Ian Hays, Writing Consultant
A couple months ago I was playing poker at my friend’s new apartment. He and his girlfriend met at Vanderbilt, and we were celebrating because she’d just passed the bar. As the evening grew thin and wine continued to flow, our thoughts and the topics of conversation grew broader and more existential. Eventually we found our way to higher education, with my friend ruminating “what if we’re the last generation who will have the conventional university experience?”
His concern is fair. If COVID has done one thing, it’s shown that in the internet age, there’s no good reason why most types of work must prescriptively happen in an ordained location. If you have the connection, it really doesn’t matter where you’re doing what you’re supposed to.
On its face, this sort of development seems entirely positive. Frankly, being able to do my Writing Center work from wherever I am has allowed me much more time to attend to the things that I should, if I’m being healthy and moral, attend to; things like my family, or my mental health.
But this development—this untethering from the workplace—has also forced a magnifying glass upon the necessity of many institutional conventions integral to the generation of wealth. Last semester, for example, my brother was forced, abruptly, to leave Cuba, where he was studying abroad. For months all he could talk about was how excited he was to go, and when he arrived messages poured in about the therapeutic nature of being in a place like that; one where (in spite of a looming material circumstance we would qualify as massively underprivileged) there is social cohesion; one where even “the enemy” doesn’t need to worry about healthcare.
When the disease struck he was ripped home, and spent the remainder of the semester negotiating with his, admittedly reputable, university. All told, he ended up receiving a 10% refund. A 10% refund for a full semester’s tuition, one spent in a place where higher education is free.
That 10% number carried over to this year, because, still, all of his and his peers’ classwork has been forced online. Speaking with my father, he posited: “I guess this is how much [my brother’s school] actually values getting to use its facilities, or being within handshake proximity to all the ‘experts’ they employ.”
What my father and my friend were getting at is clear: if tuition has nothing to do with the physical experience of university—if that part of the equation, for example, is valued at 10% of a figure higher than a year’s average household income—and if literally all learning can take place online, then what the hell are we paying for?
But this reevaluation—this disturbing reification of that arbitrary nature of institutional life—doesn’t stop at university. If you really think about it, superfluous structures meant to generate wealth are everywhere, and—it seems—they’re always one crisis away from being dispensed with.
Thus, it can seem very sensible to believe that constant dissolution is inevitable. For those of us within the humanities, this kind of thinking is par for the course.
Almost daily I wonder about why it is I’ve decided to go down this path, to learn about expression, and the infinite variability of the human experience. What the United States values at the monetary level is clear; we want products you can hold in your hand, we want to improve material comfort, because comfort is easy to measure and because everyone wants it. We “care” about exploring the human condition, but if you can’t illustrate on a graph how it is you’ve contributed to capitalist wellbeing—or if that wellbeing, and how much you’ve contributed to it, varies from person to person—you’re not going to get paid.
It’s been said before that the great sin of putting earring-potential first is that what motivates action is superseded. Institutions can no longer put their primary purpose first. University, for example, is about learning, it’s about helping students learn how to think about the world; but as long as students pay for college—and as long as that money is integral to administrative functioning—the real goal of the institution has to be to keep students paying. Now COVID has made this process seem all the more untenable.
But I want to suggest something.
Years ago I was listening to a debate between Steven Pinker and Alain De Botton on progress. As is usual, Pinker’s argument centered around the notion of material progress, and he had numerous metrics to illustrate how far we’ve come. But he made another, more philosophical point, one meant to be divorced from any such graph. He spoke about nuclear weapons, and about how, for 80 years, it has seemed we’re always one mistake away from nuclear winter. “This is true,” he said, “but yet, still, even after the cold war—even after mass nuclear proliferation—no more weapons like that have been used against people. It’s seemed inevitable, but it’s never happened.”
The other day in class my professor spoke about how, while there is upheaval within the humanities, the discipline soldiers on; that this upheaval is actually a wellspring of creativity, an important decoupling from the rigidity seen elsewhere. My professor is right. We were discussing New Criticism, attacking the prescriptiveness of what I perceive to be call for a more methodological approach to criticism; one meant to insulate the humanities from the march of capitalist progress which would—according to their camp—inevitably render the humanities a hobby in the face of harder subjects like physics and biology.
But that’s never happened—years ago it seemed inevitable, but it hasn’t. Even as philosophical schools written expressly in opposition to codified rule sets—in opposition to things like objectivity, and truth—have become more mainstream, the humanities have not dissolved.
Now is a moment of immense unsureness for millions. It’s a moment where nothing is certain, where it seems every pillar we might attach ourselves to is crumbling at its base. But when we look upward from our screens, we see that many things which will inevitably fail, haven’t, and at the practical level really won’t. Last year, for example, consumption of “traditional” media was higher than its been in years; now that’s a discipline everyone has been sure will die any minute now.
In the Writing Center this fear, for me, has been pronounced. I’ve found it hard, often, to really allow myself to get “into” the work. I love what we do, but I’m afraid that if I permit my passion to swell, that if I lose my peripheral vision, the next time I look up it’ll be because the cart I’ve been riding in has lost the momentum to move. It’ll be too late when I realize what we do is fading away.
But that’s simply paranoia speaking, and nothing more. Last semester I walked into a room, for the first time, covered with art, and a poster at the front with a picture of the whole space packed with people diligently working on their craft. I’ve never seen such a thing, and I’ve worried that’ll never take place again. But then I look at the figures—about how we’ve actually had a pretty good year in spite of everything—or at the fact that even within a capitalist machine, the confluence I spoke about earlier—between institutional purpose and practical goals—is alive and well in the Writing Center.
University of Louisville Writing Center 