![]() ![]() 1 Before everything was available to read online, people might have turned to their regular newspaper or magazine to figure out which books were worth reading or exhibitions worth visiting. To Joseph, the worst traits of criticism resemble Amazon Marketplace: “The market logic of the contemporary book review, like the rest of journalism today, is the logic of virality: clicks equal revenue,” he writes. ![]() The dominant mode of criticism today is the “hatchet job” marked by “scornful hauteur,” Richard Joseph concluded earlier this year in the Los Angeles Review of Books.Īccording to these accounts, critics are either desperate click-seekers or isolated internet users who have become inured from the cultural preferences of ordinary people. ![]() “The contemporary reader is unhappy” because critics are “lying to him,” according to a recent essay by the editors of the literary magazine N+1. ![]() Cultural critics live in an “unrepresentative internet bubble,” Yair Rosenberg wrote in a January edition of his newsletter for The Atlantic. If criticism is a service industry, who is it serving? Judging by a number of recent articles, the answer is nobody. ![]()
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