In her president’s column in the spring 2006 Modern Language Association newsletter, Marjorie Perloff focuses on the expansion of Ph.D. programs in creative writing (including doctorates in English that allow for a creative dissertation). Perloff argues that the growth of creative-writing doctorates was a reaction to politicization and specialization within the English discipline: “An examination of the catalogues of recently established Ph.D. programs in creative writing suggests that, in our moment, creative writing is perhaps best understood as the revenge of literature on the increasingly sociological, political, and anthropological emphasis of English studies.”
She also cites recent job advertisements in English calling for candidates specializing in a range of theoretical approaches, which relegate the teaching of literature to “a kind of afterthought, a footnote to the fashionable methodologies of the day.”
Perloff is right on both counts: These are central factors that have led to the growth of creative writing Ph.D.s. But she also misses an important element, one that grows out of, but also underlies, the others. It is that people want what they think and write to matter, not just to their colleagues, but also to the world at large. Creative work, and the doctorate in creative writing, holds out this hope.
The doctorate in creative writing comes in various forms, but most are very similar to literary studies doctorates. I myself am a doctoral candidate in English at the University of Denver, writing a creative dissertation -- a book of poetry, accompanied by a critical introduction. As a graduate student, I’ve fulfilled the same coursework requirements as my literary studies peers, with the addition of four writing workshops. I’ve taken comprehensive exams in the same format as my literary studies peers. I’ve taught more or less the same courses as my literary studies peers. The only significant difference between my doctoral work and my literary studies colleague is in the dissertation.
Sometimes, in fact, it strikes me as a bit comic to be doing the creative dissertation, but then I think about the fate of my work. I want my work to find its audience, though I realize that poetry has lost more readers, perhaps, than scholarship has over the last 50 years. Yet I believe that creative writing holds out more hope of finding readers, and of gaining readers back, than scholarship does. Hundreds or thousands of poetry books are published each year, and are more likely to find their way onto the shelves of bookstores than are scholarly studies. For fiction writers, the prospects are even better -- after all, there’s still a market for novels and short fiction.
However, it’s not just for readerly recognition that I want to do this creative work. It is because literature matters to how people live their lives, not just emotionally but intellectually. I speak here specifically of literature, but I think the principle holds true for any kind of creative work, even works we wouldn’t ordinarily think of as artistic, such as historical or psychological or anthropological studies.
Just a few days ago I was talking with a good friend of mine, a fellow graduate student working on her dissertation. My friend’s enthusiasm for the work and the discoveries that she is making, her eloquence on her subject, and her physical animation in talking about it were obvious, even if some of the nuance of her project was lost on me. But then she stopped herself and said, “Of course, nobody really cares about this.”
She described the frustration of talking about her project with non-academic friends and family members, how it takes too long to explain the work she is doing to people outside her specialty area, how their faces fall blank as she goes on too long in explaining the foundations of the debate in which she is involved. She laughed and said archly, “It’s not so bad once you get used to the idea that no one is ever going to read your dissertation except your committee.”
I have had similar conversations with other friends working on dissertations, not just in English, but across the humanities, though the sense of writing into the void is particularly marked among those in my discipline. Let me say here that I don’t want to challenge the value of discipline-specific, specialized scholarship -- after all, it would be foolish to say that the intellectual work of teaching and writing does not require specialist knowledge, or that the ideas formulated in scholarly work don’t find their way to non-specialists through good teaching or through popularizers or public intellectuals, though we could stand a few more of them. Those academics who write for an extra-disciplinary audience, as Mark Oppenheimer pointed out in a recent essay in The Chronicle of Higher Education, play an important part in connecting the academy with the non-academic world, and shaping common conceptions of disciplines such as history. He wrote: “They have the influence that comes with writing for journals at the intersection of academe and the culture at large. They interpret scholarship for people who prefer to read journalism, and their opinions reverberate and multiply, if in ways that we cannot measure.”
This is not a plea for greater “accessibility” or for a return to a “generalist” approach to English. Nor will I rehearse the yearly mocking that the titles of papers at the MLA convention get in major newspapers across the country. But I do think that the sense that nobody’s listening or reading the work of scholars outside their specialized communities points to a real problem of the contemporary humanities department: the loss of audience, and with it, the loss of a sense that the work should matter to a larger, educated, non-academic audience.
There’s no doubt that scholars have produced critical work in humanities subjects that does matter. I think of Raymond Williams, never the easiest of writers, but one who rewards the effort made in engaging with his work and who, perhaps because of his quasi-academic status, writes in such a way that his ideas could be understood outside the academy. I also think of John Berger, Susan Sontag and Fredric Jameson. These are writers who can be exciting for readers coming from outside the academy, and who can influence the way readers experience texts, and even life.
However, with the increasing professionalization of the university, the potential audience for scholarly work has diminished as scholarly writing has become more specialized and jargon-ridden. None of what I say is news, I know. But the creative doctorate as an approach to making scholarly research and thinking matter in the world is news, and very good news.
I think it is important that what we do, literary scholars and creative writers both, makes a difference to how people outside academy walls think. In the history of rhetorical theory, there is a recurring, commonplace idea that the person trained in rhetoric will, through the ethical training in that discipline, constitutionally be able to contribute only to good actions or ideas that improve the state or the community. Cicero put the idea most succinctly, and most famously, in his definition of the ideal orator/citizen as “the good man speaking well.” Learning to “speak well,” however, required years of intense training in the minutiae of the discipline, a close study of the history of oratory.
While this ideal resolutely -- and somewhat courageously -- ignores what we know about human behavior, I do think that as an ideal it offers an important model to live up to. I see the Ph.D. in creative writing as an opportunity to undertake the same kind of close study of literature and writing as ancient rhetoricians would have undergone in their study of oratory, and as a way to position myself to bring that knowledge and experience into both my writing and the classroom without having to give up, or shelve for a long period, my creative work. In fact, it was in support of my creative work that I took up doctoral study.
Cicero’s formulation of the ideal citizen leads me back to my own ideals about the creative dissertation. The creative writer makes a difference not by telling people how to vote, or by engaging in the public sphere with anti-government screeds. Rather, the way literature can matter is by offering a model of the world as it is, in the hope that readers will be moved to action in the real world. Literature is a form of epideictic rhetoric, perhaps the form par excellence of the epideictic:a poem or a novel or a film argues for the values that its authors believe are important to the way we live our lives.
For example, Bertolt Brecht, in his essay “The Modern Theater is the Epic Theater,” makes a list of what it is that epic theater does. According to Brecht’s list, the epic theater:
turns the spectator into an observer, but arouses his capacity for action forces him to take decisions [provides him with] a picture of the world he is made to face something… brought to the point of recognition
I read Brecht’s description of epic theater’s functions as a modernist reworking of the ideal orator tradition, the tradition of the artist offering his readers more than polemic -- offering his readers an experience from which they can learn about their own lives.
The creative Ph.D. is vital to making this possible, if it is possible, because literature (any art, in fact) does not come from nowhere. Or, more importantly, it should not come from nowhere. Good writing comes from intense study and reading, the kind of reading that people don’t typically have time for in the frenetic world of contemporary business or the professions. Moreover, what I would call good writing, the kind of writing that, regardless of genre, has something in common with Brecht’s epic theater, requires its author to have a sense of its location between the past and the present.
The Ph.D. in creative writing gives writers the time and training to explore their fields that they may not get in M.F.A. programs, no longer get as undergraduates, and certainly do not get in high school. At the very least, doctoral work exposes writers and artists to a liberal education that prepares them for analyzing, framing and being in the world in any number of different ways. Doctoral-level reading, doctoral-level thinking, doctoral-level writing will make possible the art that creative Ph.D.s will produce. I think here of Flaubert’s quip that, in preparation for Bouvard and Pecuchet, he had to read 300 books to write one (though the reference might cut both ways, as Julian Barnes has described that book as challenging in being “a vomitorium of pre-digested book learning”). I could call on Matthew Arnold and T.S. Eliot as well, were I eager to lay myself open to misguided charges of cultural conservatism.
But the human need for learning through art goes beyond liberal or conservative approaches to writing and teaching. The experience of literary study at the highest level gives writers the cognizance of literary history they need to produce the epic theater, the epideictic, of our time -- to be good men and women speaking well, writing well, leading and teaching.
The issue for creative writing is that of quality. The value of the creative doctorate is in the opportunity it offers to unite the best elements of the scholarly study of literature or art with the best elements of the study of craft. The writers and artists who come out of creative Ph.D. programs will not only be better guardians of our various and multiform cultural heritage, but they will be better teachers, better thinkers, better innovators. Their research and learning, in the form of creative and critical work, will matter both in the academy and beyond.
In her column, Perloff poses the rhetorical question of where the doctorate in creative writing leaves the idea of the doctorate as such. “Hasn’t the doctorate always been a research degree?” her concerned professor asks in the face of invading creative writers. Yes, it has been, and for creative writers, it remains vitally so.
David Gruber is assistant to the director of the University Writing Program and a graduate teaching assistant in English at the University of Denver.
Jacques-Alain Miller has delivered unto us his thoughts on Google. In case the name does not signify, Jacques-Alain Miller is the son-in-law of the late Jacques Lacan and editor of his posthumously published works. He is not a Google enthusiast. The search engines follows “a totalitarian maxim,” he says. It is the new Big Brother. “It puts everything in its place,” Miller declares, “turning you into the sum of your clicks until the end of time.”
Powerful, then. And yet – hélas! – Google is also “stupid.” It can “scan all the books, plunder all the archives [of] cinema, television, the press, and beyond,” thereby subjecting the universe to “an omniscient gaze, traversing the world, lusting after every little last piece of information about everyone.” But it “is able to codify, but not to decode. It is the word in its brute materiality that it records.” (Read the whole thing here. And for another French complaint about Google, see this earlier column.)
When Miller pontificates, it is, verily, as a pontiff. Besides control of the enigmatic theorists’s literary estate, Miller has inherited Lacan’s mantle as leader of one international current in psychoanalysis. His influence spans several continents. Within the Lacanian movement, he is, so to speak, the analyst of the analysts’ analysts.
He was once also a student of Louis Althusser, whose seminar in Paris during the early 1960s taught apprentice Marxist philosophers not so much to analyze concepts as to “produce” them. Miller was the central figure in a moment of high drama during the era of high structuralism. During Althusser’s seminar, Miller complained that he had been busy producing something he called “metonymic causality” when another student stole it. He wanted his concept returned. (However this conflict was resolved, the real winner had to be any bemused bystander.)
Miller is, then, the past master of a certain mode of intellectual authority – one that has been deeply shaped by (and is ultimately inseparable from) tightly restricted fields of communication and exchange.
Someone once compared the Lacanian movement to a Masonic lodge. There were unpublished texts by the founder that remained more than usually esoteric: they were available in typescript editions of just a few copies, and then only to high-grade initiates.
It is hard to imagine a greater contrast to that digital flatland of relatively porous discursive borders about which Miller complains now. As well he might. (Resorting to Orwellian overkill is, in this context, probably a symptom of anxiety. There are plenty of reasons to worry and complain about Google, of course. But when you picture a cursor clicking a human face forever, it lacks something in the totalitarian-terror department.)
Yet closer examination of Miller’s pronouncement suggests another possibility. It isn’t just a document in which hierarchical intellectual authority comes to terms with the Web's numbskulled leveling. For the way Miller writes about the experience of using Google is quite revealing -- though not about the search engine itself.
“Our query is without syntax,” declares Miller, “minimal to the extreme; one click ... and bingo! It is a cascade -- the stark white of the query page is suddenly covered in words. The void flips into plenitude, concision to verbosity.... Finding the result that makes sense for you is therefore like looking for a needle in a haystack. Google would be intelligent if it could compute significations. But it can’t.”
In other words, Jacques-Alain Miller has no clue that algorithms determine the sequence of hits you get back from a search. (However intelligent Google might or might not be, the people behind it are quite clearly trying to “compute significations.”) He doesn’t grasp that you can shape a query – give it a syntax – to narrow its focus and heighten its precision. Miller’s complaints are a slightly more sophisticated version of someone typing “Whatever happened to Uncle Fred?” into Google and then feeling bewildered that the printout does not provide an answer.
For an informed contrast to Jacques-Alain Miller’s befuddled indignation, you might turn to Digital History Hacks, a very smart and rewarding blog maintained by William J. Turkel, an assistant professor of history at the University of Western Ontario. (As it happens, I first read about Miller in Psychoanalytic Politics: Jacques Lacan and Freud's French Revolution by one Sherry Turkle. The coincidence is marred by a slip of the signfier: they spell their names differently.)
The mandarin complaint about the new digital order is that it lacks history and substance, existing in a chaotic eternal present – one with no memory and precious little attention span. But a bibliographical guide that Turkel posted in January demonstrates that there is now extensive enough literature to speak of a field of digital history.
The term has a nice ambiguity to it – one that is worth thinking about. One the one hand, it can refer to the ways historians may use new media to do things they’ve always done – prepare archives, publish historiography, and so on. Daniel J. Cohen and Roy Rosenzweig’s Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web (University of Pennsylvania Press, 2006) is the one handbook that ought to be known to scholars even outside the field of history itself. The full text of it is available for free online from the Center for History and New Media at George Mason University, which also hosts a useful selection of essays on digital history.
But as some of the material gathered there shows, digitalization itself creates opportunities for new kinds of history – and new problems, especially when documents exist in formats that have fallen out of use.
Furthermore, as various forms of information technology become more or more pervasive, it makes sense to begin thinking of another kind of digital history: the history of digitality. Impressed by the bibliography that Turkel had prepared – and by the point that it now represented a body of work one would need to master in order to do graduate-level work in digital history – I contacted him by e-mail to get more of his thoughts on the field.
“Digital history begins,” he says, “with traditional historical sources represented in digital form on a computer, and with 'born-digital' sources like e-mail, text messages, computer code, video games and digital video. Once you have the proper equipment, these digital sources can be duplicated, stored, accessed, manipulated and transmitted at almost no cost. A box of archival documents can be stored in only one location, has to be consulted in person, can be used by only a few people at a time, and suffers wear as it is used. It is relatively vulnerable to various kinds of disaster. Digital copies of those documents, once created, aren't subject to any of those limitations. For some purposes you really need the originals (e.g., a chemical analysis of ink or paper). For many or most other purposes, you can use digital representations instead. And note that once the chemical analysis is completed, it too becomes a digital representation.”
But that’s just the initial phase, or foundation level, of digital history – the scanning substratum, in effect, in which documents become more readily available. A much more complex set of questions come up as historians face the deeper changes in their work made possible by a wholly different sort of archival space – what Roy Rosenzweig calls the "culture ofabundance" created by digitality.
“He asks us to consider what it would mean to try and write history with an essentially complete archival record,” Turkel told me. “I think that his question is quite deep because up until now we haven't really emphasized the degree to which our discipline has been shaped by information costs. It costs something (in terms of time, money, resources) to learn a language, read a book, visit an archive, take some notes, track down confirming evidence, etc. Not surprisingly, historians have tended to frame projects so that they could actually be completed in a reasonable amount of time, using the availability and accessibility of sources to set limits.”
Reducing information costs in turn changes the whole economy of research – especially during the first phase, when one is framing questions and trying to figure out if they are worth pursuing.
“If you're writing about a relatively famous person,” as Turkel put it, “other historians will expect you to be familiar with what that person wrote, and probably with their correspondence. Obviously, you should also know some of the secondary literature. But if you have access to a complete archival record, you can learn things that might have been almost impossible to discover before. How did your famous person figure in people's dreams, for example? People sometimes write about their dreams in diaries and letters, or even keep dream journals. But say you wanted to know how Darwin figured in the dreams of African people in the late 19th century. You couldn't read one diary at a time, hoping someone had had a dream about him and written it down. With a complete digital archive, you could easily do a keyword search for something like "Darwin NEAR dream" and then filter your results.” As it happens, I conducted this interview a few weeks before coming across Jacques-Alain Miller’s comments on Google. It seems like synchronicity that Turkel would mention the possibility of digital historians getting involved in the interpretation of dreams (normally a psychoanalyst’s preserve). But for now, it sounds as if most historians are only slightly more savvy about digitality than the Lacanian Freemasons.
“All professional historians have a very clear idea about how to make use of archival and library sources,” Turkel says, “and many work with material culture, too. But I think far fewer have much sense of how search engines work or how to construct queries. Few are familiar with the range of online sources and tools. Very few are able to do things like write scrapers, parsers or spiders.”
(It pays to increase your word power. For a quick look at scraping and parsing, start here. For the role of spiders on the Web, have a look at this.)
“I believe that these kind of techniques will be increasingly important,” says Turkel, “and someday will be taken for granted. I guess I would consider digital history to have arrived as a field when most departments have at least one person who can (and does) offer a course in the subject. Right now, many departments are lucky to have someone who knows how to digitize paper sources or put up web pages.”
At first glance, Peter Drucker might seem an unlikely candidate to have published an academic novel. Famous for writing books such as Concept of the Corporation and The Effective Executive, Drucker was dubbed “The Man Who Invented Management” in his 2005 Business Week obituary. Drucker’s audience was to be found among the Harvard Business Review crowd, not the Modern Language Association coterie, and, not surprisingly, his two novels are no longer in print.
But the university he presented in his 1984 novel, The Temptation to Do Good, confronted some key questions that face higher education institutions in today’s unprecedented financial downturn: Are current practices sustainable? Have we strayed from our core mission? Will the liberal arts survive increasing budget pressures?
As these questions -- hardly the usual literary fare -- demonstrate, Drucker’s work is a rarity among academic novels. These texts typically provide a send-up of academic life, by making fun of intellectual trends through characters such as Jack Gladney, who chairs the department of Hitler studies in Don DeLillo’s White Noise, or by parodying the pettiness of department politics, as in Richard Russo’s Straight Man, in which one English professor’s nose is mangled during a personnel committee meeting, courtesy of a spiral notebook thrown at him by one of his peers. By contrast, The Temptation to Do Good is almost painstakingly earnest in its portrayal of Father Heinz Zimmerman, president of the fictional St. Jerome University.
Like other contemporary academic novels, The Temptation to Do Good depicts the problems of political correctness, the tensions between faculty and administration, and the scandal of inter-office romance. But St. Jerome’s problems are no laughing matter. Lacking the improbable events of other academic novels -- in James Hynes’s The Lecturer’s Tale, the adjunct-protagonist even gains super-human powers -- the plot of The Temptation to Do Good is completely plausible, and the problems above destroy a good man.
St. Jerome’s chemistry department decides not to hire Martin Holloway, a job candidate with a less-than-stellar research record. Feeling sorry for the soon-to-be-unemployed Ph.D., Zimmerman decides to recommend Holloway to the dean of a nearby small college. Zimmerman knows he shouldn’t interfere, but he feels he must do the Christian thing, and so, succumbing to “the temptation to do good,” he makes the call. Meanwhile, Holloway’s angry wife spreads unfounded rumors about a dalliance between the president-priest and his female assistant. The faculty overreact to both events, and although most of them come to regret it, Zimmerman’s presidency is brought down, and he is eased out by the church into a sinecure government position.
Often reading like an intricate case study of one university’s internal politics, The Temptation to Do Good aims to do more than that, too, raising questions about the purpose of higher education institutions writ large. Representing the contemporary university as a large, bureaucratic institution -- much like the companies that Drucker’s theories would shape -- The Temptation to Do Good portrays Zimmerman as a successful executive, one who “converted a cow college in the sticks” into a national university with a reputation unrelated to its religious roots. He even makes the cover of Time magazine for increasing his endowment by a larger percentage than any other university over the past five years.
Although some faculty recognize, as one physics professor admits, that they wouldn’t be able to do their research without the money he has brought in, many of them are also disenchanted with Father Zimmerman, CEO. The chemistry chair chose to come to St. Jerome because he expected it to be “less corrupted by commercialism and less compromised by the embrace of industry” than other institutions, which he realizes isn’t the case.
“We have a right,” says the chair of modern languages, upset over the abolition of the language requirement, “to expect the President of a Catholic university to stand up for a true liberal education.” In both cases, we see the ideals of a Catholic university being linked to the ideals of a liberal arts education, both focused on a pure devotion to the pursuit of knowledge seen as incompatible with Zimmerman’s expanded professional schools and intimate sense of students’ consumer needs. Can St. Jerome be true to both the liberal arts and the practical, professionalized realm at the same time?
This question is never resolved in the novel, but outside of his fiction writing, Drucker was deeply interested in the practicality of the liberal arts. In his autobiography, he discusses his deep appreciation of Bennington College, a school designed to combine progressive methods -- connecting learning to practical experience -- with the ideas of Robert Hutchins, the University of Chicago president and famed proponent of classical liberal ideals. William Whyte’s sociological classic Organization Man cites Drucker as saying that “the most vocational course a future businessman can take is one in the writing of poetry or short stories.”
Although Drucker was unusual in actually writing novels himself, he was not alone among business thinkers in expressing the values of the liberal arts. Tom Peters and Robert Waterman’s In Search of Excellence: Lessons from America’s Best-Run Companies describes an investment banker who suggests closing business schools and providing students with a “liberal arts literacy,” that includes “a broader vision, a sense of history, perspectives from literature and art.”
More recently, Thomas Friedman’s The World is Flat includes a section focusing on the importance of a liberal arts education in the new integrated, global economy. “Encouraging young people early to think horizontally and to connect disparate dots has to be a priority,” writes Friedman, “because this is where and how so much innovation happens. And first you need dots to connect. And to me that means a liberal arts education.”
Books like Rolf Jensen’s The Dream Society: How the Coming Shift from Information to Imagination will Transform Your Business, Joseph Pine II and James H. Gilmore’s The Experience Economy: Work is Theatre and Every Business a Stage, Daniel H. Pink’s A Whole New Mind: Why Right Brainers Will Rule the Future, and Richard Lanham’s The Economics of Attention: Style and Substance in the Information Age make these points more specifically, often showing how certain “literary” skills, such as storytelling and empathy, are crucial to success in the current time.
Out of the authors mentioned above, only Lanham is a humanities professor, and in a field (rhetoric) largely out of scholarly vogue today. “Let’s go back to the subject of English a moment. Of all subjects none is potentially more useful,” Whyte writes. “That English is being slighted by business and students alike does not speak well of business. But neither does it speak well for English departments.”
What’s significant about Whyte’s account -- along with that of Drucker, Friedman, and others -- is that none of them claim that colleges and universities should merely churn out students of technical writing or focus on the practicality of the composition course; instead they want students to think about narrative complexity and story-telling through the liberal arts. Whyte himself focuses on the study of Shakespeare and Charles Lamb.
However, instead of embracing these potential real-world allies, liberal arts disciplines have seemed to withdraw, letting others become the experts in -- and proponents of -- the relevance of their subjects. Consider, for example, that in January 2008, one of the most famous English professors in the world proclaimed on his New York Times blog that the study of literature is useless. Asserting that the humanities don’t do anything but give us pleasure, Stanley Fish wrote that, “To the question of ‘what use are the humanities?’ the only honest answer is none whatsoever.” The arts and humanities, Fish contended, won’t get you a job, make you a well-rounded citizen, or ennoble you in any way.
Not surprisingly, readers were appalled. Within the next 48 hours, 484 comments were posted online, most of them critical of Fish. The majority of these comments, from a mix of scientists, humanists, business people, and artists, could be divided into two categories: first, the humanities are useful because they provide critical thinking skills that are useful for doing your job, whether you’re a doctor or CEO; and second, the humanities are useful for more than just your job, whether that means being a more informed citizen or simply a more interesting conversationalist.
However, perhaps the most fascinating comments came from those who recognized Fish’s stance as a professional one: in other words, one that relates to attitudes toward the humanities held by practitioners inside the academy (professors), as distinct from those held by general educated readers outside it (the Times audience). “Let’s not conflate some academics -- those who have professionalized their relationship with the humanities to the point of careerist cynicism -- with those [...] still capable of a genuine relationship to the humanities,” said one reader. Another added that the “humanities have been taken over by careerists, who speak and write only for each other.”
In other words, while readers defend the liberal arts’ relevance, scholars, who are busy writing specialized scholarship for one another, simply aren’t making the case. This was an interesting debate when Fish wrote his column over a year ago; now in 2009, we should consider it an urgent one.
Traditionally, economic downturns are accompanied by declines in the liberal arts, and with today’s unparalleled budget pressures, higher education institutions will need to scrutinize the purpose of everything they do as never before. Drucker’s academic novel provides an illustrative example of the liberal arts at work: as Fish’s readers would point out, literature can raise theoretical questions that help us understand very practical issues.
To be sure, the liberal arts are at least partly valuable because they are removed from practical utility as conceived in business; the return on investment from a novel can’t be directly tied to whether it improves the reader’s bottom line.
But justifiable concerns among scholars that the liberal arts will become only about utility has driven the academy too far in the opposite direction. Within higher education, we acknowledge that the writing skills gained in an English seminar might help alumni craft corporate memos, but it is outside higher education where the liveliest conversations about the liberal arts’ richer benefits -- empathic skills and narrative analysis, for example -- to the practical world seem to occur.
Drucker and his antecedents may be raising the right questions, but these discussions should be equally led by those professionally trained in the disciplines at hand. In today’s economic climate, it may become more important than ever for the liberal arts to mount a strong defense -- let’s not leave it entirely in the hands of others.
Melanie Ho is a higher education consultant in Washington. She has taught literature, writing and leadership development courses at the University of California at Los Angeles.
What's in a name? that which we call a rose By any other name would smell as sweet.
These lines from Romeo and Juliet are often quoted to indicate the triviality of naming. But anyone who has read or seen the play through to its end knows that the names Montague and Capulet indicate a complex web of family relationships and enmities that end up bringing about the tragic deaths of our protagonists.
Lore also has it that Shakespeare's lines were perhaps a coy slam against the Rose Theatre, a rival of his own Globe Theatre, and that with these lines he was poking fun at the stench caused by less-than-sanitary arrangements at the Rose.
I write now in response to the naming of a newly created department at my large state university called "the Department of Writing and Rhetoric." This new department is being split off from the English department and given the mandate to install a new Writing Across the Curriculum program, convert adjunct positions to "permanent" instructor positions, and establish a related B.A. degree.
While the acronym WAR may seem appropriate to some of my colleagues, many of them think we have more important things to worry about than a name right now. We have also been repeatedly told in the face of previous protests that referring to Composition as Writing is a trend nationwide. Nonetheless, I believe that this title is an indication of bad faith and a negative harbinger for the work of the new department and programs like it elsewhere.
Since the announcement of this change, I attended a tenure party for a colleague in another department. Every single person I spoke with at this party assumed from the title of the new department that "all" writing would be taught there, including my field of Creative Writing. People repeatedly asked me what I thought about being in a new department, and I repeatedly corrected them as confusion spread over their faces. They couldn't understand how the Department of Writing and Rhetoric would not include the writing of fiction, poetry, and so on. I repeatedly had to say that “Writing” in this usage means Composition. They repeatedly asked me why, then, the department will be using the title Writing.
That's a very good question, and one that indicates something disturbing, not just here, but in that nationwide naming trend mentioned above and so often cited. Referring to programs in Composition by the title "Writing" indicates that this field is the authority over all meaningful types of writing – in all other fields. By implication, it implies that no other type of writing but what Composition Studies teaches is valid or important – or even exists. Both of these claims are demonstrably false, although they are the silent assumptions that often underlie Composition's use of the term Writing to describe itself.
Perhaps even more disturbing is that using the name Department of Writing and Rhetoric indicates a willingness to write badly in order to empire-build. Good writing is always about clarity and insight, precision and accuracy. Therefore, this confusing name calls into question the very quality of the writing instruction that will be given in the new department. If the department cannot and will not name itself accurately, then what does that bode for the students to be educated there?
Don't get me wrong. I also differ from some of my colleagues in that I am happy about the creation of the new department. Composition is an upstart field that, like my own of Creative Writing, has often not gotten its due. Partly this is because it stems from a remedial function -- Composition became necessary when the sons and daughters of the working class began attending colleges and universities and were not adequately prepared in the finer points of belles lettres.
Naturally, due to the fact that the background -- and the goals -- of these individuals differed from those of the upper classes that had established belles lettres, Composition began to explore and defend less artistic, more practical forms of writing. This evolution differs from that of such programs in mathematics, for instance, where remedial algebra still focuses on the same formulas as those used in advanced courses. In Composition Studies and Writing Across the Curriculum programs, there has been a focus on supplanting the literary scholarly essay as the gold standard of writing. In the past few decades, Composition as a field has worked hard to establish the legitimacy and importance of other forms of writing and their teaching. Much of this effort I admire.
I am also happy that Composition will be given resources long absent. Having taught Composition courses myself for several years, I understand the need for acknowledgment and support, even if the specifics of the plan at my university have not been widely shared or discussed and seem to me based on suspect methods. I wish the new department nothing but the best in its attempts to improve basic writing instruction for our students.
However, many in the field of Composition have also brought resentment of old wounds and insults to bear by attempting to claim that it is foundational and that it is the expert in all types of writing. Advocates for the field have accomplished this by theorizing what they do and by selling it to those in other fields as the answer to literacy. Among other things, they have also tried to change its name to something less associated with its remedial roots and more grandiose in its scope. However, it remains the case that Composition Studies does not represent a universal approach to literacy, critical thinking, or writing.
In my own field of Creative Writing, for instance, we have far different assumptions about what constitutes effective writing instruction. Admittedly, we have somewhat different purposes. But let me also point out that the rise of Composition Studies over the past 30 or 40 years does not seem to have led to a populace that writes better.
In fact, it has coincided with a time when literacy rates have dropped and where complaints about the poor writing skills of college and university graduates (especially of large public universities) have continued to rise. Obviously many complex social factors contribute to this. It is also debatable whether universities have contributed to this state of affairs because the changing methods of teaching Composition are misguided or because there simply haven't been enough resources. I'm all for giving Composition the resources it needs, respecting its right to self-determination in its field, and letting us see what happens. I am all for the general population writing better, even if it is in an instrumental and limited form disconnected from the literary traditions that have fed most love of and respect for the written word in our culture.
Beyond the details of these various professional debates, my negative reaction to the new departmental name stems from the corruption of language that is so prevalent in our society today, where advertisers and politicians and many others lie through exaggeration, omission and indirection. The best analysis of this is perhaps Toni Morrison's 1993 Nobel Lecture in Literature. In it she talks about uses of language that are destructive, about language that obscures rather than clarifies, and how so often such language "tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind."
If we put the writerly education of our students into the hands of people who insist on rejecting the accurate term Composition for the grandiose and unclear one Writing, what will they learn? They will learn, I am afraid, that they can say whatever they want, even if it is sloppy, confusing, manipulative, or a knowing lie.
Misnaming this department also evokes the negative definition of the title's other half: Rhetoric. In academe we know that rhetoric can be "the study of effective use of language," but most of the world is more familiar with rhetoric defined as "the undue use of exaggeration and display; bombast." This latter definition seems apt when combined with Writing in this name.
I, for one, will never call it the Department of Writing and Rhetoric. I will call it what it actually is: the Department of Composition and Rhetoric. If its practitioners truly respected their own history, they would call it that, too. A "rose" sometimes can smell not so sweet, especially if it turns out not to be a flower at all.
Lisa Roney is associate professor of English and coordinator for the undergraduate Creative Writing program at the University of Central Florida.
Many of us committed to the liberal arts have been defensive for as long as we can remember.
We have all cringed when we have heard a version of the following joke: The graduate with a science degree asks, “Why does it work?”; the graduate with an engineering degree asks, “How does it work?”; the graduate with a liberal arts degree asks, “Do you want fries with that?”
We have responded to such mockery by proclaiming the value of the liberal arts in the abstract: it creates a well-rounded person, is good for democracy, and develops the life of the mind. All these are certainly true, but somehow each misses the point that the joke drives home. Today’s college students and their families want to see a tangible financial outcome from the large investment that is now American higher education. That doesn’t make them anti-intellectual, but simply realists. Outside of home ownership, a college degree might be the largest single purchase for many Americans.
There is a disconnect as parents and students worry about economic outcomes when too many of us talk about lofty ideals. More families are questioning both the sticker price of schools and the value of whole fields of study. It is natural in this environment for us to feel defensive. It is time, however, that we in the liberal arts understand this new environment, and rather than merely react to it, we need to proactively engage it. To many Americans the liberal arts have a luxury they feel they need to give up to make a living -- nice but impractical. We need to speak more concretely to the economic as well as the intellectual value of a liberal arts degree.
The liberal arts always situate graduates on the road for success. More Fortune 500 CEOs have had liberal arts B.A.s than professional degrees. The same is true of doctors and lawyers. And we know the road to research science most often comes through a liberal arts experience. Now more than ever, as employment patterns seem to be changing, we need to engage the public on the value of a liberal arts degree in a more forceful and deliberate way.
We are witnessing an economic shift that may be every bit as profound as the shift from farm to factory. Today estimates are that over 25 percent of the American population is working as contingent labor -- freelancers, day laborers, consultants, micropreneurs.
Sitting where we do it is easy to dismiss this number because we assume it comes from day laborers and the working class, i.e., the non-college-educated. But just look at higher education's use of adjuncts and you see the trend. The fastest-growing sector of this shift is in the formally white-collar world our students aspire to. This number has been steadily rising and is projected to continue its upward climb unchanged. We are living in a world where 9:00-5:00 jobs are declining, careers with one company over a lifetime are uncommon, and economic risk has shifted from large institutions to individuals. Our students will know a world that is much more unstable and fluid than the one of a mere generation ago.
We have known for many years that younger workers (i.e., recent college graduates) move from firm to firm, job to job and even career to career during their lifetime. What we are seeing now, however, is different. And for as many Americans, they are hustling from gig to gig, too. These workers, many our former students, may never know economic security, but they may know success. For many of the new-economy workers, success is measured by more than just money, as freedom, flexibility and creativity count too.
If this is the new economy our students are going to inherit, we as college and university administrators, faculty and staff need to take stock of the programs we offer (curricular as well as extracurricular) to ensure that we serve our students' needs and set them on a successful course for the future. The skills they will need may be different from those of their predecessors. Colleges and universities with a true culture of assessment already are making the necessary strategic adjustments.
In 1956, William Whyte, the noted sociologist, wrote The Organizational Man to name the developing shift in work for that generation. Whyte recognized that white-collar workers traded independence for stability and security. What got them ahead in the then-new economy was the ability to fit in (socialization) and a deep set of narrow vocational skills. Firms at the time developed career ladders, and successful junior executives who honed their skills and got along advanced up the food chain.
Today, no such career ladder exists. And narrow sets of skills may not be the ticket they once were. We are witnessing a new way of working developing before our eyes. Today, breadth, cultural knowledge and sensitivity, flexibility, the ability to continually learn, grow and reinvent, technical skills, as well as drive and passion, define the road to success. And liberal arts institutions should take note, because this is exactly what we do best.
For liberal arts educators, this economic shift creates a useful moment to step out of the shadows. We no longer need to be defensive because what we have to offer is now more visibly useful in the world. Many of the skills needed to survive and thrive in the new economy are exactly those a well-rounded liberal arts education has always provided: depth, breadth, knowledge in context and motion, and the search for deeper understanding.
It will not be easy to explain to future students and their parents that a liberal arts degree may not lead to a particular “job” per se, because jobs in the traditional sense are disappearing. But, we can make a better case about how a liberal arts education leads to both a meaningful life and a successful career.
In this fluid world, arts and sciences graduates may have an advantage. They can seek out new opportunities and strike quickly. They are innovative and nimble. They think across platforms, understand society and culture, and see technology as a tool rather than an end in itself. In short, liberal arts graduates have the tools to make the best out of the new economy. And, above all, we need to better job identifying our successes, our alumni, as well as presenting them to the public. We need to ensure that the public knows a liberal arts degree is still, and always has been, a ticket to success.
This could be a moment for the rebirth of the liberal arts. For starters, we are witnessing exciting new research about the economy that is situating the discussion more squarely within the liberal arts orbit, and in the process blurring disciplinary boundaries. These scholars are doing what the American studies scholar Andrew Ross has called “scholarly reporting,” a blend of investigative reporting, social science and ethnography, as a way to understand the new economy shift. Scholars such as the sociologists Dalton Conley and Sharon Zurkin and the historian Bryant Simon offer new models of engaged scholarship that explain the cultural parameters of the new economy. We need to recognize and support this research because increasingly we will need to teach it as the best way to ensure our students understand the moment.
We also need to be less territorial, and recognize that the professional schools are not the enemy. They have a lot to offer our students. Strategic partnerships between professional schools and the arts and sciences enrich both and offer liberal arts students important professional opportunities long closed off to them. We also need to find ways to be good neighbors to the growing micropreneurial class, either by providing space, wifi, or interns. Some schools have created successful incubators, which can jump-start small businesses and give their students important ground-floor exposure to the emerging economy.
Today’s liberal arts graduates will need to function in an economy that is in some ways smaller. Most will work for small firms and many will simply work on their own. They will need to multitask as well as blend work and family. And, since there will be little budget or time for entry-level training, we need to ensure that all our students understand the basics of business even if they are in the arts. We also might consider preparing our graduates as if they were all going to become small business owners, because in a sense many of them are going to be micropreneurs.
Richard A. Greenwald
Richard A Greenwald is dean of the Caspersen School of Graduate Studies, director of university partnerships, and professor of history at Drew University in Madison, N.J. His next book is entitled The Micropreneurial Age: The Permanent Freelancer and the New American (Work)Life.
When the economy goes down, one expects the liberal arts -- especially the humanities -- to wither, and laments about their death to go up. That’s no surprise since these fields have often defined themselves as unsullied by practical application. This notion provides little comfort to students -- and parents -- who are anxious about their post-college prospects; getting a good job -- in dire times, any job -- is of utmost importance. (According to CIRP’s 2009 Freshman Survey, 56.5 percent of students -- the highest since 1983 -- said that “graduates getting good jobs” was an important factor when choosing where to go to college.)
One expects students, then, to rush to courses and majors that promise plenty of entry-level jobs. Anticipating this, college administrators would cut back or eliminate programs that are not “employment friendly,” as well as those that generate little research revenue. Exit fields like classics, comparative literature, foreign languages and literatures, philosophy, religion, and enter only those that are preprofessional in orientation. Colleges preserving a commitment to the liberal arts would see a decline in enrollment; in some cases, the institution itself would disappear.
So runs the widespread narrative of decline and fall. Everyone has an anecdote or two to support this story, but does it hold in general and can we learn something from a closer examination of the facts?
The National Center for Education Statistics reports that the number of bachelor's degrees in “employment friendly” fields has been on the rise since 1970. Undergraduate business degrees -- the go-to “employment friendly” major -- has increased from 1970-71, with 115,400 degrees conferred, to 2007-08, with 335,250 conferred. In a parallel development, institutions graduated seven times more communications and journalism majors in 2007-08 than in 1970-71. And while numbers are small, there has been exponential growth in “parks, recreation, leisure, and fitness studies,” “security and protective services,” and “transportation and materials moving” degrees. Computer science, on the other hand, peaked in the mid-80s, dropped in the mid-90s, peaked again in the mid-2000s, and dropped again in the last five years.
What has students’ turn to such degrees meant for the humanities and social sciences? A mapping of bachelor degrees conferred in the humanities from 1966 to 2007 by the Humanities Indicator Project shows that the percentage of such majors was highest in the late 1960s (17-18 percent of all degrees conferred), low in the mid-1980s (6-7 percent), and more or less level since the early 1990s (8-9 percent). Trends, of course, vary from discipline to discipline.
Degrees awarded in English dropped from a high of 64,627 in 1970-71 to half that number in the early 1980s, before rising to 55,000 in the early 1990s and staying at that level since then. The social sciences and history were hit with a similar decline in majors in 1970s and 1980s, but then recovered nicely in the years since then and now have more than they did in 1970. The numbers of foreign language, philosophy, religious studies, and area studies majors have been stable since 1970. IPEDS data pick up where the Humanities Indicator Project leaves off and tell that in 2008 and 2009, the number of students who graduated with bachelor's degrees in English, foreign language and literatures, history, and philosophy and religion have remained at the same level.
What’s surprising about this bird’s-eye view of undergraduate education is not the increase in the number of majors in programs that should lead directly to a job after graduation, but that the number of degrees earned in the humanities and related fields have not been adversely affected by the financial troubles that have come and gone over the last two decades.
Of course, macro-level statistics reveal only part of the story. What do things look like at the ground level? How are departments faring? Course enrollments? Majors? Since the study of the Greek and Roman classics tends to be a bellwether for trends in the humanities and related fields (with departments that are small and often vulnerable), it seemed reasonable to ask Adam Blistein of the American Philological Association whether classics departments were being dropped at a significant number of places. “Not really” was his answer; while the classics major at Michigan State was cut, and a few other departments were in difficulty, there was no widespread damage to the field -- at least not yet.
Big declines in classics enrollments? Again, the answer seems to be, “Not really.” Many institutions report a steady gain in the number of majors over the past decade. Princeton’s classics department, for example, announced this past spring 17 graduating seniors, roughly twice what the number had been three decades ago. And the strength is not just in elite institutions. Charles Pazdernik at Grand Valley State University in hard-hit Michigan reported that his department has 50+ majors on the books and strong enrollments in language courses.
If classics seems to be faring surprisingly well, what about the modern languages? There are dire reports about German and Russian, and the Romance languages seem increasingly to be programs in Spanish, with a little French and Italian tossed in. The Modern Language Association reported in fall 2006 -- well before the current downturn -- a 12.9 percent gain in language study since 2002. This translates into 180,557 more enrollments. Every language except Biblical Hebrew showed increases, some exponential -- Arabic (126.5 percent), Chinese (51 percent), and Korean (37.1 percent) -- while others less so -- French (2.2 percent), German (3.5 percent), and Russian (3.9 percent). (Back to the ancient world for a moment: Latin saw a 7.9 percent increase, and ancient Greek 12.1 percent). The study of foreign languages, in other words, seems not to be disappearing; the mix is simply changing.
Theoretical and ideological issues have troubled and fragmented literature departments in recent years, but a spring 2010 conference on literary studies at the National Humanities Center suggests that the field is enjoying a revitalization. The mood was eloquent, upbeat, innovative; no doom and gloom, even though many participants were from institutions where painful budget cuts had recently been made.
A similar mood was evident at National Forum on the Future of Liberal Education, a gathering of some highly regarded assistant professors in the humanities and social sciences this past February. They were well aware that times were tough, the job market for Ph.D.s miserable, and tenure prospects uncertain. Yet their response was to get on with the work of strengthening liberal education, rather than bemoan its decline and fall. Energy was high, and with it the conviction that the best way to move liberal education forward was to achieve demonstrable improvements in student learning.
It’s true that these young faculty members are from top-flight universities. What about smaller, less well-endowed institutions? Richard Ekman of the Council of Independent Colleges reports that while a few of the colleges in his consortium are indeed in trouble, most were doing quite well, increasing enrollments and becoming more selective. And what about state universities and land grant institutions, where most students go to college? Were they scuttling the liberal arts and sciences because of fierce cutbacks? David Shulenburger of the Association of Public and Land-grant Universities says that while budget cuts have resulted in strategic “consolidation of programs and sometimes the elimination of low-enrollment majors,” he does not “know of any public universities weakening their liberal education requirements.”
Mark Twain once remarked that reports of his death were greatly exaggerated. The liberal arts disciplines, it seems, can say the same thing. The on-the-ground stories back up the statistics and reinforce the idea that the liberal arts are not dying, despite the soft job market and the recent recession. Majors are steady, enrollments are up in particular fields, and students -- and institutions -- aren’t turning their backs on disciplines that don’t have obvious utility for the workplace. The liberal arts seem to have a particular endurance and resilience, even when we expect them to decline and fall.
One could imagine any number of reasons why this is the case -- the inherent conservatism of colleges and universities is one -- but maybe something much more dynamic is at work. Perhaps the stamina of the liberal arts in today’s environment draws in part from the vital role they play in providing students with a robust liberal education, that is, a kind of education that develops their knowledge in a range of disciplinary fields, and importantly, their cognitive skills and personal competencies. The liberal arts continue -- and likely will always -- give students an education that delves into the intricate language of Shakespeare or Woolf, or the complex historical details of the Peloponnesian War or the French Revolution. That is a given.
But what the liberal arts also provide is a rich site for students to think critically, to write analytically and expressively, to consider questions of moral and ethical importance (as well as those of meaning and value), and to construct a framework for understanding the infinite complexities and uncertainties of human life. This is, as many have argued before, a powerful form of education, a point that students, the statistics and anecdotes show, agree with.
W. Robert Connor and Cheryl Ching
W. Robert Connor is the former president of the Teagle Foundation, to which he is now a senior adviser. Cheryl Ching is a program officer at Teagle.
Reflecting on the recent The Humanities and Technology conference (THAT Camp) in San Francisco, what strikes me most is that digital humanities events consistently tip more toward the logic-structured digital side of things. That is, they are less balanced out by the humanities side. But what I mean by that itself has been a problem I've been mulling for some time now. What is the missing contribution from the humanities?
I think this digital dominance revolves around two problems.
The first is an old problem. The humanities’ pattern of professional anxiety goes back to the 1800s and stems from pressure to incorporate the methods of science into our disciplines or to develop our own, uniquely humanistic, methods of scholarship. The "digital humanities" rubs salt in these still open wounds by demonstrating what cool things can be done with literature, history, poetry, or philosophy if only we render humanities scholarship compliant with cold, computational logic. Discussions concern how to structure the humanities as data.
The showy and often very visual products built on such data and the ease with which information contained within them is intuitively understood appear, at first blush, to be a triumph of quantitative thinking. The pretty, animated graphs or fluid screen forms belie the fact that boring spreadsheets and databases contain the details. Humanities scholars, too, often recoil from the presumably shallow grasp of a subject that data visualization invites.
For many of us trained in the humanities, to contribute data to such a project feels a bit like chopping up a Picasso into a million pieces and feeding those pieces one by one into a machine that promises to put it all back together, cleaner and prettier than it looked before.
Which leads to the second problem, the difficulty of quantifying an aesthetic experience and — more often — the resistance to doing so. A unique feature of humanities scholarship is that its objects of study evoke an aesthetic response from the reader (or viewer). While a sunset might be beautiful, recognizing its beauty is not critical to studying it scientifically. Failing to appreciate the economy of language in a poem about a sunset, however, is to miss the point.
Literature is more than the sum of its words on a page, just as an artwork is more than the sum of the molecules it comprises. To itemize every word or molecule on a spreadsheet is simply to apply more anesthetizing structure than humanists can bear. And so it seems that the digital humanities is a paradox, trying to combine two incompatible sets of values.
Yet, humanities scholarship is already based on structure: language. "Code," the underlying set of languages that empowers all things digital, is just another language entering the profession. Since the application of digital tools to traditional humanities scholarship can yield fruitful results, perhaps what is often missing from the humanities is a clearer embrace of code.
In fact, "code" is a good example of how something that is more than the sum of its parts emerges from the atomic bits of text that logic demands must be lined up next to each other in just such-and-such a way. When well-structured code is combined with the right software (e.g., a browser, which itself is a product of code), we see William Blake’s illuminated prints, or hear Gertrude Stein reading a poem, or access a world-wide conversation on just what is the digital humanities. As the folks at WordPress say, code is poetry.
I remember 7th-grade homework assignments programming onscreen fireworks explosions in BASIC. When I was in 7th grade, I was willing to patiently decipher code only because of the promise of cool graphics on the other end. When I was older, I realized the I was willing to read patiently through Hegel and Kant because I learned to see the fireworks in the code itself. To avid readers of literature, the characters of a story come alive to us, laying bare our own feelings or moral inclinations in the process.
Detecting patterns, interpreting symbolism, and analyzing logical inconsistencies in text are all techniques used in humanities scholarship. Perhaps the digital humanities' greatest gift to the humanities can be the ability to invest a generation of "users" in the techniques and practiced meticulous attention to detail required to become a scholar.
Trained in analytic philosophy, Phillip Barron is a digital history developer at the University of California at Davis.
Elaine Showalter opens her new book on the academic novel by noting the theory that the novel generally took off because people wanted to read about people like themselves. So it's not surprising that Showalter, an emeritus professor of English at Princeton University, would consider the academic novel her favorite literary genre.
No one at Southern Methodist University knew -- for sure -- who The Phantom Professor was. The professor's blog, like those of many untenured academics, was anonymous and the university was never named.