The Virtues of Know-Nothing Criticism by Noah Berlatsky (pictured) appearing in the Los Angeles Review of Books on New Year’s eve has nothing to do with the Shroud of Turin and perhaps everything to do with how we sometimes argue about it. It’s a light two-minute read:
The problem with demanding a certain kind of knowledge or a certain kind of expertise in criticism, then, is that it can end up presupposing, or insisting upon, a certain kind of conversation. And often that seems like the point: expertise is used as an excuse to silence critics — and especially negative critics. Gamergate’s response to Anita Sarkeesian is the most obvious example, but you can see it in virtually any fandom. Folks who adore, say,Game of Thrones, are way more likely to have read all the books and seen all the episodes of Game of Thrones. People who dislike Game of Thrones are less likely to put in the time. How can you watch one episode of Game of Thronesand dismiss it? How can you read half of Maus and think that it’s boring and pompous? What gives you the right? Expertise becomes a quick, efficient way to shut down naysayers. Those who love video games, or Game of Thrones, or Wonder Woman are the only ones who can truly understand; the haters are, almost by definition, stupid.
[ . . . ]
. . . Expertise, then, seems an excuse to make everyone talk about the same things in the same way. But there’s no one true way to view a piece of art; no one privileged perspective that will give you the right experience of Shakespeare, or Wonder Woman, or video games, or romance novels. A partial view may be as meaningful as a whole one, and being alienated by a work of art, or feeling you don’t want to finish it, or look at it for a second more, is as valid as obsessive interest and passionate fandom.
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