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(",%$)'#*/ 0#
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*67%8 "#$'(- ./ 0 921123


%:0./;1 #/123<32101.=/
6>;0/ 6=/10:

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B0:.D09F 031 50; 0/ ./;13>B2/1 =A 3.1>09G H7AG 1@2 <0./1./:; ./ 1@2 D042; 01
$0;D0>I- %910B.30- +.0>I- $0 J0;.2:0- 21DGK ?@2 2039.2;1 $)%"39 =A 031- 1@01
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3209.1EG
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0/ .B.101.=/GR O=3 J901=- 031 50; /=1 <031.D>9039E >;2A>9 H1@2 <0./1./: =A 0
C2M .; /= :==M 1= ;922< =/ /=3- ./ 1@2 ;13.D1 ;2/;2- 13>2G %/M %3.;1=192S;
03:>B2/1; ./ M2A2/;2 =A 031 M= /=1 32099E D@0992/:2 J901=S; 4.25 1@01 099
031 .; 0/ 290C=3012 $3",-% +7"%'+- 0/M 1@232A=32 0 9.2G T>1 @2 M=2; M.;<>12
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1= %3.;1=192 C2D0>;2 .1 .; 0 A=3B =A 1@230<EG %31 .; >;2A>9- 0A123 099- %3.;1=192
D=>/123;- B2M.D./099E >;2A>9 ./ 1@01 .1 03=>;2; 0/M <>3:2; M0/:23=>;
2B=1.=/;G
#/ J901= 0/M %3.;1=192- 1@2 B.B21.D 1@2=3E =A 031 :=2; @0/M ./ @0/M
5.1@ 1@2 0;;>B<1.=/ 1@01 031 .; 0950E; A.:>301.42G T>1 0M4=D012; =A 1@2
U
B.B21.D 1@2=3E /22M /=1 D9=;2 1@2.3 2E2; 1= M2D=301.42 0/M 0C;130D1 031G
?@2 A0990DE 1@01 031 .; /2D2;;03.9E 0 Q3209.;BR D0/ C2 B=M.A.2M =3 ;D30<<2M
5.1@=>1 2423 B=4./: =>1;.M2 1@2 <3=C92B; M29.B.12M CE 1@2 B.B21.D
1@2=3EG
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B.B2;.; =3 32<32;2/101.=/G #1 .; 1@3=>:@ 1@.; 1@2=3E 1@01 031 0; ;>D@V
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M2A2/;2G %/M .1 .; 1@2 M2A2/;2 =A 031 5@.D@ :.42; C.31@ 1= 1@2 =MM 4.;.=/ CE
5@.D@ ;=B21@./: 52 @042 9203/2M 1= D099 QA=3BR .; ;2<03012M =AA A3=B
;=B21@./: 52 @042 9203/2M 1= D099 QD=/12/1-R 0/M 1= 1@2 5299W./12/1.=/2M
B=42 5@.D@ B0L2; D=/12/1 2;;2/1.09 0/M A=3B 0DD2;;=3EG
(42/ ./ B=M23/ 1.B2;- 5@2/ B=;1 031.;1; 0/M D3.1.D; @042 M.;D03M2M
1@2 1@2=3E =A 031 0; 32<32;2/101.=/ =A 0/ =>123 3209.1E ./ A04=3 =A 1@2 1@2=3E
=A 031 0; ;>CP2D1.42 2I<32;;.=/- 1@2 B0./ A201>32 =A 1@2 B.B21.D 1@2=3E
<23;.;1;G "@21@23 52 D=/D2.42 =A 1@2 5=3L =A 031 =/ 1@2 B=M29 =A 0 <.D1>32
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D@0/:2MG #1 B0E /=5 C2 92;; A.:>301.42- 92;; 9>D.M9E 3209.;1.DG T>1 .1 .; ;1.99
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0 5=3L =A 031 CE M2A./.1.=/ ;0E; ;=B21@./:G HQ"@01 X .; ;0E./: .;Y-R
Q"@01 X .; 13E./: 1= ;0E .;Y-R Q"@01 X ;0.M .;YR 21DG- 21DGK


U
+=/2 =A >; D0/ 2423 3213.242 1@01 .//=D2/D2 C2A=32 099 1@2=3E 5@2/ 031
L/25 /= /22M 1= P>;1.AE .1;29A- 5@2/ =/2 M.M /=1 0;L =A 0 5=3L =A 031 5@01
.1 ;0.M C2D0>;2 =/2 L/25 H=3 1@=>:@1 =/2 L/25K 5@01 .1 M.MG O3=B /=5 1=
1@2 2/M =A D=/;D.=>;/2;;- 52 032 ;1>DL 5.1@ 1@2 10;L =A M2A2/M./: 031G "2
D0/ =/9E N>03329 5.1@ =/2 =3 0/=1@23 B20/; =A M2A2/;2G #/M22M- 52 @042
0/ =C9.:01.=/ 1= =4231@3=5 0/E B20/; =A M2A2/M./: 0/M P>;1.AE./: 031
5@.D@ C2D=B2; <031.D>9039E =C1>;2 =3 =/23=>; =3 ./;2/;.1.42 1=
D=/12B<=303E /22M; 0/M <30D1.D2G
?@.; .; 1@2 D0;2- 1=M0E- 5.1@ 1@2 423E .M20 =A D=/12/1 .1;29AG "@012423
.1 B0E @042 C22/ ./ 1@2 <0;1- 1@2 .M20 =A D=/12/1 .; 1=M0E B0./9E 0
@./M30/D2- 0 />.;0/D2- 0 ;>C192 =3 /=1 ;= ;>C192 <@.9.;1./.;BG ?@=>:@ 1@2
0D1>09 M2429=<B2/1; ./ B0/E 031; B0E ;22B 1= C2 920M./: >; 050E A3=B
1@2 .M20 1@01 0 5=3L =A 031 .; <3.B03.9E .1; D=/12/1- 1@2 .M20 ;1.99 2I231; 0/
2I130=3M./03E @2:2B=/EG # 50/1 1= ;>::2;1 1@01 1@.; .; C2D0>;2 1@2 .M20 .;
/=5 <23<21>012M ./ 1@2 :>.;2 =A 0 D2310./ 50E =A 2/D=>/123./: 5=3L; =A
031 1@=3=>:@9E ./:30./2M 0B=/: B=;1 <2=<92 5@= 10L2 0/E =A 1@2 031;
;23.=>;9EG "@01 1@2 =4232B<@0;.; =/ 1@2 .M20 =A D=/12/1 2/10.9; .; 1@2
P: art as
lie, illusion
A: lie or
not, art
still useful
for
purging
dangerous
emotions
T
loving description of whats going on - rather
than ____ means _____ therefore ____
about the world
not just her argument but also as a writing
method
3
peienniaI, nevei consunnaled piojecl of inleipielalion. And, conveiseIy,
il is lhe halil of appioaching voiks of ail in oidei lo inleipiel lhen lhal
suslains lhe fancy lhal lheie ieaIIy is such a lhing as lhe conlenl of a voik
of ail.


3
Of couise, I donl nean inleipielalion in lhe lioadesl sense, lhe sense in
vhich Nielzsche (iighlIy) says, Theie aie no facls, onIy inleipielalions.
y inleipielalion, I nean heie a conscious acl of lhe nind vhich
iIIusliales a ceilain code, ceilain iuIes of inleipielalion. Diiecled lo ail,
inleipielalion neans pIucking a sel of eIenenls (lhe X, lhe Y, lhe Z, and
so foilh) fion lhe vhoIe voik. The lask of inleipielalion is viiluaIIy one
of liansIalion. The inleipielei says, Look, donl you see lhal X is ieaIIy~
oi, ieaIIy neans~A` Thal Y is ieaIIy ` Thal Z is ieaIIy C`
Whal silualion couId pionpl lhis cuiious piojecl foi liansfoining a
lexl` Hisloiy gives us lhe naleiiaIs foi an ansvei. Inleipielalion fiisl
appeais in lhe cuIluie of Iale cIassicaI anliquily, vhen lhe povei and
ciediliIily of nylh had leen lioken ly lhe ieaIislic viev of lhe voiId
inlioduced ly scienlific enIighlennenl. Once lhe queslion lhal haunls
posl-nylhic consciousness~lhal of lhe seenIiness of ieIigious synloIs~
had leen asked, lhe ancienl lexls veie, in lheii piisline foin, no Iongei
acceplalIe. Then inleipielalion vas sunnoned, lo ieconciIe lhe ancienl
lexls lo nodein denands. Thus, lhe Sloics, lo accoid vilh lheii viev
lhal lhe gods had lo le noiaI, aIIegoiized avay lhe iude fealuies of Zeus
and his loisleious cIan in Honeis epics. Whal Honei ieaIIy designaled
ly lhe aduIleiy of Zeus vilh Lelo, lhey expIained, vas lhe union lelveen
povei and visdon. In lhe sane vein, IhiIo of AIexandiia inleipieled lhe
IileiaI hisloiicaI naiialives of lhe Heliev ilIe as spiiiluaI paiadigns.
The sloiy of lhe exodus fion Lgypl, lhe vandeiing in lhe deseil foi foily
yeais, and lhe enliy inlo lhe pionised Iand, said IhiIo, vas ieaIIy an
aIIegoiy of lhe individuaI souIs enancipalion, liiluIalions, and finaI
deIiveiance. Inleipielalion lhus piesupposes a disciepancy lelveen lhe
cIeai neaning of lhe lexl and lhe denands of (Ialei) ieadeis. Il seeks lo
iesoIve lhal disciepancy. The silualion is lhal foi sone ieason a lexl has
lecone unacceplalIe, yel il cannol le discaided. Inleipielalion is a
iadicaI slialegy foi conseiving an oId lexl, vhich is lhoughl loo piecious
lo iepudiale, ly ievanping il. The inleipielei, vilhoul acluaIIy eiasing oi
ieviiling lhe lexl, is aIleiing il. ul he canl adnil lo doing lhis. He cIains
lo le onIy naking il inleIIigilIe, ly discIosing ils liue neaning. Hovevei
fai lhe inleipieleis aIlei lhe lexl (anolhei noloiious exanpIe is lhe
Rallinic and Chiislian spiiiluaI inleipielalions of lhe cIeaiIy eiolic
4
Song of Songs), lhey nusl cIain lo le ieading off a sense lhal is aIieady
lheie.
Inleipielalion in oui ovn line, hovevei, is even noie conpIex. Ioi
lhe conlenpoiaiy zeaI foi lhe piojecl of inleipielalion is oflen pionpled
nol ly piely lovaid lhe lioulIesone lexl (vhich nay conceaI an
aggiession), lul ly an open aggiessiveness, an oveil conlenpl foi
appeaiances. The oId slyIe of inleipielalion vas insislenl, lul iespeclfuI,
il eiecled anolhei neaning on lop of lhe IileiaI one. The nodein slyIe of
inleipielalion excavales, and as il excavales, deslioys, il digs lehind lhe
lexl, lo find a sul-lexl vhich is lhe liue one. The nosl ceIelialed and
infIuenliaI nodein docliines, lhose of Maix and Iieud, acluaIIy anounl
lo eIaloiale syslens of heineneulics, aggiessive and inpious lheoiies of
inleipielalion. AII olseivalIe phenonena aie liackeled, in Iieuds
phiase, as nanifesl conlenl. This nanifesl conlenl nusl le pioled and
pushed aside lo find lhe liue neaning~lhe Ialenl conlenl lenealh. Ioi
Maix, sociaI evenls Iike ievoIulions and vais, foi Iieud, lhe evenls of
individuaI Iives (Iike neuiolic synplons and sIips of lhe longue) as veII
as lexls (Iike a diean oi a voik of ail)~aII aie liealed as occasions foi
inleipielalion. Accoiding lo Maix and Iieud, lhese evenls onIy seen lo
le inleIIigilIe. AcluaIIy, lhey have no neaning vilhoul inleipielalion. To
undeisland is lo inleipiel. And lo inleipiel is lo ieslale lhe phenonenon,
in effecl lo find an equivaIenl foi il.
Thus, inleipielalion is nol (as nosl peopIe assune) an alsoIule vaIue,
a gesluie of nind silualed in sone lineIess ieaIn of capaliIilies.
Inleipielalion nusl ilseIf le evaIualed, vilhin a hisloiicaI viev of hunan
consciousness. In sone cuIluiaI conlexls, inleipielalion is a Iileialing acl.
Il is a neans of ievising, of liansvaIuing, of escaping lhe dead pasl. In
olhei cuIluiaI conlexls, il is ieaclionaiy, inpeilinenl, covaidIy, slifIing.


4
Today is such a line, vhen lhe piojecl of inleipielalion is IaigeIy
ieaclionaiy, slifIing. Like lhe funes of lhe aulonoliIe and of heavy
indusliy vhich lefouI lhe uilan alnospheie, lhe effusion of
inleipielalions of ail loday poisons oui sensiliIilies. In a cuIluie vhose
aIieady cIassicaI diIenna is lhe hypeiliophy of lhe inleIIecl al lhe
expense of eneigy and sensuaI capaliIily, inleipielalion is lhe ievenge of
lhe inleIIecl upon ail.
Lven noie. Il is lhe ievenge of lhe inleIIecl upon lhe voiId. To
inleipiel is lo inpoveiish, lo depIele lhe voiId~in oidei lo sel up a
shadov voiId of neanings. Il is lo luin lhe voiId inlo lhis voiId.
(This voiId! As if lheie veie any olhei.) The voiId, oui voiId, is
T
e
translation
- also
involved in
erotics?
claiming to
get at the
essence of
something
(interpretat
ion in
Sontags
sense)
5
depIeled, inpoveiished enough. Avay vilh aII dupIicales of il, unliI ve
again expeiience noie innedialeIy vhal ve have.


5
In nosl nodein inslances, inleipielalion anounls lo lhe phiIisline iefusaI
lo Ieave lhe voik of ail aIone. ReaI ail has lhe capacily lo nake us
neivous. y ieducing lhe voik of ail lo ils conlenl and lhen inleipieling
lhal, one lanes lhe voik of ail. Inleipielalion nakes ail nanagealIe,
confoinalIe.
This phiIislinisn of inleipielalion is noie iife in Iileialuie lhan in any
olhei ail. Ioi decades nov, Iileiaiy ciilics have undeislood il lo le lheii
lask lo liansIale lhe eIenenls of lhe poen oi pIay oi noveI oi sloiy inlo
sonelhing eIse. Sonelines a viilei viII le so uneasy lefoie lhe naked
povei of his ail lhal he viII inslaII vilhin lhe voik ilseIf~aIleil vilh a
IillIe shyness, a louch of lhe good lasle of iiony~lhe cIeai and expIicil
inleipielalion of il. Thonas Mann is an exanpIe of such an
oveicoopeialive aulhoi. In lhe case of noie slulloin aulhois, lhe ciilic is
onIy loo happy lo peifoin lhe jol.
The voik of Kafka, foi exanpIe, has leen suljecled lo a nass
iavishnenl ly no Iess lhan lhiee ainies of inleipieleis. Those vho iead
Kafka as a sociaI aIIegoiy see case sludies of lhe fiuslialions and insanily
of nodein luieauciacy and ils uIlinale issuance in lhe lolaIilaiian slale.
Those vho iead Kafka as a psychoanaIylic aIIegoiy see despeiale
ieveIalions of Kafkas feai of his falhei, his caslialion anxielies, his sense
of his ovn inpolence, his lhiaIIdon lo his dieans. Those vho iead Kafka
as a ieIigious aIIegoiy expIain lhal K. in !"# %&'()# is liying lo gain access
lo heaven, lhal }oseph K. in !"# !*+&) is leing judged ly lhe inexoialIe
and nysleiious juslice of Cod.. Anolhei oeuvie lhal has alliacled
inleipieleis Iike Ieeches is lhal of SanueI eckell. eckells deIicale
dianas of lhe vilhdiavn consciousness~paied dovn lo essenliaIs, cul
off, oflen iepiesenled as physicaIIy innoliIized~aie iead as a slalenenl
aloul nodein nans aIienalion fion neaning oi fion Cod, oi as an
aIIegoiy of psychopalhoIogy.
Iiousl, }oyce, IauIknei, RiIke, Lavience, Cide.one couId go on
ciling aulhoi aflei aulhoi, lhe Iisl is endIess of lhose aiound vhon lhick
enciuslalions of inleipielalion have laken hoId. ul il shouId le noled
lhal inleipielalion is nol sinpIy lhe conpIinenl lhal nediociily pays lo
genius. Il is, indeed, lhe nodein vay of undeislanding sonelhing, and is
appIied lo voiks of eveiy quaIily. Thus, in lhe noles lhal LIia Kazan
pulIished on his pioduclion of , -(*##(.&* /&0#1 2#'+*#, il lecones cIeai
lhal, in oidei lo diiecl lhe pIay, Kazan had lo discovei lhal SlanIey
6
KovaIski iepiesenled lhe sensuaI and vengefuI lailaiisn lhal vas
enguIfing oui cuIluie, vhiIe Ianche Du ois vas Weslein civiIizalion,
poeliy, deIicale appaieI, din Iighling, iefined feeIings and aII, lhough a
IillIe lhe voise foi veai lo le suie. Tennessee WiIIians foicefuI
psychoIogicaI neIodiana nov lecane inleIIigilIe: il vas aloul
sonelhing, aloul lhe decIine of Weslein civiIizalion. AppaienlIy, veie il
lo go on leing a pIay aloul a handsone liule naned SlanIey KovaIski
and a faded nangy leIIe naned Ianche Du ois, il vouId nol le
nanagealIe.


6
Il doesnl nallei vhelhei ailisls inlend, oi donl inlend, foi lheii voiks lo
le inleipieled. Ieihaps Tennessee WiIIians lhinks -(*##(.&* is aloul vhal
Kazan lhinks il lo le aloul. Il nay le lhal Cocleau in !"# 3)441 45 & 64#(
and in 7*8"#9' vanled lhe eIaloiale ieadings vhich have leen given
lhese fiIns, in leins of Iieudian synloIisn and sociaI ciilique. ul lhe
neiil of lhese voiks ceilainIy Iies eIsevheie lhan in lheii neanings.
Indeed, il is pieciseIy lo lhe exlenl lhal WiIIians pIays and Cocleaus
fiIns do suggesl lhese poilenlous neanings lhal lhey aie defeclive, faIse,
conliived, Iacking in conviclion.
Iion inleivievs, il appeais lhal Resnais and Rolle-CiiIIel
consciousIy designed :&'( ;#&* &( <&*+#=>&1 lo acconnodale a
nuIlipIicily of equaIIy pIausilIe inleipielalions. ul lhe lenplalion lo
inleipiel <&*+#=>&1 shouId le iesisled. Whal nalleis in <&*+#=>&1 is lhe
puie, unliansIalalIe, sensuous innediacy of sone of ils inages, and ils
iigoious if naiiov soIulions lo ceilain piolIens of cinenalic foin.
Again, Ingnai eignan nay have neanl lhe lank iunlIing dovn
lhe enply nighl slieel in !"# -+)#=.# as a phaIIic synloI. ul if he did, il
vas a fooIish lhoughl. (Nevei liusl lhe leIIei, liusl lhe laIe, said
Lavience.) Taken as a liule oljecl, as an innediale sensoiy equivaIenl
foi lhe nysleiious aliupl ainoied happenings going on inside lhe holeI,
lhal sequence vilh lhe lank is lhe nosl sliiking nonenl in lhe fiIn. Those
vho ieach foi a Iieudian inleipielalion of lhe lank aie onIy expiessing
lheii Iack of iesponse lo vhal is lheie on lhe scieen.
Il is aIvays lhe case lhal inleipielalion of lhis lype indicales a
dissalisfaclion (conscious oi unconscious) vilh lhe voik, a vish lo
iepIace il ly sonelhing eIse.
Inleipielalion, lased on lhe highIy dulious lheoiy lhal a voik of ail
is conposed of ilens of conlenl, vioIales ail. Il nakes ail inlo an ailicIe
foi use, foi aiiangenenl inlo a nenlaI schene of calegoiies.

philistine: hostile/indifferent to art and culture
7
7
Inleipielalion does nol, of couise, aIvays pievaiI. In facl, a gieal deaI of
lodays ail nay le undeislood as nolivaled ly a fIighl fion
inleipielalion. To avoid inleipielalion, ail nay lecone paiody. Oi il nay
lecone alsliacl. Oi il nay lecone (neieIy) decoialive. Oi il nay
lecone non-ail.
The fIighl fion inleipielalion seens pailicuIaiIy a fealuie of nodein
painling. Alsliacl painling is lhe allenpl lo have, in lhe oidinaiy sense,
no conlenl, since lheie is no conlenl, lheie can le no inleipielalion. Iop
Ail voiks ly lhe opposile neans lo lhe sane iesuIl, using a conlenl so
lIalanl, so vhal il is, il, loo, ends ly leing uninleipielalIe.
A gieal deaI of nodein poeliy as veII, slailing fion lhe gieal
expeiinenls of Iiench poeliy (incIuding lhe novenenl lhal is
nisIeadingIy caIIed SynloIisn) lo pul siIence inlo poens and lo ieinslale
lhe nagic of lhe void, has escaped fion lhe iough giip of inleipielalion.
The nosl iecenl ievoIulion in conlenpoiaiy lasle in poeliy~lhe
ievoIulion lhal has deposed LIiol and eIevaled Iound~iepiesenls a
luining avay fion conlenl in poeliy in lhe oId sense, an inpalience vilh
vhal nade nodein poeliy piey lo lhe zeaI of inleipieleis.
I an speaking nainIy of lhe silualion in Aneiica, of couise.
Inleipielalion iuns ianpanl heie in lhose ails vilh a feelIe and negIigilIe
avanl-gaide: ficlion and lhe diana. Mosl Aneiican noveIisls and
pIayviighls aie ieaIIy eilhei jouinaIisls oi genlIenen socioIogisls and
psychoIogisls. They aie viiling lhe Iileiaiy equivaIenl of piogian nusic.
And so iudinenlaiy, uninspiied, and slagnanl has leen lhe sense of vhal
nighl le done vilh foin in ficlion and diana lhal even vhen lhe conlenl
isnl sinpIy infoinalion, nevs, il is sliII pecuIiaiIy visilIe, handiei, noie
exposed. To lhe exlenl lhal noveIs and pIays (in Aneiica), unIike poeliy
and painling and nusic, donl iefIecl any inleiesling concein vilh
changes in lheii foin, lhese ails ienain pione lo assauIl ly inleipielalion.
ul piogiannalic avanl-gaidisn~vhich has neanl, noslIy,
expeiinenls vilh foin al lhe expense of conlenl~is nol lhe onIy defense
againsl lhe infeslalion of ail ly inleipielalions. Al Ieasl, I hope nol. Ioi
lhis vouId le lo connil ail lo leing peipeluaIIy on lhe iun. (Il aIso
peipeluales lhe veiy dislinclion lelveen foin and conlenl vhich is,
uIlinaleIy, an iIIusion.) IdeaIIy, il is possilIe lo eIude lhe inleipieleis in
anolhei vay, ly naking voiks of ail vhose suiface is so unified and
cIean, vhose nonenlun is so iapid, vhose addiess is so diiecl lhal lhe
voik can le.jusl vhal il is. Is lhis possilIe nov` Il does happen in fiIns,
I leIieve. This is vhy cinena is lhe nosl aIive, lhe nosl exciling, lhe nosl
inpoilanl of aII ail foins iighl nov. Ieihaps lhe vay one leIIs hov aIive
a pailicuIai ail foin is, is ly lhe Ialilude il gives foi naking nislakes in il,
8
and sliII leing good. Ioi exanpIe, a fev of lhe fiIns of eignan~lhough
cianned vilh Iane nessages aloul lhe nodein spiiil, lheiely inviling
inleipielalions~sliII liiunph ovei lhe pielenlious inlenlions of lheii
diiecloi. In ?+=(#* :+@"( and !"# -+)#=.#, lhe leauly and visuaI
sophislicalion of lhe inages sulveil lefoie oui eyes lhe caIIov pseudo-
inleIIecluaIily of lhe sloiy and sone of lhe diaIogue. (The nosl
ienaikalIe inslance of lhis soil of disciepancy is lhe voik of D. W.
Ciiffilh.) In good fiIns, lheie is aIvays a diieclness lhal enliieIy fiees us
fion lhe ilch lo inleipiel. Many oId HoIIyvood fiIns, Iike lhose of Cukoi,
WaIsh, Havks, and counlIess olhei diieclois, have lhis Iileialing anli-
synloIic quaIily, no Iess lhan lhe lesl voik of lhe nev Luiopean
diieclois, Iike Tiuffauls -"44( ("# 6+&=4 6)&A#* and B9)#' &=1 B+0, Codaids
3*#&(")#'' and C+D*# -& C+#, Anlonionis :E,DD#=(9*&, and OInis !"#
F+&=.G'.
The facl lhal fiIns have nol leen oveiiun ly inleipieleis is in pail
due sinpIy lo lhe nevness of cinena as an ail. Il aIso oves lo lhe happy
accidenl lhal fiIns foi such a Iong line veie jusl novies, in olhei voids,
lhal lhey veie undeislood lo le pail of nass, as opposed lo high, cuIluie,
and veie Iefl aIone ly nosl peopIe vilh ninds. Then, loo, lheie is aIvays
sonelhing olhei lhan conlenl in lhe cinena lo gial hoId of, foi lhose vho
vanl lo anaIyze. Ioi lhe cinena, unIike lhe noveI, possesses a vocaluIaiy
of foins~lhe expIicil, conpIex, and discussalIe lechnoIogy of caneia
novenenls, culling, and conposilion of lhe fiane lhal goes inlo lhe
naking of a fiIn.

8
Whal kind of ciilicisn, of connenlaiy on lhe ails, is desiialIe loday` Ioi
I an nol saying lhal voiks of ail aie ineffalIe, lhal lhey cannol le
desciiled oi paiaphiased. They can le. The queslion is hov. Whal vouId
ciilicisn Iook Iike lhal vouId seive lhe voik of ail, nol usuip ils pIace`
Whal is needed, fiisl, is noie allenlion lo foin in ail. If excessive
sliess on conlenl piovokes lhe aiiogance of inleipielalion, noie exlended
and noie lhoiough desciiplions of foin vouId siIence. Whal is needed is
a vocaluIaiy~a desciiplive, ialhei lhan piesciiplive, vocaluIaiy~foi
foins.
*
The lesl ciilicisn, and il is unconnon, is of lhis soil lhal

*
One oI the diIIiculties is that our idea oI Iorm is spatial (the Greek metaphors Ior
Iorm are all derived Irom notions oI space). This is why we have a more ready
vocabulary oI Iorms Ior the spatial than Ior the temporal arts. The exception among
the temporal arts, oI course, is the drama; perhaps this is because the drama is a
narrative (i.e., temporal) Iorm that extends itselI visually and pictorially, upon a
stage.. What we don`t have yet is a poetics oI the novel, any clear notion oI the
9
dissoIves consideialions of conlenl inlo lhose of foin. On fiIn, diana,
and painling iespecliveIy, I can lhink of Livin Ianofskys essay, SlyIe
and Mediun in lhe Molion Iicluies, Noilhiop Iiyes essay A
Conspeclus of Dianalic Cenies, Iieiie IiancasleIs essay The
Desliuclion of a IIaslic Space. RoIand ailhes look 7= H&.+=# and his
lvo essays on Rolle-CiiIIel aie exanpIes of foinaI anaIysis appIied lo
lhe voik of a singIe aulhoi. (The lesl essays in Liich Aueilachs <+0#'+',
Iike The Scai of Odysseus, aie aIso of lhis lype.) An exanpIe of foinaI
anaIysis appIied sinuIlaneousIy lo genie and aulhoi is WaIlei enjanins
essay, The Sloiy TeIIei: RefIeclions on lhe Woiks of NicoIai Leskov.
LquaIIy vaIualIe vouId le acls of ciilicisn vhich vouId suppIy a
ieaIIy accuiale, shaip, Ioving desciiplion of lhe appeaiance of a voik of
ail. This seens even haidei lo do lhan foinaI anaIysis. Sone of Manny
Iaileis fiIn ciilicisn, Doiolhy Van Chenls essay The Dickens WoiId:
A Viev fion Todgeis, RandaII }aiieIIs essay on WaIl Whilnan aie
anong lhe iaie exanpIes of vhal I nean. These aie essays vhich ieveaI
lhe sensuous suiface of ail vilhoul nucking aloul in il.


9
Tianspaience is lhe highesl, nosl Iileialing vaIue in ail-and in ciilicisn-
loday. Tianspaience neans expeiiencing lhe Iuninousness of lhe lhing in
ilseIf, of lhings leing vhal lhey aie. This is lhe giealness of, foi exanpIe,
lhe fiIns of iesson and Ozu and Renoiis !"# H9)#' 45 ("# I&0#.
Once upon a line (say, foi Danle), il nusl have leen a ievoIulionaiy
and ciealive nove lo design voiks of ail so lhal lhey nighl le
expeiienced on seveiaI IeveIs. Nov il is nol. Il ieinfoices lhe piincipIe of
iedundancy lhal is lhe piincipaI affIiclion of noden Iife.
Once upon a line (a line vhen high ail vas scaice), il nusl have
leen a ievoIulionaiy and ciealive nove lo inleipiel voiks of ail. Nov il
is nol. Whal ve decidedIy do nol need nov is fuilhei lo assiniIale Ail
inlo Thoughl, oi (voise yel) Ail inlo CuIluie.
Inleipielalion lakes lhe sensoiy expeiience of lhe voik of ail foi
gianled, and pioceeds fion lheie. This cannol le laken foi gianled, nov.
Think of lhe sheei nuIlipIicalion of voiks of ail avaiIalIe lo eveiy one of
us, supeiadded lo lhe confIicling lasles and odois and sighls of lhe uilan
enviionnenl lhal lonlaid oui senses. Ouis is a cuIluie lased on excess,
on oveipioduclion, lhe iesuIl is a sleady Ioss of shaipness in oui sensoiy
expeiience. AII lhe condilions of noden Iife-ils naleiiaI pIenilude, ils

Iorms oI narration. Perhaps Iilm criticism will be the occasion oI a breakthrough here,
since Iilms are primarily a visual Iorm, yet they are also a subdivision oI literature.
1O
sheei ciovdedness-conjoin lo duII oui sensoiy facuIlies. And il is in lhe
Iighl of lhe condilion of oui senses, oui capacilies (ialhei lhan lhose of
anolhei age), lhal lhe lask of lhe ciilic nusl le assessed.
Whal is inpoilanl nov is lo iecovei oui senses. We nusl Ieain lo '##
noie, lo "#&* noie, lo 5##) noie.
Oui lask is nol lo find lhe naxinun anounl of conlenl in a voik of
ail, nuch Iess lo squeeze noie conlenl oul of lhe voik lhan is aIieady
lheie. Oui lask is lo cul lack conlenl so lhal ve can see lhe lhing al aII.
The ain of aII connenlaiy on ail nov shouId le lo nake voiks of
ail-and, ly anaIogy, oui ovn expeiience-noie, ialhei lhan Iess, ieaI lo us.
The funclion of ciilicisn shouId le lo shov "4J +( +' J"&( +( +', even ("&( +(
+' J"&( +( +', ialhei lhan lo shov J"&( +( 0#&='K


1O
In pIace of a heineneulics ve need an eiolics of ail.

|1964j

Hermeneutics: branch of knowledge to do with interpretation of
meaning; assumption that everything has a deeper symbolic meaning
Erotics: sensuous surface, pleasure, desire/excitement
documenting your experience with the artwork?