Cover -- Title Page -- Copyright -- Dedication -- Contents -- Introduction: Village Explainers -- 1. Imperfect Poet-Critics -- 2. Picking and Choosing -- 3. Student Bodies -- 4. Interrupting the Muse -- 5. The Foundations of Criticism -- Conclusion: With the Program -- Notes -- Acknowledgments -- Index
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Questionnaires are everywhere: we fill them out at doctors' offices and at job interviews, to express ourselves and to advance knowledge, to find love and to kill time. But where did they come from, and why have they proliferated? Evan Kindley's Questionnaire investigates the history of “the form as form,” from the Victorian confession album to the BuzzFeed quiz. By asking questions about the questions we ask ourselves, Kindley uncovers surprising connections between literature and science, psychology and business, and journalism and surveillance. Object Lessons is published in partnership with an essay series in The Atlantic.
The period between 1920 and 1950 saw an epochal shift in the American cultural economy. The shocks of the 1929 market crash and the Second World War decimated much of the support for high modernist literature, and writers who had relied on wealthy benefactors were forced to find new protectors from the depredations of the free market. Private foundations, universities, and government organizations began to fund the arts, and in this environment writers were increasingly obliged to become critics, elucidating and justifying their work to an audience of elite administrators. In Poet-Critics and the Administration of Culture, Evan Kindley recognizes the major role modernist poet-critics played in the transition from aristocratic patronage to technocratic cultural administration. Poet-critics developed extensive ties to a network of bureaucratic institutions and established dual artistic and intellectual identities to appeal to the kind of audiences and entities that might support their work. Kindley focuses on Anglo-American poet-critics including T. S. Eliot, Marianne Moore, W. H. Auden, Archibald MacLeish, Sterling A. Brown, and R. P. Blackmur. These artists grappled with the task of being “village explainers” (as Gertrude Stein described Ezra Pound) and legitimizing literature for public funding and consumption. Modernism, Kindley shows, created a different form of labor for writers to perform and gave them an unprecedented say over the administration of contemporary culture. The consequences for our understanding of poetry and its place in our culture are still felt widely today.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Questionnaires are everywhere: we fill them out at doctors' offices and at job interviews, to express ourselves and to advance knowledge, to find love and to kill time. But where did they come from, and why have they proliferated? Evan Kindley's Questionnaire investigates the history of “the form as form,” from the Victorian confession album to the BuzzFeed quiz. By asking questions about the questions we ask ourselves, Kindley uncovers surprising connections between literature and science, psychology and business, and journalism and surveillance. Object Lessons is published in partnership with an essay series in The Atlantic.
Andy Griffith (1926-2012) is one of North Carolina's most beloved exports, capturing America's heart as Sheriff Andy Taylor. Evan Dalton Smith was born in the North Carolina Piedmont over four decades after Andy, just an hour south of Griffith's hometown of Mount Airy. Both were small-town boys who grew up in similar places, where the counties were dry and the churches plentiful. But for both, there was darkness, crushed hopes, and tragedy, hidden just below the surface. For Smith and many generations in North Carolina, Andy Griffith was like the air—everywhere, all the time, a part of daily life. Even after he left the state, Smith always felt the pull of home and the lingering ghost of Andy alongside it. This is an exploration on celebrity and the self, on home and what that means when you leave it, and why we love and admire the people we do—even if we've never met them—all told through the entwined lives of iconic actor Andy Griffith and writer Evan Dalton Smith. It is through Smith's telling of Griffith's life that he finds his own story, one that is both informed by and freed from the legacy of one of North Carolina's most famous sons.
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