Evidence for a widespread anxiety about art abounds. In any one week you can read articles drenched in concern for its future. On the 2nd, Edward Rothstein (via TRE) observed that "art music has become almost quaintly marginal". On July 5th, John Freeman worried that the audience for the novel has been usurped by a TV series. On the 9th, Donari Braxton wrote that he can’t remember seeing anyone "pull out a collection of poetry on the subway and read through just for the sheer pleasure of doing so". It's a staple of print and blogs. On the 4th, there was a variant in Chris Wiegrand's call for "more respect" to be paid to Crime writers.
Of course, not one of these is really concerned about the future of art. They're concerned about the public life of art. Somehow, if "art music" meant something to those to whom it doesn't mean anything, if the viewers of The Sopranos would read "writers with plenty of lively ideas", if poetry critics didn't exclude the "layman" ... i.e the ninety-nine percent of the human-race who hasn't studied the intricate theoretical systems of Italian philosopher Agamben, and if genre fiction was given the same status as literary fiction then ... then ...then what?
Why is it that, from the conservative New York Times, to the liberal Guardian, to the "edgier waters" of 3AM Magazine, a personal engagement with a piece of music, a novel, a poem, is replaced by a search for wider cultural worth?
Perhaps it is the channeling of the true anxiety behind the public face. The art they wish more could experience involves not only the enchantment promised in all art, but also an exclusion. The Eden of modern art is a cold and bitter place. Mitigation of the sense of exclusion from the real thing is sought. Ian Rankin seeks it in the "biting exploration of contemporary social issues" offered by his crime novels. Might sociological studies be seen on future Booker Prize shortlists then?
The two together, enchantment and exclusion, constitute modern art and our experience of it. No matter how much one might embrace escapist art, the experience of exclusion remains - hence the denial inherent in nostalgia for the mythical golden era of Victorian fiction.
What we see every week is anxiety about personal exclusion. It would be better if critics, rather than hiding, mitigating or condemning the exclusion, brought out how the dual experience is liberating. However, this requires a certain amount of patience. Studying the intricate theoretical systems of Italian philosopher Agamben might also help too. Why protect people from it? I certainly recommend The End of the Poem and The Man Without Content. One trick I've found when reading supposedly difficult books is to, well, just read them.
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