Going back to Plato—perhaps the first hater of literature on record—philosophers and religious authorities have attacked art for the same reasons our professors taught us to deconstruct and distrust it: because it is unpredictable, unreasonable and often inconsistent with their preferred politics or morality. It was also a lesson that was destined, in the years that followed, to seep off campus. Even as New Historicism fell out of fashion in literary studies—along with the broader postmodern notion of “critique” that had produced it—the students it had trained were taking up positions in the public intellectual magazines and book reviews, where they now preside over the gradual disappearance of a distinctively literary mode of criticism: a criticism, that is, that attends to matters of form, style and character, that takes aesthetic experience seriously, and that appreciates the emotions inspired by an artwork as fully as, and as constitutive of, its politics. To the extent that this disappearance has gone unremarked, it is because the hatred of literature, though it remains almost unheard of among the general reading public, has become the default mode in the upper reaches of our literary culture. — John Baskin, The Point Magazine
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