My writing instructors in law school parroted a line that I considered both annoying and at times wrong: “This is bad writing.” The criteria for what constituted bad (as opposed to good) writing had to do, invariably, with rigid rules of grammar and syntax. A sentence was “bad,” for example, if it failed to have a comma following an introductory prepositional phrase; or a sentence was good, even if it sounded awkward, so long as it did not violate any rule of basic grammar. Such over-commitment to formalism quashed any sense of experimentation or creativity that the students might have had. Rather than trying out new styles and syntaxes, students confined their writing to short, plain statements of fact and conclusion. Their papers read like boring how-to manuals: monotone and tedious, never lively and engaging. The problem, as I see it, is that legal writing instructors have little awareness of audience. They simply have no notion of what Stanley Fish calls “interpretive communities” and so have no notion of genre (categories of discourse) or performative text (text that mimics or signals certain categories of discourse). Legal writing instructors locate students within a field of discourse akin to technical writing, but they never explain to students why technical writing is appropriate or even desirable in a legal context. Instead, they inform students that anything that is not technical writing is bad, and they do so without realizing that different communities may have different expectations or prefer different techniques and vocabularies. Legal writing instructors never explain that certain modes of writing can be good in other contexts but instead treat all writing as belonging to one classificatory scheme. They force writing into one of two categories—good or bad—without regard to the quality of writing as contextualized in other communities. Such habits simply will not do. Read the rest of this entry »
Archive for August, 2010|Monthly archive page
Shakespeare, Whitman & Emerson
In American History, Arts & Letters, Emerson, Literary Theory & Criticism, Shakespeare, Walt Whitman on August 9, 2010 at 9:55 amIn Repositioning Shakespeare, Thomas Cartelli situates Whitman’s Shakespeare in contradistinction to Emerson’s Shakespeare.
The phrase “Whitman’s Shakespeare” is, in a way, an odd construction because Whitman did not seek to claim “ownership” of Shakespeare so much as he sought an “appropriation and critical transformation” of Shakespeare (32). Cartelli submits, in fact, that Whitman “brought a contentiously critical approach to bear on his assessments of Shakespeare” (30).
Although Cartelli pays lip-service to Emerson’s ambivalence about Shakespeare, he concludes that Emerson transformed the Bard of Avon “into a virtual founding father” by attempting “an act of wishful appropriation in which the (literary) model that cannot be superseded is annexed by the (political) model that supersedes” (33).
Cartelli thus seems convinced that Shakespeare shaped Whitman’s and Emerson’s thought, but he seems unsettled about how and why.