Vint 1117

Superheroes and TV IV: Possibilities and pitfalls of contemporary television

THE TERM TVIII has been used in television studies to describe the state of television in the 21st century. This third state of television comes after TVI, the origins of the medium in a few broadcast networks whose programming was limited to certain times of day, and after TVII, the period of deregulation and expanded consumer choice in the 1980s and beyond when specialized cable channels emerged and network branding became relevant to attracting an increasingly fragmented audience. TVIII describes the era of television content dispersed across multiple platforms and available on-demand rather than on networks’ schedules.

Back in the very early days of the cultural studies of television, theorist Raymond Williams used the term “flow” to describe what he thought was the defining characteristic of the medium. For Williams, flow captured something unique about television that distinguished it from other visual culture such as film, or other sites of long-form narrative such as print. The concept has been so influential that it provides the name for one of the most influential sites for critical discussion of television. Flow describes the way that networks, in competition for the viewing audience, structure not only the individual episodes and series but seek to hold the audience’s attention for an entire evening of programming. Particular for broadcast networks dependent upon advertising revenue — the state of all television when Williams developed this concept — flow is essential to the value the networks offer to advertisers. They seek to hold your attention across the programming segment, which includes watching the commercials. The specific nature of flow changes as the conditions of production change, and broadcast networks have faced particular challenges in this era of DVRs, streaming sites such as Netflix and hulu, and competition from commercial-free cable networks. Although TVIII thus seemed to spell the end of flow, it has instead meant its reinvention as broadcast networks strive to find ways to sustain their audiences. Some of these changes are perhaps significant enough to announce an era of TV IV.

Marvel is an important player in this shifting landscape. Already dominating the big-screen with its popular superheroes films anchored around the Avengers, it has recently moved into broadcast television with Agents of S.H.I.E.L.D. Links between the series and the films strive to gain a crossover audience with frequent references to events from The Avengers film and with cameo appearances of big-screen actors on the small screen. Frequent advertisements for upcoming Marvel films aspire to keep the audience tuned to ABC even during commercial breaks, and this week the show will up the ante once again with the episode “The Well” set in the immediate aftermath of events of Thor: The Dark World. This is an intriguing experiment, capitalizing on the era of transmedia storytelling, and enabling fans to immerse themselves fully in this world with big-screen stories of the major players, and small screen stories of how the blockbuster events of the film are affecting regular people.

Even more intriguing is the recent announcement of four new superhero series to be produced by Netflix in its new deal with Marvel. Like the franchise film success that Marvel has achieved with individual superhero films leading to the Avengers team-up, and then back out again to new individual films, these Netflix series focused on Daredevil, Iron First, Jessica Jones, and Luke Cage will culminate in a mini-series event about them joining together to form the Defenders. A number of things make this new enterprise intriguing: first, it suggests ways broadcast networks such as ABC and streaming services such as Netflix could reconfigure their relationship into one of mutual promotion of one another’s titles along the model of Agents of S.H.I.E.L.D. and the film franchise rather than continue a relationship of competition for viewers. Second, the heroes chosen for these series suggest promising ways that a larger shared universe of Marvel characters would enable space for something other than the white male heroes dominant in the film franchise. The ABC series already has a more ethnically diverse cast, as I’ve suggested earlier, but the possibilities for the Netflix series are even more intriguing, with one focused on Jessica Jones and another on Luke Cage. Not only would these series be anchored, respectively, around a female and an African American protagonist, but also the origin stories for each of these characters in the comics medium include back stories that comment on the casual sexism and racism of much of that medium’s history.

Another potentially TV IV strategy is the many ways that corporate culture has taken over the spaces that were once the domain of fan cultural production, what Henry Jenkins has called Convergence Culture. Examples of convergence culture include the many ways that websites, webisodes, spin-off comics, and extra-diegetic stories are now created as part of the marking of a series rather than solely created as expressions of fan enthusiasm. AMC is leading the pack in reinventing ways to capture the attention desired in the concept of flow with its use of talk-show series devoted to their most successful titles, ensuring that fans stayed tuned to their station even after an episode has aired. Once again it was a genre series that launched this shift: since its second season, new episodes of The Walking Dead are followed by a talk show devoted to analyzing the episodes as they air, Talking Dead. This year AMC successfully reproduced this format with Talking Bad, devoted to analyzing the final episodes of the most discussed television series at the time, Breaking Bad, which suggests that this relative low-cost way of gaining two hours of viewers based on one-hour of original scripted programming may be more widely reproduced. AMC further strives to keep people from changing the channel with online discussions in its “two-screen experience” — quizzes, extra images, and reminders about previous episodes that interact with the viewer as an episode airs, presumably to keep people too busy to leave the room during commercials.

The youth-oriented network CW, whose brand rapidly seems to be becoming genre television as even its historical teen drama Reign has added a supernatural element, has made the boldest move in these new strategies. Taking one step beyond product placement in an advertising campaign with Ford fiesta, the commercial feature a series of “missions” involving stunts planned using a Ford fiesta, people who aspire to work in the film and television industry brought in to do things such as style an episode or perform a stunt for one of the CW series. Actors from the shows appear in the commercials and the Ford Fiesta proves crucial to their success. The advertising campaign thus promotes both the car and the particular series that is featured in the “mission.” The car advertisement is thus transformed into another kind of entertainment, using narrative to promote self-fulfillment via products in the model of reality programs such as What Not to Where. A partnership between the CW’s superhero series Arrow and Bose takes this one step further in the “episodes” of Blood Rush that screen online and during commercial breaks. A narrative that is similar to fan fiction written to explain what happens in the interstices of a television episode, Blood Rush involves a mission between two minor characters on the series, Felicity and Roy. Like the regular series, the story is released from week to week, with each new episode of Arrow involving a new episode of Blood Rush during one of its commercial breaks. Sponsored by Bose and requiring the use of many Bose products to complete the mission, Blood Rush is not so obviously a commercial as are the Ford Fiesta “missions” but it takes us one step further in blurring the line between advertising and entertainment, product placement becoming the dominant aesthetic.

These various strategies for recapturing the viewing attention described by the concept of flow perhaps presage yet another era of television, in which our attention flows not only across segments from series to commercial to the new series on the same channel, but also across platforms as we flow between scripted drama and scripted advertising, television screen and online screen, broadcast network and streaming site. Whether we should see such developments as promising a richer experience of our chosen narrative worlds, or as a kind of personalized harassment along the lines of a Philip K. Dick story, remains an open question.

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Art students practicing outdoor sketching in Yixian, Anhui Province. In China, outdoor sketching has been an important part of training for painters since the beginning of the twentieth century.

Art and Globalization

By Tong Lam

In recent years, the number of applicants to Chinese art schools has increased dramatically. Earlier this year, for example, nearly 10,000 candidates submitted applications to the Shandong University of Arts and Design, a mid-tier institution. The number of applicants to top art schools is no doubt even higher. Generally, in order to gain admission, an art school applicant has to pass several levels of exams. In the end, only a tiny portion of applicants will be admitted, and about 70% of them will be eliminated in the first round alone

This increase in the number of aspiring art students in China seems quite curious, given that the overall number of Chinese university applicants has been dropping in recent years. This trend is even more unusual if one compares China with more developed economies, whose students generally flock to the so-called “practical disciplines” of business, law, and medicine rather than the arts and humanities.

 

Art students practicing outdoor sketching in Yixian, Anhui Province. In China, outdoor sketching has been an important part of training for painters since the beginning of the twentieth century.

Art students practicing outdoor sketching in Yixian, Anhui Province. In China, outdoor sketching has been an important part of training for painters since the beginning of the twentieth century.

One explanation is perhaps the astronomical surge in Chinese art prices in recent decades. Soaring art prices, and the financial benefits enjoyed by well-known Chinese artists, have undoubtedly resulted in the elevation of artists’ status. Since the 1990s, Chinese art—especially contemporary art—has been firmly integrated into the global art market. Culture and economy, in other words, have become more and more intertwined, if not synonymous. As a result, leading Chinese contemporary artists have suddenly found their works among some of the hottest commodities in the art market. An obvious example of this is artist Ai Weiwei, who has become well known in the West by branding himself as a standalone renegade hero fighting against an authoritarian regime, an image the Western media loves to embrace and celebrate.

The success of Chinese artists in the global capitalist art market is a reminder that globalization is not only about the spread of McDonald’s and Starbucks chains. Rather, the process often involves local actors trying to claim ownership of the changing global culture. At the same time, no matter how critical and creative their artwork appears to be, artists themselves, with their reliance on sales and fame for success, are often complicit in the very same structures that they try to overcome. Moreover, in spite of the stream of aspiring art students seeking entrance to Chinese art schools, the logic of neoliberalism places great emphasis on distinction and hierarchy. As such, only a tiny portion of art students who successfully enter the university will ultimately succeed in the global marketplace.

Dracula-poster-

Steampunk Dracula

SCIENCE FICTION television this season continues to work through the anxieties of our contemporary moment in coded ways, from Revolution’s staging of another civil war in the battle between the “patriots” and the United States (although, confusingly, these patriots are those opposed to the ethos enacted by the Patriot Act); to Arrow’s defense of the 99% against the 1% (that, sadly, as I anticipated, has villainized the Latino mayoral candidate and seems to be becoming an apologia for the rich who apparently really do have the best interests for all in mind); to Agents of S.H.I.E.L.D.’s internal battle as it tries to reconcile its countercultural sensibilities with its series premise as agents of a secret, military government agency (the most tiresome of these literalized metaphors, with yet another story of on-again, off-again Skye loyalty); and finally to Sleepy Hollow’s reinvention of the Revolutionary War as Armageddon. Yet the most interesting sf television recently was the debut of the new NBC Dracula series – that reinvents Dracula as a science-fictional, steampunk hero, played by Jonathan Rhys Meyers, famed for his portrayal of Henry VIII on The Tudors (2007-2010). Finally we have a television series that takes vampires out of high school and puts them back in the 19th century, where they belong.

Steampunk, for those not in the know, is a science fiction subgenre and emergent DIY culture based on a reinvented version of the Victorian era. Steampunk is so-named because its earliest iteration in the early 1990s grew out of then-dominant cyberpunk fiction. Cyberpunk was a dark, noirish subgenre exploring emergent IT culture set in a dystopian future of massive urbanization, corporate rule, and the disposal and fragile human bodies. Steampunk lightened this dismal view with some Victorian technological optimism, and in one of its earliest examples, The Difference Engine (1980), written by cyberpunk writers William Gibson and Bruce Sterling, imagined an alternative Victorian era in which Charles Babbage succeeded in developing a functional computer, the analytical engine in contemporary parlance. Thematically steampunk focuses on reimagining the past so that it results in a different future, and it steers a careful path between the dystopian nihilism of cyberpunk’s vision of technology displacing humans and an equally dire anti-technological determinism that sees such oppression as the inevitable outcome of technological change. Aesthetically, steampunk has developed as a DIY culture of costumes and object making, its fan conventions serving as a site to admire the innovations of computers whose functioning is made visible in ornate brass fixtures or the costumes that evoke a romanticized version of 19th century attention to detail and ostentatious display. Steampunk celebrates the lush beauty of Victorian-era design, and attendees appear in the dress of imperialists with all the attendant pomp and excess. While not overtly racist, steampunk culture for the most part ignores the destructive colonialist activity of the Britain it invokes, although it also can serve as an imaginative resource for colonized nations to equally imagine their histories otherwise via different technological development, and to assert a critical perspective on the Western narrative of “progress.”

Which brings us to the reinvented steampunk Dracula. Bram Stoker’s original novel, published in 1897, was deeply immersed in contemporary Victorian anxieties about the threat of the exotic others from the vast empire coming home to the imperial center of London. Dracula infiltrates the highest echelons of London society and embodies the threat of miscegenation in the contagion he can spread through his blood and in the sexual power he holds over supposedly chaste women who “belong” to his male antagonists. Imperial expansion is both power and vulnerability for Stoker’s Britain – recall that it is a real estate transaction that lures Jonathan Harker away from his fiancée Mina and into the dark Carpathian Mountains that are Dracula’s home. In Stoker’s novel, upper-class men banding together are able to expel the foreign threat, destroy the contaminated women, and purify Mina of her tainted sexual bond to Dracula, restoring her to proper wifely virtue and motherhood. NBC’s new series resituates this tale in an intriguing steampunk fashion: Dracula is now the good guy, teamed up (albeit secretly) with Van Helsing, and he plans to defeat the evil, imperialist Order of the Dragon (represented by the wealthy upper-class of London) by undermining their economic base in oil with his new electrical power source rooted in geomagnetic technology. In this series, far from banding together in class solidarity to repeal foreigners, the white men of the Order of the Dragon actually created Dracula by punishing Vlad Tepes for disobedience with a cure for immorality, potentially a metaphor for the “chickens” of colonialist exploitation coming home to roost. Thus NBC brings us a steampunk Dracula for the 21st century, a reorienting of steampunk’s technological fascination away from computers and toward technologies of energy – key to the looming end of industrial life-as-we-know-it.

The Order of the Dragon is some combination of corrupt, rich industrialists and religious fanatics along the lines of the Inquisition. Both Dracula, as Vlad the Impaler, and Van Helsing have lost wives who were burned at the stake by the Order: in Dracula’s case, his wife Illona is a doppelganger for Mina Murray (Jessica de Gouw), which also introduces a love triangle that might prove tedious as the season continues, but which is intriguingly complicated by the addition of Lucy Westenra’s (Katie McGrath) attraction to Mina as well. Renfield is no longer a hapless insane asylum inmate victimized by Dracula as in the novel, but now a trusted employee and confidant, played by Nonso Anozie who is thus far the only person of color in the main cast. Dracula infiltrates London society disguised as an American industrialist, Alexander Grayson, which enables the series to comment not only on shifts from IT to oil technologies, but also from British to American empires as the site of anxiety over the past 100 years. Whether this vision of a predatory British empire now long passed will be used to exonerate a contemporary American economic empire as the series continues remains to be seen. These dual identities also allow Rhys Meyers to switch between his British accent, perfected as Henry VIII, and the American one we saw on display in his feature film From Paris with Love (2010), demonstrating his charms in both registers to full effect. Denouncing the Order of the Dragon to Renfield, he castigates them as recognizable by their “overtly grotesque sense of entitlement” and announces that they have moved on from inquisitions and public burnings to “business via private clubs and boardrooms.” The Order’s obsession with oil and politics, he proclaims, emerges from a belief that “it will fuel the next century, and if they control it they will control the future.” By subverting the economy to another power source, he believes he can defeat them.

Dracula is thus positioned to use steampunk’s techniques of critically reinventing history to comment on the last century of industrialization via oil, on our looming ecological and energy crisis, and even perhaps on the class exclusions of both the Victorian era and our own, suggested by Dracula’s rant against entitlement. The series promises a rebooted 21st century built on something other than oil and imperialism, an intriguing thought experiment. And of course it also brings all the hypnotic and sexual appeal of the vampire genre, but without the sanitized blood-bag drinking teen vampires that have recently dominated the vampire tale. Rhys Meyer’s Dracula may be fighting the good fight against imperialists, but he also uses his considerable charisma both to manipulate as Grayson and to lure other female prey – whose blood he drinks directly from the neck, as all real vampires should. This Dracula embodies all the sinister yet sexy menace of the bad boy, captured perfectly in a long shot of his brooding face as he stares down someone who threatens Mina in an absinthe bar. Coming across the two of them later conversing on the terrace, Lucy aptly sums up their sexual chemistry in her snide quip, “Heathcliff and Cathy on the moors.” The show even has a feminist edge, with Mina reinvented as a med school student whose engagement to Jonathan is derailed when he expresses the view that she should give up career for “more natural pursuits” as his wife. Dracula, who has supported Mina’s ambitions from afar, confronts Jonathan about his hypocrisy in wanting to rise above his given social status himself while denying Mina the same opportunities to defy gender roles, and the two are reconciled, although the bad-boy Dracula remains better equipped to deal with a strong female partner than the good-boy Jonathan – a pattern repeated in a number of supernatural romances from Buffy the Vampire Slayer to The Vampire Diaries.

The series is beautifully Gothic in atmospheric scenes of fog-obscured London streets and mysterious caped figures, and features enough balls and other upper-crust events to satisfy all the costume fetishes expressed in steampunk culture. Between its politics and its polish, Dracula is the most intriguing new series thus far this year.

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CI21C Taiwan cover

Censorship, Translation and the Chinese Market

“To me the choice was easy…I thought it was better to have 90 percent of the book available here than zero.”

Ezra Vogel, author of Deng Xiaoping and the Transformation of Modern China, statement made during a Chinese book tour.

“As an academic who doesn’t write for a large publication, I’m always happy to have a readership that extends beyond the three people in my family.”

Rebecca Karl, author of Mao Zedong and China in the Twentieth-Century World.

“I kept waiting for the other shoe to fall.”

Michael Meyer, author of The Last Days of Old Beijing.
[All quotes appeared in Andrew Jacobs, “Authors Accept Censors’ Rules to Sell in China,” New York Times, October 19, 2013.]

Here are some questions that students, friends, and people who introduce themselves to me after I’ve given a public talk on China often ask:

Are you sorry that none of the books you’ve written have come out in Chinese editions?

How much would you be willing to let Chinese publishers cut from your books, if told that allowing some things to get intentionally lost in translation was what it would take for these works to be sold on the mainland?

Would you balk at cutting a few sentences, be fine with deleting a whole chapter, or perhaps even be okay with trimming segments here and there throughout a book?

How strongly would you push back if asked for other sorts of changes, like allowing your book to have a dramatically different title in the Chinese edition?

I’ll likely get asked things like this more often now, thanks to Andrew Jacobs, whose recent article on the publication of Western works in mainland China has generated a lot of buzz. It’s no surprise that the article has caught the interest of China specialists. Many of us are fascinated by the challenge of sorting out what has and hasn’t changed about Chinese publishing and censorship in recent years. Jacobs draws attention to both novelties of the present (not long ago, books dealing even in part with sensitive issues simply would not be translated) as well as things that are holdovers from past times, such as the paranoia about protecting Party officials’ images that led to a reference to Deng dropping a dumpling being cut from Vogel’s book, and a text about a mayor and a mistress ending up one of the very few things excised from Meyer’s. And Jacobs focuses on three different sorts of members of our tribe: sociologist Vogel (whose Deng biography is selling briskly in China), historian Karl (whose book will likely be published soon by Hunan People’s Press), and journalist Meyer (whose book was retitled Zaihui, Lao Beijing, or “See You Again, Old Beijing,” in an effort, Jacobs writes, to make an often dismayed look at destruction seem a “nostalgic love letter”).

What is more notable is how much interest in the article there has been beyond specialist circles. On October 23, for example, the Guardian ran a follow-up article, “Author Bows to Chinese Censorship of his Deng Biography,” which zeroed in on Vogel’s relatively easy acceptance of modifying his work so that it could appear in China. The next day, “The Banal Reality of Censoring Books in China” appeared on the History News Network website. This article began with HNN editor David Walsh describing the battle Karl fought — and won — to keep Hunan People’s Press from going forward with their initial plan to present her book to Chinese readers as a straightforward biography of Mao, with an altered title to match.

Reading these three articles on censorship has made me appreciate anew a basic fact about the questions regarding translation, accommodation, censorship and so forth I sometimes get asked: at least for me, these queries usually cannot be answered as simply as people would like. And the same will be true now if I’m asked whether, like Vogel, I’ll be happy if “90 percent” of one my books can make its way into the Chinese market. It all depends, I’ll say, on which book we are talking about.

In the case of China’s Brave New World — and Other Tales for Global Times, which is comprised of separate though thematically connected essays, I was ready at one point to try to get a version published on the mainland that was only about 70% as long as the original, with several chapters that would clearly have created problems left out. (A friend found a publishing house that initially seemed ready to go forward with the book in that form, but then higher ups within it had second thoughts and the plans to bring out the translation were scrapped.)

With my first book, Student Protests in Twentieth-Century China: The View from Shanghai, which is mostly about pre-1949 events but has an “Epilogue” (perhaps making up 7% of the text) stressing parallels between those struggles and upheavals of the 1980s, on the other hand, I would view cutting out 10% as far too much. I would rather it not be published than come out sans that “Epilogue” and also stripped of passing comments in other chapters about the clear links and parallels between the “good,” in Chinese Communist Party eyes, protests that helped it rise to power and the “bad” ones that challenged its legitimacy in 1989.

Or, rather, I’d only consider going forward with a version like that if the press in question agreed to a condition I can’t imagine it would: marking each cut with an ellipsis to show that something in the original was no longer there, and putting a warning on the cover, like those you see when R rated movies are shown on an airplane, noting that the work has been modified for presentation in this particular setting. Without something like that done, I would worry that the book could too easily be read as supporting notions that I don’t agree with. For example, such cuts would eliminate the parallels I draw between protests of the 1940s, which were concerned in part with drawing attention to the flaws of the authoritarian and corrupt Nationalist Party government of that era, and those that erupted four decades later, which were concerned in part with drawing attention to the flaws of the authoritarian and corrupt Communist Party government of that time.

It might seem that at least one question mentioned at the start of this post would lend itself to a straightforward answer — the one about whether I’m frustrated that none of my books has come out in a Chinese edition yet. Of course, since I share Karl’s desire to be read broadly, I’d love to have all my books available in as many translations as possible, and since I write about China, reaching Chinese readers is particularly desirable. Still, this question needs clarification and contextualization, even though neither of the books just mentioned has been translated into simplified characters by a Chinese publisher, and the same goes for the other two books I’ve written, Global Shanghai, 1850-2010 and China in the 21st Century: What Everyone Needs to Know.

The most important thing to note is that there is a Chinese-language version out of China in the 21st Century, just not a simplified-character one. A complex-character translation of the book’s second edition, which I updated in collaboration with fellow LARB “China Blog” regular Maura Elizabeth Cunningham, was published this summer. It’s now readily available for sale in both Taiwan and Hong Kong, and some copies could already be making their way into the hands of readers in cities such as Shanghai and Beijing, even if this edition can’t be sold in mainland bookstores. So, it’s not quite true that there are no “Chinese editions” of my works. It’s not even accurate to say none of them can be sold openly in the People’s Republic of China, since Hong Kong is now a part of that country, albeit one where distinctive rules on publishing apply — something demonstrated by such things as there being a Hong Kong translation of Vogel’s biography of Deng that I’ve been told includes passages snipped out of the mainland edition.

Finally, what about sticking to your guns on titles? I admire Karl’s determination not to have her Mao book, which is very different in aims and scope than a standard biography, recast to seem like it was just that. I can also see, though, why Meyer might have felt differently about The Last Days of Old Beijing becoming Zaihui, Lao Beijing. If you are interested in making a living as an author in the present era, there’s a need to pick your battles, and he also might well have felt that going along with the title change provided him more leverage in working to keep parts of the book’s content he cared about from being cut. Added to this, there’s a basic difference between Karl and Meyer’s past experiences with publication, since the former’s articles have most often been published in scholarly venues, the latter’s in magazines and newspapers. If you write for general interest rather than academic venues, you simply get used to having titles other than the ones you came up with placed above your work. In my relatively amphibious career, I try to keep this in mind, so I can roll with the punches when my articles for non-scholarly periodicals are retitled (though ones that seem to me to veer too far from my original meaning certainly annoy me) yet ready to push back if anyone tries to get me to give up on a title I like for something I’ve written for an academic journal.

As for books, I was so happy to see one of my books finally come out in a Chinese-language edition of some kind, that it didn’t bother me that I wasn’t even consulted about what China in the 21st Century: What Everyone Needs to Know would be renamed. And just in case any Chinese publisher is reading this post, I’d like to make it clear that I’m open to having Global Shanghai, 1850-2010 retitled. It’s hardly a “nostalgic love letter” to the city that is its focus, but it does have a sense of old patterns returning in novel forms in the metropolis; so, especially if Meyer’s work sells as well as it should (it’s a really good book), I’d even be willing to consider Zaihui, Lao Shanghai. Hell, with a title like “See You Again, Old Shanghai,” someone might even bid for the movie rights.

* For more on the Chinese translations of The Last Days of Old Beijing — in the plural, since Taiwan and mainland editions have both come out — and the author’s experiences touring to promote these books in Asia, check out Michael Meyer’s “See You Again, Old Beijing,” an engaging and thoughtful memoir cum commentary published in SLATE. Also of interest are two “Letters to the Editor” inspired by Jacobs’s article that have appeared in the New York Times. One of these, from China specialist John Israel, recounts an interesting experience the author had with a sensitive issue of translation. The other is from the President of Ohio Wesleyan University, noting that Vogel “passed on all rights to income from mainland China sales” of his Deng biography to that school, his “alma mater.”  The proceeds are to be used to establish “a permanent endowment to support Ohio Wesleyan students engaged in international study, with a preference for research and travel involving East Asia.”

PetersenDearTV.cached

There Will Be Peplum: On the Television Uniform

Dear Television,

WHEN I WAS YOUNG, my favorite show was Star Trek: The Next GenerationThere are many reasons for this love, but chief among them was the uniforms. I loved how legible they were: how you saw a color, and a number of pips on the collar, and you immediately knew what that person did and how well they did it. How much, in other words, you could trust them. But it wasn’t a simple calculus: Admirals had six pips, but that actually meant that they were so powerful that they spent most of their time admonishing your favorite character, Captain Picard. Data had two pips and a third that was hollowed out — a symbol of his striving and liminality as, well, a robot, as well as his actual rank of Lieutenant Commander.

Sometimes the uniforms got switched up — I love the casual look from late-stage TNG, when suddenly everyone was chillin’ in mock turtlenecks and comfy zip-up cardigans from L.L. Bean.

When everyone’s in uniform, the smallest variation sticks out. Worf’s baldric (warrior sash, duh) Geordi’s visor, Crusher’s doctor’s coat, Troi’s jumpsuits. But those variations speak: they tell you more about the character, and the character’s purpose in that scene, than even hackneyed expository dialogue could. This is classic melodramatic costuming, in which outfits absorb excess of emotion — things that cannot or should not be said — and communicate them through wardrobe.

In the age of Tom and Lorenzo and detailed, episodic criticism, we’ve grown accustomed to analyzing costume choice. Joan’s roses on Mad Men, Olivia Pope’s literal employment of black and white on Scandal, even a complex color theory of How I Met Your Mother. Unpacking clothes is fun. Clothes porn is fun — I watched Sex and the City, Gossip Girl, Pretty Little Liars as much for the clothes as I did for the characters. But therein lies the problem: the clothes bear more narrative weight than the actors themselves. I wasn’t watching the character, or the action, or the plot — I was watching the clothes; the body wearing them, and his/her acting, choices, and dialogue all seemed to drift away.

But Crusher’s lab jacket never distracted me. It told me something, and then it told me to pay attention because there was going to be some big disease that would spread throughout the ship and take away everyone’s ability to say vowels. Instead of breaking down specific outfits, then, I’d like to work towards a theory of the uniform — and its specific purpose on a show like The Good Wife.

The Good Wife doesn’t have Star Trek uniforms, although it would be awesome if it did, if only because Will Gardner would look GREAT in Riker’s jumpsuit. But the characters’ sartorial choices are circumscribed by their profession: high-end lawyers are some of the last remaining American workers required to wear suits on a daily basis. Professors don’t wear suits, doctor’s rarely wear more than a dress shirt and tie, those in tech apparently just wear hoodies. If you’re in local government, you only wear a suit if you’re Leslie Knope or Chris Traeger. If you’re on the police force, you only wear a suit if you’re a detective. So what do we have? Bankers, politicians, lawyers. Bankers are boring and corrupt, at least in the current public imagination, but it’s no coincidence that two of the best shows on broadcast deal with people from the last two groups: Scandal and The Good Wife.

In landscapes of power and prestige, everyone has to look just-so. You need to look respectable and put-together; you don’t want to blend into the background entirely, but your wardrobe should never become more important than your argument or your ideas. Even a bow-tie can speak louder than it should.

In these workplaces, gender display shouldn’t trump your message, but you also don’t want to distract with any sort of gender confusion. Hence: the woman’s power suit, which apes the standard male suit, with its boxy, square shoulders and well-tailored lines while subtly emphasizing the waist and breasts. The woman’s suit says I’m powerful but I’m a woman: be impressed, but don’t be scared.

The Good Wife may have a modicum of what Phil calls “blazer porn,” but it’s all about uniforms.  Ninety percent of our time with these characters is spent at the law firm or on case business — even when they’re drinking whiskey, they’re wearing their uniforms.

Let’s start at the center. According to The Good Wife’s costume designer Daniel Lawson, Alicia Florrick (Juliana Margulies) has around 350 suits in her closet. These suits have a very specific color range: grey, darker grey, lighter grey, red, brighter red, navy, and darker navy. Sometimes there’s a bit of emerald green or even a bit of white tossed in, but that happens once a season, if that. When Florrick was shamed by her husband’s very public prostitution scandal and attempting to reintegrate into a workplace, her clothes were simple, with lots of grey pantsuits. As Lawson explains, she probably didn’t have a ton of actual suits, so her first season was mostly throwing shit together and trying to be as unassuming as possible. Still, the suit reigned.

Yet as Alicia rose through the ranks in the firm, had a steamy affair with her boss/old flame, and laid down the law with her husband, her suits got wild, and by wild, I mean they got peplumed.

More tailored — more willing to highlight her body — and more bold. A bow here, some colorblocking there. It’s still the uniform, but it’s a uniform she’s making her own, just as she reforges her identity from politician’s wife to that of a working, single, even sexual mother. It’s a subtle transformation, but I think it reflects the subtle work the writers are doing. You don’t need to thump the audience over the head by suddenly forcing Alicia into Samantha’s leftovers from Sex and the City to communicate a sexual and professional rebirth. All you need is some peplum and a pop of color.

When you look at promos for the show, however, Alicia’s rarely in uniform.

Promos, especially promos for a show with a title as horrible as The Good Wife, employ visual rhetoric that isn’t as subtle as the show’s. In a one-sheet, peplum can’t quite convey the same message as the hyper-sexual pose above — a pose, and a willing objectification, to which the “real,” non-ad Alicia would never submit. The clothing is off because the entire message is off: this isn’t a show about sexy lawyers banging each other all day; it’s a show about the intersections of sex and professionalism, about duty and desire — the sort of subtlety that a uniform can reflect so skillfully.

Diane Lockhart (Christine Baranski) gets more to play with, in part because she’s just so much more powerful. I was telling Phil that while I like Alicia, I love Diane, mostly because she’s an icy, ball-busting second-wave feminist, a description I intend as the highest of high compliments. Many of my female mentors fit this description — women who had to fight for their place in their field, who sacrificed tremendously, who didn’t worry about “having it all” because what they really wanted was a place at the table. These ladies take zero shit, but they’re also extremely mindful of the type of behavior and presentation necessarily to earn and sustain their places of power. Diane’s uniform — and the perfect way she arches her eyebrow — convey as much.

Diane isn’t middle-aged. She is, as the French would say, “d’une certaine age” — an age that affords a certain knowledge and luxury. She knows what looks good on her, and she has the capital to spend on it. Tailoring, jewelry, brooches, amazing, precise haircuts — she’s got it.  Sometimes her uniform tends towards the Alicia-esque suit, but she also rocks the sheath dress like a perfectly-fit glove, usually with some statement jewelry. These aren’t chunky faux-jewels strung on twine and purchased from Etsy — we’re talking straight up pearls and gold, a way of underlining I fucking made it. We don’t need clunky flashbacks or cheesy speeches about Diane’s past — that jewelry, paired with those elegantly tailored, square-shouldered dresses and that exquisite $200 haircut, which she may or may not pay someone to blow out every morning, says everything.

Costuming can provide instant character development, but it can also provide instant contrast.  Mamie Gummer’s sorority girl take on the lawyer uniform not only communicates what tactics she’ll adopt in the courtroom, but the intensity with which Alicia despises her. And as for Kalinda (Archie Panjabi), she still wears the high-powered uniform, it’s just a leather version of it.

There’s the blouse, the vest, the tailored skirt, the nylons, the expensive footwear — it’s a power suit for the street, and I don’t mean “street” as in “I grew up on the streets,” I mean the ACTUAL STREET, like walking around, performing surveillance, getting people to talk to you. Alicia and Christine’s clothes individualize them while still allowing them to hew to the expectations of gender and power performance, and Kalinda’s do the same. With her rotating wheel of knee-high boots, black skirts, and leather jackets, she looks like a powerful person, but instead of using that power to persuade a jury, she’s using it to persuade anyone to do anything she wants.

A lawyer needs a certain kind of authority and the uniform to convey it, and a street investigator needs quite another. One is rooted in class and intelligence. . . . .and the other is predicated on sex. As an Indian woman in an enduringly (if quietly) racist society, a woman like Kalinda knew that she’d never be an Alicia or a Diane, so she uses a uniform that will deflect attention from her race and make her the best at her job. Everyone’s too busy looking at her skirt to realize that she’s swindling them — and making a lot of money doing it.

And when The Good Wife characters take off their uniforms, it’s like Carnival: a time for true hungers and desires to run wild. Think of Alicia’s red dress at the gala, or Diane’s target shooting outfits. They’re not revisions of their uniforms so much as extensions, an opportunity to further underline character and whimsy and sex, much as the ventures into the Holodeck, and the creative costuming it afforded, did in Star Trek.

When she was cast as Diane Lockhart, Baranski told the costume designer that she didn’t want to be a “walking fashion Barbie.” Name partners in a Chicago law firm may spend a lot of money on high-end clothes, but they weren’t changing clothes twice a day or wearing hot pink pumps.

But her concern wasn’t just realism — turn Lockhart into a fashion Barbie, and suddenly the conversations about Diane are all rooted in clothing and consumption. Put her in the lawyer uniform, and she can still be fashionable, but conversations about her character become ones of action and speech: what does she do and say, and how does she do and say it?

In academia, female scholars, myself included, often fixate on what they wear, whether in the classroom at a conference. I’ve spent as much time figuring out what to wear as I present my paper as I’ve spent on the paper itself, and I’m by no means alone. Your clothes have to send all sorts of messages, layered with the same density as an academic argument. Footwear, tights, skirt length and style, jacket, satchel, earrings, make-up, hair — people say that academics have it lucky in the wardrobe department, because you can be as informal or formal as you’d like, but that sort of freedom actually makes things harder, not easier. Men have to deal with some of these overdetermined fashion choices, but it’s nothing compared to what women negotiate. Wardrobe matters because wardrobe communicates — which is precisely why so many schools demand uniforms.

If melodramatic costuming, particularly female costuming, was employed to express the inexpressible, then the contemporary uniform underlines these female characters’ ability to speak for themselves. Olivia Pope, Alicia Florrick, and Carrie Mattheson all wear uniforms. It’s no mistake that they’re the most self-actualized, complex, and compelling characters on television.

Don’t Underestimate the Peplum,

AHP

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GoodWife

The Fastest Show on TV: On The Good Wife

A COUPLE WEEKS AGO, in this very column, I made an off-hand claim that The Good Wife is “the best show on television.” I’m certainly not alone in this belief, and the veritable Chumhum Army that came out of the twittersphere to co-sign it is proof. If I wanted to voice a controversial belief, I would have said that I think Homeland should be paying more attention to Dana Brody, or that I don’t think the ex-porn-star champagne ads on SNL are even remotely funny. (We’ll get to those later, hopefully, so long as I’m not murdered by an angry mob of people who think acrylic nails and anal sex are hilarious in any context.) No, in saying that I think The Good Wife is the best show on television, I was simply stating a version of a now popular maxim: The Good Wife is the best show on NETWORK television.

My claim, in other words, was not an outlier for its assertion of Good Wife’s quality; it was an outlier because I didn’t qualify it. Allow me to state unequivocally: I think The Good Wife is the best show on television. And I’m including Netflix Original Series here as well. We can have some conversations about Mad Men, Justified, Breaking Bad before it ended, Girls when it’s good, Louie when it’s on, but I dare anybody to name a television show currently airing that is better than The Good Wife. (And don’t you dare say Homeland.) It’s taken a compelling premise — the resurrection of a disgraced political wife — and turned it into an endlessly re-generating engine of cultural commentary. It’s filled with more boffo supporting performances than I can count. It’s wryly funny and convincingly conversant with 21st century technology. It’s unembarrassed, curious, and smart about sex in, like, three different age ranges (though Kalinda sometimes reads less as a queer character than a kind of sexual superhero unbound by earthly Sexx Laws). It has thoughtful and ambivalent things to say about religion, RELIGION, I tell you! And, as the world of the show has expanded, it’s gotten surprisingly good at juggling multiple intersecting plotlines and spaces.

But it has fallen prey to the now-conventional wisdom that network television is incapable of producing work at the level of cable or premium cable. HBO’s slogan used to be, “It’s not TV, it’s HBO,” but, increasingly, HBO, Showtime, AMC, FX are not only TV, they’re the only TV that matters. The revolutionaries have become a sort of critical mainstream. And as to NBC, ABC, CBS, and FOX, the consensus seems to be, “It’s not TV, it’s garbage.” Or, rather, “It’s not TV, it’s Network TV.” It seems like only yesterday that we were talking about cable’s nascent takeover of the circuits of prestige — the phenomenon of cable drama’s beatification began far earlier, but it wasn’t until fairly recently that cable drama essentially and uncontroversially took over the Emmys, for instance. But those cultural gains have calcified today into hardened tradition. To say that The Good Wife is the best show on network is to deliver, right now, a kind of back-handed compliment. It’s great, compared to NCIS. This is a decent restaurant, for Topeka. All the girls say I’m pretty fly, for a white guy.

There are, of course, amazing television series on cable and premium cable, and the shows that HBO and AMC and Showtime produce both make up a majority of the archive for our critical conversations and get a kind of head-start from critics and viewers alike. Many more critics, for instance, kept watch on the potential greatness of a crummy premium cable drama like Ray Donovan before it premiered than were even remotely interested in a great network series like Sleepy Hollow. Premium cable series, in other words, are classic until proven otherwise and networks series schlock until they prove themselves the exception. (And we’re certainly not immune to this: see, for example, our coverage of the perfectly fine Masters of Sex as opposed to, well, the spectacular Good Wife.)

Hopefully we can talk about this coverage bias and the hierarchies of taste involved a little more this season. A lot of it, I think, has to do with the fact that many of the best series on network right now — Good Wife and Scandal specifically — get smooched with the “soap opera” kiss of death whenever they fly too close to the sun. You may think you are getting something out of this viewing experience, but those shows are just empty, case-of-the-week, love triangle, political conspiracy calories. This past week, T-Bone Burnett publicly exited Nashville — his wife’s series — bitterly muttering about how the network was trying to turn a “drama about real musicians’ lives” into a “soap opera.” This comment is in keeping with the public perception of what a “soap opera” is — that is, fun but not worthy. But as much as Callie Khouri may be feeling pressure to amp up the car crashes and infidelities — we heard the same story about Smash — and thus dilute the gritty realism(?) at the show’s heart, series like Good Wife and Scandal don’t feel forced. Rather, they — like Mad Men and Homeland on cable — embrace and adapt that soapiness. The soap opera, like the police procedural or the medical drama or the will-they-won’t-they sitcom is just another piece of TV’s generic history with which this generation of showrunners can play.

I’m 1000% sure that Annie has some words on this subject, and I don’t want to spend too much time harping on categorization or taste and value distinctions because as incensed as I am by the implicit attitude some people cop toward The Good Wife, I’m far more purely and genuinely excited by what that show does week to week. After last week’s insanely entertaining and deceptively paradigm-shifting episode “Hitting the Fan,” Richard Lawson wrote at The Atlantic Wire that not only is The Good Wife the “best drama on network television” — grrr! — but that it’s better than it ever was before. I’m inclined to agree (with the latter). In the weeks leading up to the end of Breaking Bad, we witnessed a fairly common rhetoric based in the idea that that series was something like the Chris Traeger of television series: not an ounce of fat, engineered with the care and efficiency of a micro-chip. The concept of a mistake — a character that doesn’t work out, a weird diversion, really anything not suited to the series’ ultimate perfection and eventual Ascension Into Heaven to sit at the Right Hand of the Father — became anathema. But that’s not how that series or any other really works. And The Good Wife, bless its heart, has made its share of mistakes, the most grievous of which have honestly been fumbled attempts to create foils — a competing investigator with the personality of a robot, an ex-husband who moonlights as rhythm guitarist for Driveshaft — for Kalinda Sharma, the aforementioned leather-jacketed, dormant supervolcano of an investigator played by the Emmy-winning Archie Panjabi. That said, these are the mistakes of a series working at an already very high level — the Fat Betties, the specks of dust in the micro-chip.

But, again, at the risk of jinxing, this season has been impeccably crafted so far. Lawson, in his post, expresses concern that the series is moving at such a blistering pace and burning so many bridges behind it — thus creating a potentially unwieldy number of new places, characters, and dynamics from Springfield to the offices of Florrick Agos and Associates — that it will fail to hold together. I understand this anxiety and share it to some extent, but I think it also highlights one of the things that’s most appealing, most ambitious, and, ultimately, most un-cable-like about The Good Wife: its speed.

Over the past several years, there’s been a lot of writing in praise of slow television. From The Sopranos to Breaking Bad to Enlightened to the deservedly-praised first season of The Walking Dead, one of the characteristics we’ve come to value in prestige television is the willingness to take time telling a story, to let “nothing” happen for the span of an episode, to take advantage of space and creative freedom to build a world where spectators live rather than one through which they are shuttled. (The merciless pacing of Breaking Bad’s final season was notable if only for how uncharacteristic it was for a show that spent the better part of its first season killing one guy.) They take the logic of the procedural to an obsessive, transcendent extreme. They are unafraid to step away from main characters or isolate them, a practice that has led to the current vogue for “bottle episodes.” (The second season of Girls, certainly influenced by the work of Louis C.K., felt like a collection of loosely inter-connected short films occasionally punctuated by crass, annoying “plot” episodes.)

The Good Wife is not slow. It’s busy, it’s lusty, it’s fast. Like its spiritual sister Scandal, it’s transfigured the Sorkinian walk-and-talk — and even parodied it by shooting part of a recent cold open from the POV of a confused iPad affixed to a Segway scooter trying to follow Alicia Florrick around the office. It’s built an elaborately detailed world that includes courtrooms, offices, two different domestic spaces, two different governor’s offices, jails, and sexy sexy elevators, and that’s peopled with the Florrick family, main lawyers, associates, rival lawyers, lawyers for lawyers, judges, military judges, political consultants, politicians, journalists, and con artists. It’s not that cable series haven’t built worlds as richly detailed as this — indeed, it’s a hallmark of the recent television revolution and a quality in The Good Wife that keeps it in the conversation — but those shows are willing to confine action sometimes. They’re willing to cordon off an area or zoom in on one character to the exclusion of all others. Part of the precarious excitement of The Good Wife is that it wants constantly, gluttonously to consume and occupy all of its spaces every week. At its best, The Good Wife can be everywhere at once.

BUT HOW? Since the beginning, one of The Good Wife’s stand-out traits has been its authentic, adult sexuality. A premise about the pitfalls of infidelity, it could have easily become prudish or sexless itself. But Alicia Florrick is not a celibate to the cause of political rehabilitation. The ambivalent and compromised center of the series, she’s always been a protagonist of appetites, ambitions, desires personal and professional. (The knock-you-on-your-ass line from last week was Alicia’s breathy, mid-coital, “You want me to lean in? How’s that?”) And these have been both the foundation of her feminist heroism and her occasional downfall.

But the unit of measure for that sexuality, and the heart of this show’s out-of-control time signature, is the quickie. There have been precious few languorous sexual encounters in this series that is full of dalliances of all kinds. Especially between Alicia and Peter — though, also between Alicia and Will, as the memory of their bathroom encounter two weeks ago reminds us — The Good Wife writes to the quickie. Short, passionate, explosive — The Good Wife refuses to take its time because sometimes it’s better not to. I think we can profitably read this series as one based on that kind of ping-pong sensuality, the logic that anything worth doing and any motivation worth expressing can be expressed in a rush.

Because it’s not just the sex. In “Hitting the Fan,” the courtroom disputes are so fast as to be almost surreal, decisions handed down, fates decided. The jokes fly quickly and by inference. Traumas and set-backs quickly compound like multi-car pile-ups. From Alicia and Peter’s ambitions to the broad arc of Lockhart Gardner, The Good Wife is a show about the tension between impulse and plan, spontaneous event and long history, chaos and order, the Dynamo and the Virgin. The show establishes its form through choreography, the perfectly precise rhythm of a dancer kicking her feet a hair’s breadth from another dancer’s face; it transcends that form by showing the occasional breakdown of that choreography. And the characters who are valorized, who are given our deepest love, are those who can move at that speed. Cary’s sentimentality and softness let Diane out-pace him, Peter’s improvisatory footwork lets him outstep Will, Alicia’s unerring desire to not be held down, back, or to the side gives her the ability to think past the men who try to hold her. We perceive the depth of these characters, not through long tearful moments or time spent looking into their eyes, but through the totally unique, totally dynamic, and fully personal way that they negotiate these dances. We gain intimacy by understanding precisely how and when Alicia Florrick does or does not fall.

Over the past few years, Homeland has received accolades for taking the breakneck plot of a show like 24 and slowing it down to a glacial pace. That was an innovation and one that — despite the current state of that series — was justly influential. It’s a show about the long con, about the slow burn of betrayal, guilt, love. The Good Wife’s innovation has been not just rejecting that kind of slowness and embracing the speed of this kind of show, but in making it quicker, bigger, more breathtakingly efficient. It’s a feat of virtuosity, of boundless, foolish interest in its characters and in their machinations. When the showrunners can control this outlandishly deep and wide swath of humanity, it’s exhilarating. When they can’t, it’s even better.

Elsbeth Tascioni out!

Phil.

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The Death of the Humanities?

sunupordownBy Monica F. Cohen

I spent much of the summer exchanging links with friends to articles documenting the death of the humanities in American institutions of higher education. The confluence of forces seemed apocalyptically confounding: public universities requiring higher tuition for humanities courses; careerism infiltrating curricula; parents worried about tuition that demand rationalization in terms of investment and returns; MOOC’s and short-term instructors substituting for the sustained attention of a traditional teaching faculty; the possible decline in the number of English majors and worries about employability; lap-tops in classrooms whereby today’s admirably multi-tasking student can seem to fully participate in class discussion while simultaneously shopping for shoes on Zappos and making social plans on Facebook; and, finally, wannabe exercises in digital humanities whereby scholarly inquiry into the things that matter achieves value only through a patina of social-science authority. Now that The New York Times has made it official with an article entitled “As Interest in the Humanities Fade, Universities Worry,” it feels on some days like just a matter of time before the academic world giving prominent place to humanities study would be a distant memory.

What greeted me on the first day of fall classes this year, however, was something entirely different. When I walked into my Nineteenth-century Novel class, I found nothing like what my greatest apprehensions led me to anticipate. Whereas I expected thirty students, more than seventy poured in. Whereas I expected laptops, only four brought them and only two later asked to use them (and since that day no one seems to bring them out). Whereas I expected twelve or so students to actively participate while the rest avoided eye contact, nearly everyone raised a hand at some point. Whereas I expected the rustle of notebooks closing and books returning to bags five minutes before the official end of class, everyone stayed riveted until I gave the signal that we were finished, seven minutes later than we were scheduled to end. (That might not seem like a long time, but my previous experience suggests that college students live a frenzied, back-to-back life of dashing with a bagel and cup of coffee from one place to the next. Rarely do students seem to have the time to linger after class.) They just want to talk about the books: about Balzac’s impossibly long sentences, about Kant and moral choice, about failure and maturity, about the possibilities of agency in an urban mob, about Breaking Bad and Dickens.

I’m not a star professor. I’m not even a tenure-track professor. There’s no buzz about my course and there’s not much likelihood that I can really help a student climb a professional ladder other than making sure their work is really compelling. And I teach at a competitive school where students think about such things. But my students seem to come to class as if discussing these books is the most important event of their day. They want to talk so much that they gather around the front of the classroom when our designated time is over and email me lengthy comments after the next class has dislodged us. For the first time, I had to set up an electronic discussion board because I can never call on the number of hands that are up. And sometimes I feel my role is just to orchestrate: they respond to each other with an alacrity and respect I cannot really remember being the norm when I was in college.

Maybe the numbers of English majors are really going down –or maybe just recovering from an irregular rise as Nate Silver demonstrated. But maybe that’s the wrong question to ask about the state of the humanities.  Instead of statistics, maybe we need anecdotes. I remain awed by the energy in my classroom. And most of my colleagues have said the same. (An example: 80 students signed up for a lecture course on The Canterbury Tales!) Students come to the study of books, even today, with a sense that the endeavor is crucially important. They are interested in a liberal education in the broadest sense of the term.

Some of my best students are English majors, but many of them are not. One is in the engineering program. One is majoring in environmental studies. One is pre-med. Their love for reading and writing and talking about books is undiminished by their very pragmatic career plans, or their very real worries about tuition. Or the very serious concerns of parents and administrators who see one thing, the irrelevance and decline of the humanities, while students and professors experience something else. These students are looking for something genuine, real and engaging—and they are finding it.

The long-term prospects for humanities research may lie in applying Big Data to the study of books (I’m dubious) or (perhaps more promisingly) in reaching out to other growing fields—there’s lots of fascinating crossover work with medical humanities going on, and many interesting engagements with Environmental studies.   The long-term prospects for humanities study at the college level, however, may lie in remembering that career preparation is only one of the many missions American colleges have organized themselves around. Literature classes continue to speak, and to speak powerfully, to students of all fields. Whether it’s despite or because of warnings from parents, hyperbole in the press, or a presumed sense of the impracticality of talking and thinking about ideas and books, I am reminded every day in my own experience  and by that of my colleagues that the appetite of students for reading, writing, and discussing novels, stories, philosophy and poems remains unabated, and it’s that which might well guarantee the well being of the humanities at large.  There seems to be a new vitality in today’s humanities classroom. I don’t entirely know how to explain it, but perhaps the new world it heralds might still be an exciting and rewarding place .

Monica F. Cohen teaches English and Comparative Literature at Columbia University and Barnard College.