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" "[B]ehind the many pseudo-sciences that have recently dominated literary criticism . . . you will find the same suspicion of literature, a desire to sever our relation to it by denuding it of meaning. The "methods" proposed are laughable caricatures of science; and the results delivered are useful to no one. But that was not the point. The methods of the new literary theorist are really weapons of subversion: an attempt to destroy humane education from within, to rupture the chain of sympathy that binds us to our culture. That is why the new schools of criticism have acquired a following: they promise to release us from the burden of study by showing that there is nothing after all to learn.
Roger Kimball (born 1953) is an American art critic and conservative social commentator. He is the editor and publisher of The New Criterion and the publisher of Encounter Books.
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If the politicization of art and education represents one large part of the counterculture's legacy, the coarsening of feeling and sensibility is another. No phenomenon has done more to advance this coarsening than rock music. It is impossible to exaggerate the importance of rock music to the agenda of the cultural revolution. It is also impossible to overstate its soul-deadening destructiveness. The most reviled part of Allan Bloom's book The Closing of the American Mind was his chapter criticizing the effects of rock. But Bloom was right in insisting that rock music is a potent weapon in the arsenal of emotional anarchy. The triumph of rock was not only an aesthetic disaster of giant proportions: it was also a moral disaster whose effects are nearly impossible to calculate precisely because they are so pervasive.