Ten years ago, before I started doing research in France, I wrote my MA thesis about the politics of “bad writing” in the American humanities. Empirically, my major case study was about a “Bad Writing Contest” run by the late Denis Dutton, which dedicated itself in the late 1990s to making fun of (ostensibly) bad academic prose. The winners were always left-wing critical theorists like Homi Bhabha, Judith Butler and Fredric Jameson.
I ended up concluding that the Bad Writing Contest was a scene where low-status-academics got to symbolically denounce higher-status academics, so in that sense the whole affair was basically about status dominance; but I had put the project behind me, until I was reminded of the topic by Corey Robin’s recent comments about Judith Butler as a public intellectual. I’d like to focus briefly on his main claim: that Butler’s seemingly inaccessible writing style did not prevent her work from being culturally generative and iconic. As he puts it:
It is Gender Trouble—that difficult, knotty, complicated book, with a prose style that violates all the rules of Good Public Writing—that has generated the largest public or publics of all: the queer polity we all live in today.
To be clear, Robin’s view is that Butler’s success as public intellectual was neither because nor in spite of her prose style, but rather that success was altogether orthogonal to prose style. He proposes that “it’s not the style that makes the writing (and the intellectual) public. It’s not the audience. It’s the aspiration to create an audience.”