21 Supplemental Reading #1: Literary Criticism

Written by Joe Moxley

From – Writing Commons

By reading and discussing literature, we expand our imagination, our sense of what is possible, and our ability to empathize with others. Improve your ability to read critically and interpret texts while gaining appreciation for different literary genres and theories of interpretation. Read samples of literary interpretation. Write a critique of a literary work.

Texts that interpret literary works are usually persuasive texts. Literary critics may conduct a close reading of a literary work, critique a literary work from the stance of a particular literary theory, or debate the soundness of other critics’ interpretations. The work of literary critics is similar to the work of authors writing evaluative texts. For example, the skills required to critique films, interpret laws, or evaluate artistic trends are similar to those skills required by literary critics.

Why Write Literary Criticism?

People have been telling stories and sharing responses to stories since the beginning of time. By reading and discussing literature, we expand our imagination, our sense of what is possible, and our ability to empathize with others. Reading and discussing literature can enhance our ability to write. It can sharpen our critical faculties, enabling us to assess works and better understand why literature can have such a powerful effect on our lives.

“Literary texts” include works of fiction and poetry. In school, English instructors ask students to critique literary texts, or works. Literary criticism refers to a genre of writing whereby an author critiques a literary text, either a work of fiction, a play, or poetry. Alternatively, some works of literary criticism address how a particular theory of interpretation informs a reading of a work or refutes some other critics’ reading of a work.

Diverse Rhetorical Situations

The genre of literary interpretation is more specialized than most of the other genres addressed in this section, as suggested by the table below. People may discuss their reactions to literary works informally (at coffee houses, book clubs, or the gym) but the lion’s share of literary criticism takes place more formally: in college classrooms, professional journals, academic magazines, and Web sites.

Students interpret literary works for English instructors or for students enrolled in English classes. In their interpretations, students may argue for a particular interpretation or they may dispute other critics’ interpretations. Alternatively, students may read a text with a particular literary theory in mind, using the theory to explicate a particular point of view. For example, writers could critique The Story of an Hour by Kate Chopin from a feminist theoretical perspective. Thanks to the Internet, some English classes are now publishing students’ interpretations on Web sites. In turn, some students and English faculty publish their work in academic literary criticism journals.

Over the years, literary critics have argued about the best ways to interpret literature. Accordingly, many “schools” or “theories of criticism” have emerged. As you can imagine–given that they were developed by sophisticated specialists–some of these theoretical approaches are quite sophisticated and abstract.

Below is a summary of some of the more popular literary theories. Because it is a summary, the following tends to oversimplify the theories. In any case, unless you are enrolled in a literary criticism course, you won’t need to learn the particulars of all of these approaches. Instead, your teacher may ask you to take an eclectic approach, pulling interpretative questions from multiple literary theories.

• Schools of Literary Criticism
• New Criticism: Focuses on “objectively” evaluating the text, identifying its underlying form. May study, for example, a text’s use of imagery, metaphor, or symbolism. Isn’t concerned with matters outside the text, such as biographical or contextual information.
• Reader-Response: Criticism Focuses on each reader’s personal reactions to a text, assuming meaning is created by a reader’s or interpretive community’s personal interaction with a text. Assumes no single, correct, universal meaning exists because meaning resides in the minds of readers.
• Feminism: Criticism Focuses on understanding ways gender roles are reflected or contradicted by texts, how dominance and submission play out in texts, and how gender roles evolve in texts.
• New Historicism Focuses on understanding texts by viewing texts in the context of other texts. Seeks to understand economic, social, and political influences on texts. Tend to broadly define the term “text,” so, for example, the Catholic Church could be defined as a “text.” May adopt the perspectives of other interpretive communities–particularly reader-response criticism, feminist criticism, and Marxist approaches–to interpret texts.
• Media Criticism Focuses on writers’ use of multimedia and hypertexts. Online Examples
• Psychoanalytical Criticism Focuses on psychological dimensions of the work.
• Marxist Criticism Focuses on ways texts reflect, reinforce, or challenge the effects of class, power relations, and social roles.
• Archetypal Criticism Focuses on identifying the underlying myths in stories and archetypes, which reflect what the psychologist Carl Jung called the “collective unconsciousness.”
• Postcolonial Criticism Focuses on how Western culture’s (mis)representation of third-world countries and peoples in stories, myths, and stereotypical images encourages repression and domination.
• Structuralism/Semiotics Focuses on literature as a system of signs where meaning is constructed in a context, where words are inscribed with meaning by being compared to other words and structures.
• Post-Structuralism/Deconstruction Focuses, along with Structuralism, on viewing literature as a system of signs, yet rejects the Structuralist view that a critic can identify the inherent meaning of a text, suggesting, instead that literature has no center, no single interpretation, that literary language is inherently ambiguous

Powerful works of literature invoke multiple readings. In other words, we can all read the same story or poem (or watch the same movie or listen to the same song) and come up with different, even conflicting, interpretations about what the work means. Who we are reflects how we read texts. Our experiences inspire us to relate to and sympathize with characters and difficult situations. Have we read similar stories? Have we actually faced some of the same challenges the characters in the story face?

In addition, literary theories have unique ways to develop and substantiate arguments. Some theories draw extensively on the work of other critics, while others concentrate on the reader’s thoughts and feelings. Some theories analyze a work from an historical perspective, while others focus solely on a close reading of a text.

Accordingly, as with other genres, the following key features need to be read as points of departure as opposed to a comprehensive blueprint:

Focus

Examine a subject from a rhetorical perspective. Identify the intended audience, purpose, context, media, voice, tone, and persona. Distinguish between summarizing the literary work and presenting your argument. Many students fall into the trap of spending too much time summarizing the literature being analyzed as opposed to critiquing it. As a result, it would be wise to check with your teacher regarding how much plot summary is expected. As you approach this project, remember to keep your eye on the ball: What, exactly (in one sentence) is the gist of your interpretation?

Development

You can develop your ideas by researching the work of other literary critics. How do other critics evaluate an author’s work? What literary theories do literary critics use to interpret texts or particular moments in history? Reading sample proposals can help you find and adopt an appropriate voice and persona. By reading samples, you can learn how others have prioritized particular criteria.

Below are some of the questions invoked by popular literary theories. Consider these questions as you read a work, perhaps taking notes on your thoughts as you reread. You may focus on using one theory to “read and interpret” text or, more commonly, you may compare the critical concerns of different theories.

New Criticism/Formalism

• Character: How does the character evolve during the story? What is unique or interesting about a character? Is the character a stereotypical action hero, a patriarchal father figure, or Madonna? How does a character interact with other characters?
• Setting: How does the setting enhance tension within the work? Do any elements in the setting foreshadow the conclusion of the piece?
• Plot:What is the conflict? How do scenes lead to a suspenseful resolution? What scenes make the plot unusual, unexpected, suspenseful?
• Point of View: Who is telling the story? Is the narrator omniscient (all knowing) or does the narrator have limited understanding?

Reader-Response Criticism

How does the text make you feel? What memories or experiences come to mind when you read? If you were the central protagonist, would you have behaved differently? Why? What values or ethics do you believe are suggested by the story? As your reading of a text progresses, what surprises you, inspires you?

Feminist Criticism

How does the story re-inscribe or contradict traditional gender roles? For example, are the male characters in “power positions” while the women are “dominated”? Are the men prone to action, decisiveness, and leadership while the female characters are passive, subordinate? Do gender roles create tension within the story? Do characters’ gender roles evolve over the course of the narrative?

New Historicism Cristicism

How does the story reflect the aspirations and conditions of the lower classes or upper classes? Is tension created by juxtaposing privileged, powerful positions to subordinated, dominated positions? What information about the historical context of the story helps explain the character’s motivations? Who benefits from the outcome of the story or from a given character’s motivation?

Media Criticism

How does the medium alter readers’ interactions with the text? Has the reader employed multimedia or hypertext? What traditions from print and page design have shaped the structure of the text? In what ways has the author deviated from traditional, deductively organized linear texts?

Cite from the Work

Literary criticism involves close reading of a literary work, regardless of whether you are arguing about a particular interpretation, comparing stories or poems, or using a theory to interpret literature. Do not summarize the story. The purpose of the document is not to inform the readers, but to argue a particular interpretation. You only need to cite parts of the work that support or relate to your argument and follow the citation format required by your instructor (see Using and Citing Sources).

Below is an example from Sample Essays for English 103: Introduction to Fiction, Professor Matthew Hurt. Note how the writer uses block quotes to highlight key elements and paraphrase and summarizes the original works, using quotation marks where necessary.

…Twain offers a long descriptive passage of Huck and Jim’s life on the raft that seems, at first glance, to celebrate the idyllic freedom symbolized by the river and nature. . . A close reading of this passage, however, shows that the river is not a privileged natural space outside of and uncontaminated by society, but is inextricably linked to the social world on the shore, which itself has positive value for Huck. Instead of seeking to escape society, Huck wants to escape the dull routines of life.

The passage abounds with lyrical descriptions of the river’s natural beauty. For example, Huck’s long description of the sunrise over the river captures the peaceful stillness and the visual beauty of the scene:

The first thing to see, looking away over the water, was a kind of dull line — that was the woods on t’other side — you couldn’t make nothing else out; then a pale place in the sky; then more paleness, spreading around; then the river softened up, away off, and warn’t black any more, but gray; . . . sometimes you could hear a sweep screaking; or jumbled up voices, it was so still, and sounds come so far; and by-and-by you could see a streak on the water which you know by the look of the streak that there’s a snag there in the swift current which breaks on it and makes the streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log cabin in the edge of the woods, away on the bank on t’other side of the river, . . . then the nice breeze springs up, and comes fanning you from over there, so cool and fresh, and sweet to smell, on account of the woods and the flowers; . . . and next you’ve got the full day, and everything smiling in the sun, and the song-birds just going at it! (129-130)

Here Huck celebrates the beauty of the natural world coming to life at the beginning of a new day. The “paleness” gradually spreading across the sky makes new objects visible which he describes in loving detail for the reader. The “nice breeze” is “cool and fresh” and “sweet to smell,” and the world seems to be “smiling in the sun” as the song-birds welcome the new day.

However, Huck includes a number of details within this passage that would seem to work against the language of natural beauty. After describing the gradually brightening sky, Huck notes that “you could see little dark spots drifting along, ever so far away — trading scows, and such things; and long black streaks — rafts.” The sun rise reveals not only natural objects (the brightening sky, the “snag,” the “mist”), but also brings into view man-made objects (“trading scows” and “rafts”) that signify human society’s presence in this natural environment. Similarly, Huck speculates that the picturesque “log cabin” on the distant shore is a “woodyard, likely, and piled by them cheats so you can throw a dog through it anywheres.” Here the marker of human society takes on a sinister tone of corruption as Huck describes how unscrupulous wood sellers stack wood loosely to cheat their customers. Finally, although the breeze is “sweet to smell,” Huck assures the reader that this isn’t always the case: “but sometimes not that way, because they’ve left dead fish laying around, gars, and such, and they do get pretty rank.”

These signs of society’s presence on the river are largely negative. The woodyard is “piled by cheats” and the stacked fish pollute the “sweet” smell of the breeze. At this point, the opposition between “good nature” and “bad society” remains intact. The signs of human presence suggest a corruption of nature’s beauty. In the paragraphs that follow, however, this opposition is subtly reversed. After Huck’s account of the sunrise over the river, he describes how he and Jim watch the steamboats “coughing along up stream.” But when there are no steamboats or rafts to watch, he describes the scene as “solid lonesomeness” (130). No songbirds, no sweet breezes. Without human activities to watch, the scene suddenly becomes empty and “lonesome,” and nothing captures Huck’s attention until more rafts and boats pass by and he can watch them chopping wood or listen to them beating pans in the fog.

Cite Other Critics’ Interpretations of the Work

Criticism written by advanced English majors, graduate students, and literary critics may be more about what other critics have said than about the actual text. Indeed, many critics spend more time reading criticism and arguing about critical approaches than actually reading original works. However, unless you are enrolled in a literary theory course, your instructor probably wants you to focus more on interpreting the work than discussing other critical interpretations. This does not mean, however, that you should write about a literary work “blindly.” Instead, you are wise to find out what other students and critics have said about the work.

Below is a sample passage that illustrates how other critics’ works can inspire an author and guide him or her in constructing a counter argument, support an author’s interpretation, and provide helpful biographical information.

In her critical biography of Shirley Jackson, Lenemaja Friedman notes that when Shirley Jackson’s story “The Lottery” was published in the June 28, 1948 issue of the New Yorker it received a response that “no New Yorker story had ever received”: hundreds of letters poured in that were characterized by “bewilderment, speculation, and old-fashioned abuse.”1 It is not hard to account for this response: Jackson’s story portrays an “average” New England village with “average” citizens engaged in a deadly rite, the annual selection of a sacrificial victim by means of a public lottery, and does so quite deviously: not until well along in the story do we suspect that the “winner” will be stoned to death by the rest of the villagers.

Organization

The format for literary critiques is fairly standard:

• State your claim(s).
• Forecast your organization.
• Marshal evidence for your claim.
• Reiterate argument and elaborate on its significance.

In English classes, you may be able to assume that your readers are familiar with the work you are critiquing. Perhaps, for example, the entire class is responding to one particular work after some class discussions about it. However, if your instructor asks you to address a broader audience, you may need to provide bibliographical information for the work. In other words, you may need to cite the title, publisher, date, and pages of the work (see Citing Sources ).

Literary critiques are arguments. As such, your instructors expect you to state a claim in your introduction and then provide quotes and paraphrased statements from the text to serve as evidence for your claim. Ideally, your critique will be insightful and interesting. You’ll want to come up with an interpretation that isn’t immediately obvious. Below are some examples of “thesis statements” or “claims” from literary critiques:

• In “The Yellow Wallpaper,” by Charlotte Perkins Gilman, the protagonist is oppressed and represents the effect of the oppression of women in society. This effect is created by the use of complex symbols such as the house, the window, and the wall-paper which facilitate her oppression as well as her self expression. [“‘The Yellow Wall-Paper’: A Twist on Conventional Symbols” by Liselle Sant]
• “The Yellow Wallpaper” by Charlotte Gilman is a sad story of the repression that women face in the days of the late 1800’s as well as being representative of the turmoil that women face today. [Critique of “The Yellow Wallpaper” by Brandi Mahon]
• “The Yellow Wallpaper,” written by Charlotte Perkins Gilman, is a story of a woman, her psychological difficulties and her husband’s so called therapeutic treatment of her aliments during the late 1800s. . . Gilman does well throughout the story to show with descriptive phrases just how easily and effectively the man “seemingly” wields his “maleness” to control the woman. But, with further interpretation and insight I believe Gilman succeeds in nothing more than showing the weakness of women, of the day, as active persons in their own as well as society’s decision making processes instead of the strength of men as women dominating machines. “The View from the Inside” by Timothy J. Decker
• In Adventures of Huckleberry Finn, Mark Twain creates a strong opposition between the freedom of Huck and Jim’s life on the raft drifting down the Mississippi River, which represents “nature,” and the confining and restrictive life on the shore, which represents “society.” [ “‘All I wanted was a change’: Positive Images of Nature and Society in Chapter 19 of Adventures of Huckleberry Finn” from Professor Matthew Hurt’s “Sample Essays for English 103: Introduction to Fiction”]
• In Gabriel Garcia Marquez’s short story, “A Very Old Man with Enormous Wings,” an unexpected visitor comes down from the sky, and seems to test the faith of a community. The villagers have a difficult time figuring out just how the very old man with enormous wings fits into their lives. Because this character does not agree with their conception of what an angel should look like, they try to determine if the aged man could actually be an angel. In trying to prove the origin of their visitor, the villagers lose faith in the possibility of him being an angel because he does not adhere to their ordered world. Marquez keeps the identity of the very old man with enormous wings ambiguous to critique the villagers and, more generally, organized religion for having a lack of faith to believe in miracles that do not comply with their master narrative. [“Prove It: A Critique of the Villagers’ Faith in ‘A Very Old Man with Enormous Wings'” from Sample Essays for English 103: Introduction to Fiction, Professor Matthew Hurt]

Style

Literary criticism is a fairly specialized kind of writing. Instead of writing to a general lay audience, you are writing to members of a literary community who have read a work and who developed opinions about the work–as well as a vocabulary of interpretation.

Following are some common words used by literary critics. More specialized terms can be learned by reading criticism or by referring to a good encyclopedia for criticism or writing, including the Writer’s Encyclopedia:

• Protagonist: The protagonist is the major character of the story; typically the character must overcome significant challenges.
• Antagonist: The protagonist’s chief nemesis; in other words, the character whom the protagonist must overcome.
• Symbols: Metaphoric language; see A Catalogue of Symbols in The Awakening by Kate Chopin
• Viewpoint: Stories are told either in the first person or third person point of view. The first person is limited to a single character, although dialog can let you guess at other characters’ intentions. The third person allows readers inside the character’s mind so you know what the character feels and thinks. Viewpoint can be “limited,” where the character knows less than the reader, or “omniscient,” where the reader can hear the thoughts and feelings of all characters. Occasionally writers will use multiple character viewpoint, which takes you from one character’s perspective to another.
• Plot: Plots are a series of scenes, typically moving from a conflict situation to a resolution. To surprise readers, authors will foreshadow “false plants,” which lead readers to anticipate other resolutions. The term “denouement” refers to the unraveling of the plot in the conclusion.