I am a college teacher. I write books. Keeping up with the Chronicle of Higher Education is an occupational necessity. Usually, I read the online version, which is easier to access, in addition to the daily and weekly e-mails that alert me to the contents. I also enjoy commenting on articles, such as Jere P. Surber’s controversial essay this week, attempting to explain why liberal arts professors are liberal (look for user name “Batchro”). What I enjoy most is that the Chronicle covers topics and issues that are pertinent to professors and others around college campuses.
Occasionally, though, an essay so daft slips into the mix, that I feel compelled to critique it. Elif Batuman wrote such a piece this week, “Confessions of an Accidental Literary Scholar.” What is even more agonizing is that the essay is drawn from a book to be published in a week or so by Farrar, Straus and Giroux. This piece is bad on so many levels, I can’t even begin to place them all under a microscope, from the ridiculous title to the blazing sense of entitlement Batuman reeks.
I feel so strongly that I have to repost what I said on the comment section:
“The primary challenge in today’s confessional, peek-into-the-medicine-cabinet society is that this kind of drivel is viewed as an affirmation. Are Chronicle readers supposed to emulate Batuman here or gain inspiration from her story? Or, is Batuman’s story one of poor work ethic and entitlement?
Let’s take a closer look at what she outlines. First, imagine the angst of the teen Batuman so “oppressed” by “the tyranny of leisure” that she can’t do anything more than spend weeks “flopped on my grandmother’s super-bourgeois rose-colored velvet sofa, consuming massive quantities of grapes, reading obsessively.” This incident, though, stands counter to her teenage determination that she should not “read too many novels.” She also admits that she not intellectually curious, and “uninterested by what I knew of literary theory and history… I didn’t care about truth; I cared about beauty.” Here “beauty” is jargon used to elevate privilege over critical thinking or the hard work required to gain knowledge.
Next, Batuman is uninterested (perhaps the theme of her young life), in linguistics because her professor required her to think. Her sense of entitlement leads her to believe that she knows more than the professor with the typical millennial excuse: “I could not imagine a more objectless, melancholy project.” Instead, she focuses on the professor’s looks, another indicator in our celebrity-obsessed world. She takes the easy route, rather than working to understand the subject, “I couldn’t face linguistics again—it had let me down, failed to reveal anything about language and what it meant.” College instructors will certainly recognize this trait – it’s the teacher’s fault, not the student that did not actively work to learn. In response, Batuman takes the easiest path, a degree in literature, “the major with the fewest requirements” and only reading 7-8 novels.
Then, Batuman decides to write a novel (again, from a person who has not read widely or shown the ability to work hard), but does not want to go to an M.F.A. program that would actually require her to read deeply or demean herself by paying tuition, attending classes, or (gasp) “analyzing the writings of a bunch of kids like me.” Being too privileged for this, she decides an artists’ colony is the answer, but later backs out of that too when the amenities are not up to her standards.
Batuman hits the lottery when Stanford accepts her and gives her financial support, though in the essay she writes this in passive voice, probably an attempt at modesty: “I had been offered five years of financial support.” Realizing that being a grad student at Stanford requires all the messy things grad school entails (“classes, conferences, teaching, and endless lunches…[and] term papers”), she drops out to write a novel, which she also cannot accomplish.
Somehow a magazine editor gave her an assignment to write about short stories. Rather than learn from the experience, she blasts the writers in the Best American Short Stories anthologies (edited by writers you might have hear of: Lorrie Moore and Michael Chabon) because they think of writing as a “craft,” as if the choice between it and thinking of writing as art is an all-or-nothing decision. In response, she labels the work in the anthology, “a nearly unreadable core of brisk verbs and vivid nouns.” Let’s review some of the writers Batuman places in this category: John Updike, Alice Munro, Edward P. Jones, T.C. Boyle, and Joyce Carol Oates.
Then, in the tradition of Lifetime movies and confessional bloggers, Chronicle readers are given the payoff, the big “a-ha” moment, after Batuman falls while jogging and breaks her elbow: She loves literary theory after all! Ohh, the humanity! Seeing the reality in a $1,700 hospital bill, she takes “a cold, hard look at the direction my life was headed.” Luckily, Stanford threw her a lifeline.
So, I return to my original question: are we supposed to admire Batuman or gain some kind of special insight from her story? I shudder to think about what her tale says about Stanford, entitlement, or millennial navel-gazing fueled by self-absorbed blogging and Facebook. The outcome of celebrity-obsession as manifested in today’s society is that everyone now believes that their story is meaningful. The entitlement of thinking one deserves Warhol’s 15 minutes of fame is rampant. Batuman is a case book example.”
Please, tell me I am crazy for being so harsh or pointing out these egregious statements. Or, am I on the mark?