reason for preferring this elderberry bush than that it stirs an early memory – that it is no novelty in my life speaking to me merely through my present sensibilities to form and colour, but the long companion of my existence that wove itself into my joys when joys were vivid.
The novel (and, indeed, all of her fiction) can be read as an extended meditation on “the labor of choice”; sadly, those “deep immovable roots” may entangle as much as enable us, which is probably why these passages feel elegaic and yet mournful. The importance of memory to morality in the novel has always seemed to me to justify the imbalance of its parts: if we hadn’t spent so much (and such closely scrutinized) time with Maggie and Tom in their childhood, it would be impossible for us to understand the intensity of Maggie’s dilemma later on.
[See also ‘The PhD Conundrum‘]
The most recent issue of University Affairs includes these remarks in a letter from Robert Stainton, a philosophy professor and associate dean at UWO:
Notably, there is a new and crucial role for graduate degrees in the humanities. In the 1960s, undergrad enrolments grew exponentially because Canadians recognized that a high school diploma was no longer sufficient. Nowadays, the master’s degree has become “the new BA.” The PhD, in turn, raises a student’s critical analysis and writing skills to the level required for the most intellectually demanding careers.
Well, again, yes, doing a PhD in the humanities will certainly enhance a student’s critical analysis and writing skills. But, again, and even more so than in an undergraduate context, don’t the particular specialized demands of a PhD make it an astonishingly indirect and inefficient way to master those skills? Most PhD students in the humanities complete at least a year of coursework, to increase the breadth and depth of their expertise in the materials and methodologies of their field. In English, that will almost certainly include not just sustained attention to literature from the medieval to the contemporary period, but also exhausting (if not, probably, exhaustive) engagement with esoteric theorists and critics of all persuasions. One goal is to become reasonably fluent in a style of argumentation and writing that is not universally practised, as anyone who has ever coached a student initially trained in, say, Dr. Stainton’s field, philosophy, to do work in literary criticism (as I have) would know. A related goal is mastery of, or at least familiarity with, a vocabulary that really has little or no place outside the academic study of literature. Then follows a year of really intensive reading in preparation for a set of qualifying exams. Precise requirements vary: at Dalhousie, our exam lists are field-specific and teaching oriented. The exam itself is a gruelling combination of written essays and an oral examination–aha! writing to deadlines and oral presentation skills! And of course the final phase is the production of the thesis, a 300+ page document demonstrating your ability to first create and then resolve a critical ‘problem’ or ‘crux’ that hasn’t yet been addressed, or at least not from your unique angle. Anyone who has revised a PhD thesis into an academic book knows that even that step requires changing almost the entire tone, not to mention the supporting apparatus, of the original work, and probably expanding its scope.
If writing a thesis isn’t even altogether good preparation for writing a scholarly book, it is surely disingenuous to discuss it as if it’s a reasonable task to undertake if what you are eventually going to do is become a public servant, a school teacher, a lawyer, the administrator of an NGO, a novelist, or a small business owner. As for the seminars and the qualifying exams, again, it seems to me a mistake to talk about them as if they operate according to the same principles or serve the same purposes as undergraduate courses. PhD programs in the humanities are professional programs, same as MBA or LLB programs : they train people to become professional literary critics, or philosophers, or academic historians. They aren’t a somewhat more elaborate kind of intellectual finishing school. Precisely because the work they demand is so much more specialized, esoteric, and obscure to people on the outside looking in, we need to be particularly clear about defending them on the grounds that that work itself has value. Ideally, that value would be more than (though it would include) the need for professional self-replication.
Now, the same issue of University Affairs includes an entire article dedicated to the proposition that the solution to the job crisis for PhDs is to include more diverse professional training as part of a PhD program’s offerings. My own Dean of Graduate Studies is quoted:
According to the 2006 census figures, 31 percent of Canadians with PhDs who were employed full-time held jobs as university professors. This was little changed from 2001, but down from almost 36 percent in 1986.To be sure, a good portion of those who end up in non-academic jobs do so of their own volition. Dalhousie University’s surveys of graduating doctoral students show that about 40 percent intend to work within academia and the rest in industry, government and non-profit organizations, says Carolyn Watters, dean of graduate studies.
Still, she adds, universities don’t do nearly enough to make students aware of non-academic career options and to train them for these positions. “Really, all we train people for is to be another Mini-Me,” says Dr. Watters, president of the Canadian Association for Graduate Studies. “As faculty members we should be more sensitive to the fact that not everybody is going to be like us.”
Dr. Watters is right, both about the “Mini-Me” syndrome and about the need to stop imagining that all of (or even most of) our graduate students are headed down the academic path. But what to do about that? As another interviewee points out, academics aren’t in a position to “give knowledgeable advice about non-academic careers because most of them have only worked in academia.” But even that practical obstacle, which can be somewhat mitigated by bringing in outside experts with real-world experience (ahem: is there going to be funding for departments to do this? people outside the academy often have the odd idea that they should be paid for speaking elsewhere…) is only part of the problem. The actual degree requirements will continue to emphasize the arcane and highly specialized discourses of the academic field. They must do this, because after all, we do need to train up more professors (don’t we?). Sure, we can add, as apparently Western has, a week-long seminar on “Preparing for Non-Academic Employment,” but what’s one week, out of what is on average a seven-year undertaking? And how are we justifying those seven years, to ourselves and our students, if most of the work to which they will be devoted is not in fact in any way essential preparation for what will come next?
There’s the intrinsic merit argument, of course: the experience itself may in some ways be intellectually exciting and personally fulfilling, and there’s the satisfaction of contributing to one’s field and to the larger project of expanding the horizons of knowledge and understanding. Given how oriented most PhD programs are towards professionalization, though, I expect that to most graduate students those lofty ideals sound like–well, like lofty ideals. Most PhD students I know, including myself, have found that graduate school dampens rather than nurtures their idealism. The article quotes a PhD now working “in the private sector,” as saying he “has no regrets about getting his PhD and would happily do it all over again. I wonder how many recent PhDs in the humanities would say the same.
Novel Readings 