For our Paper 1 (Theory of Criticism) course at
OXFORD UNIVERSITY we do this module called ‘Authorial Intention’. The basic point of the module is to decide the extent to which an author’s intention in writing a piece can be used to either decide or prescribe our understanding of it. To be honest, this seems like a bit of a DUHHHHHHHRETARD question at first – fo'example, Thomas Hardy wrote his 1913-14 poems directly after the death of his wife, and they seem to be about a narrator who has lost somebody close to him, so it seems to directly follow that the poems are biographically about the loss of a loved one. No Shit Sherlock. But on the other hand, giving the Biographical Imperative of the author the Full Power of God to decide on an evaluation of a piece can be dangerous – after all, it opens the door for a bunch of over-entitled nerds clutching greasy biographies in their sweaty smegma-clotted hands to utterly shut down any imaginative reading of anything.
“I think there’s a definite Freudian reading to Hamlet’s relationship with his mother…”
“HURR SHAKESPEARE DIDN’T EVEN READ FREUD YOU SUCK YOUR THEORY SUCKS”.
Of course if we go the entirely opposite way and argue that
every possible reading of a text is as valid as any other, well that just opens the door for a bunch of over-entitled nerds clutching greasy copies of The Waste Land in their sweaty smegma-clotted hands to make up all the bullshit rubbish interpretations of a text that they feel like.
“HAMLET IS ABOUT GEORGE W BUSH’S WAR FOR OIL POLONIUS IS CHENEY HUZZ.”
“What the fuck are you talking about.”
… and frankly, I think the one thing that Web 2.0 has shown the world is that the last thing we need is for the uninformed opinions of Normal People being given any sort of credence or public standing. Of course the real answer to the question lies somewhere between the two poles, but apparently the Paper 1 syllabus doesn’t appear to support the “Meh… it depends who really cares anyway” school of thought (WHICH I MYSELF AM A MEMBER OF), and so the weight of scholarly approval appears to have been thrown by the
“Intentional Fallacy” theory purported by the critics Wimsatt & Beardsley:
Wimsatt & Beardsley: Fucking Lads… who basically decided that we should totally ignore everything about the author – his intentions, political viewpoints, personal history, biography and social standing – and concentrate simply on pure analysis of the text, while at the same time trying not to be a total dipshit. And to be honest I more or less agreed with those two serial-shagging coke-fiends, especially over the pussy-boy waste-gash “Validity in Interpretation” shit of Ed Hirsch:
Hirsch: Full o’shitIt seemed to make sense. We judge any work of art – be it poem, novel, short story, painting or song - entirely on its own merit. It shouldn’t matter if the writer is black, white, gay, female, drunk, adulterous, from the sixteenth century, donkey-fucker, neo-nazi satan-worshipping doll-fancying pederast wolf-furry, or Stephen King. And that was the argument that I put across in my exam, an exam that netted me a very respectable 68% ☺. And that was the argument that I have followed in the majority of my reading thusfar. However. A discovery has been made in recent days, a discovery so shocking and unexpected that it, to be honest, ROCKED MY SOUL TO THE VERY CORE. What discovery? A photograph of the lead singer of the late nineties band Crazy Town.
I have been a closet Crazy Town fan for a while now. At first I simply enjoyed their megahit club anthem ‘Butterfly’, but in recent months have progressed into a fuller understanding of their poignant ‘Revolving Door’, is a subtle and underexposed elegy to the alienating affects of a lifestyle of excess and hedonism. The unnamed narrator boasts of his life of sexual conquests
“I live a life these playa haters // Would love to be living. // Since a kid, I’ve been surrounded // By beautiful women” and his own material wealth, identified with the sexually charged image of the ‘revolving door’ of his fabulous mansion –
“a door that spins. // Goes in and out, // Out and in, // ‘Round and ‘round again.” Yet, despite his seemingly utopian life, the narrator hints that it is essentially hollow –
“Still something’s missing” … “I’m suffering from a lonely heart condition”. It is a song that is plays with wildly pro- and anti-feminist conceits; on one hand our narrator tortures and plays with his sexual conquests, by, for example, dropping
“hot wax on yo’nipples, while on the other he realizes that a woman is the only thing to save him from his current existence of penury and grimace. It is truly a song of contrasts.
Now. I thought the singer (our narrator) was a black dude. Call me racist if you want but if a dude (“homie”) is using any of the following words in a song in non-ironic relation to himself:
1. playa haters
2. flyest
3. skills
4. sprung
as well as claiming that he don’t need to brag about the way that he’s hung (cuz he got the 'skills to get the flyest girls sprung' whatever that means), I DON’T KNOW BUT I tend to think that he might be a fellow brother like Jesse Jackson. But like I said, Wimsatt & Beardsley etc, it shouldn’t really matter, we analyse the song on its own merits, blah blah blah blah look at the picture of him:
for fucks sakeThis man is not black. He’s pomegranate. Despite his attempt to look hard by squishing his boobies really hard together and shuffling up his shoulders he still looks a bit like a girl. He has ‘Make Aubrey’ inked in a curly cursive script across his chest as well as a safety pin in one of his nipples and tribal tats across his ribs. I mean I’m not even really insulting him here I’m literally just stating facts about his physical appearance. However on closer inspection he does look a little bit like a ghetto troll doll [just my opinion you are all welcome to compare him to whatever retro children's toys you want].
Having seen this picture, the song is ruined. It is now impossible to reconcile this twisted little frog-man with the well hung super-shagging Shifty Capone motherfucker that the lyrics of “Revolving Door” promised us. He’s like the antithesis of a COOL BLACK PLAYA. He’s like a little weedy virgin (real name: Bret) who cries himself to sleep every night and then repeatedly wets the bed and gets his nipple piercing rusty and then his nipple gets infested and puffy and his entire boob gets all filled with swelling and badness and infection and his mum has to pick him up early from the recording studio and take him to the doctor and the doctor’s all like ‘You’ve not had a tetanus jab for some time, young Mr Town’ and his mum’s like ‘Yeah you’re right doctor, in fact I just remembered that he hasn’t even had a prostate checkup for years’ and the doctor’s like ‘cool well I can do that here’ and then he gets bent over the table and anally probed by a doctor with big sausage fingers for twenty five minutes while a team of acne-ridden student doctors take notes and photos with their camera phones and giggle and then he accidentally shits himself right there and then in the doctors room and has to go all the way home with a big brown stain on the back of his underoos and frankly even though it was horrible it was still the most intensely sexual experience he’s had since that time he accidentally kissed his cousin at a family reunion when he was twelve and then had an erection and brushed against his grandfather by accident and everybody saw and thought that he was gay and his parents made him go sit in the SUV and he didn't even get any cake WORST BIRTHDAY PARTY EVER.
post-shitting selfBasically what I’m saying is that it robs the song of some measure of its credibility. Frankly I can no longer listen to it without laughing. Which is a shame because I quite liked it before. I guess this highlights the danger of allowing the Biographical Imperative and extrinsic facts of the author to interfere with interpretation of a work of art.
IN CONCLUSION WIMSATT & BEARDSLEY WERE FUCKING RIGHT ABOUT EVERYTHING. Crazy Town have also proven the worth of my degree.
Seriously guys just look at him
shifty? the only thing you are shifting is not your records from the shelves of record stores ooh ice burnIn next week's blog I will analyse the impact of Jazzy Jeff on the changing attitudes towards feminist criticism of post-colonial textsps hi jason paul