Andrea Long Chu

And there's a kind of drama to that that I am really interested in.

And there's a kind of drama to that that I am really interested in.

It seems like the only thing the critic has to rely on is themselves, and that feels kind of intolerable.

It seems like the only thing the critic has to rely on is themselves, and that feels kind of intolerable.

It seems like the only thing the critic has to rely on is themselves, and that feels kind of intolerable.

Yeah.

Yeah.

Yeah.

So, you know, one of the things I try to do in the book is distinguish between the actual crises that may be facing us today, which I would first of all always say are material ones, from a kind of like existential crisis where periodically throughout history and really from the beginning of criticism, there is this fear that the critic is not going to have the authority to make the claims that he wants to make.

So, you know, one of the things I try to do in the book is distinguish between the actual crises that may be facing us today, which I would first of all always say are material ones, from a kind of like existential crisis where periodically throughout history and really from the beginning of criticism, there is this fear that the critic is not going to have the authority to make the claims that he wants to make.

So, you know, one of the things I try to do in the book is distinguish between the actual crises that may be facing us today, which I would first of all always say are material ones, from a kind of like existential crisis where periodically throughout history and really from the beginning of criticism, there is this fear that the critic is not going to have the authority to make the claims that he wants to make.

Of course, he

Of course, he

Of course, he

Right. And part of the problem is just built into what it is to make an aesthetic judgment, what it is to say, you know, I think that that novel is good or I think that this play is bad. Because it doesn't have the same kind of objective basis, it seems like the only thing the critic has to rely on is... And that feels kind of intolerable.

Right. And part of the problem is just built into what it is to make an aesthetic judgment, what it is to say, you know, I think that that novel is good or I think that this play is bad. Because it doesn't have the same kind of objective basis, it seems like the only thing the critic has to rely on is... And that feels kind of intolerable.

Right. And part of the problem is just built into what it is to make an aesthetic judgment, what it is to say, you know, I think that that novel is good or I think that this play is bad. Because it doesn't have the same kind of objective basis, it seems like the only thing the critic has to rely on is... And that feels kind of intolerable.

And so there is this reaching for other sources of authority through tradition or through technique or through moral conduct in a way. And the problem with that is criticism from the very beginning has been asked.

And so there is this reaching for other sources of authority through tradition or through technique or through moral conduct in a way. And the problem with that is criticism from the very beginning has been asked.

And so there is this reaching for other sources of authority through tradition or through technique or through moral conduct in a way. And the problem with that is criticism from the very beginning has been asked.