Who Creates the Canon?

ALL-TIME AMERICAN WRITERS TOURNAMENT

jesse pearson

(First in a series.)

THE FIRST THING you see when encountering Literature-with-a-capital-L (pronounced “Lit-ah-CHAH”) is a collection of cardboard figures little different from the cardboard figure of rock singer Conrad Birdie parked in a promoter’s office at the beginning of the movie musical “Bye Bye Birdie.” The intent in both cases is the same– but in one case the intent is disguised via layers of pontifications from professors in bow ties.

Is the intent to build up an art? To further artistic progress? To improve American culture?

Or is it to justify one’s career existence and resulting paycheck? To avoid the fate of an actually difficult job, such as grinding heavy iron bars, or cleaning toilets, or McDonald’s?

The reader who graduates from comic books to dragon fantasies to more thoughtful and realistic novels, wondering what it’s all about– and who are the best at it– is first handed not the writer, not the work, but the reputation. The cardboard cutout.

In this short series– before our Tournament writers return from summer vacation– we’ll examine how and why those reputations are created. The layers and justifications. Information you’ll not find in a classroom. We’ll look behind the cardboard and the classroom.
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writers_museum-900

(Photo from Chicago Reader.)
Interesting, then, that 2017 saw the opening of a years-in-the-making American Writers Museum in Chicago. Rooms of cutouts. Spacious halls. Like all museums, it’s as much mortuary as tourist attraction. Literature Embalmed. Yep, THAT’ll bring the art form back!

The Museum tells you that THESE are the canonical American writers. Gaze at them in obeisance. No effort required. The matter has already been decided.

WHO decided?

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