Does Harvard Consider Oscar Wilde ‘Marginalized’? A new requirement to study authors kept down by ‘racism, patriarchy and heteronormativity.’ By Heather Mac Donald
https://www.wsj.com/articles/does-harvard-consider-oscar-wilde-marginalized-1490914742
Starting next fall, English majors at Harvard will be required to take a course in authors “marginalized for historical reasons.” Those “reasons” include “racism, patriarchy and heteronormativity,” the English Department’s chairman, James Simpson, told the Harvard Crimson.
Campus agitation for an identity-based curriculum is by now drearily familiar. But Harvard’s recent mandate goes further, creating a new literary typology: On one side are the marginalized authors; on the other, authors who, by implication, may have benefited from “racism, patriarchy and heteronormativity.” Academia has already furnished unlettered students with excuses aplenty to ignore the greatest works of Western civilization. Now they’ve got another one.
The Harvard English major imposes few substantive demands: a one-semester survey spanning the millennium from 700 to 1700; a semester of poetry; a course that serves as a vehicle for immigration and postcolonial themes; and one semester of Shakespeare. After that, students are on their own, free to fill out their credits with random classes in literature, theory, creative writing, or “related courses” outside the English Department.
In other words, Harvard, like virtually every other college today, eschews any responsibility for ensuring that students are systematically exposed to the landmarks of the literary canon and that they understand the evolution of literary forms. For Harvard to add a requirement in “marginalization” signals that the faculty considers it important enough to override the department’s laissez-faire philosophy.
It is unclear, though, how the prestigious status will be conferred. How will the faculty decide whether an author has been marginalized because of “patriarchy,” say, rather than because she wasn’t that good in the first place, or because literary tastes have changed? There were female novelists and pamphleteers in the 19th century who have disappeared from view. Is that sexism, or simply the judgment of time? Does Oscar Wilde qualify as marginalized? “Heteronormativity” may have made his final years miserable, but it had no effect on the boundless success of his plays.
Literary reputations rise and fall—for white men as for everyone else. England’s first poet laureate, John Dryden, was once regarded as the heir to Shakespeare, Donne and Milton. Today, at least in the U.S., he is barely read. Likely explanations are that neoclassical verse has fallen out of favor and that few modern readers have the contextual knowledge to understand his satires. Why do similar explanations not hold for “marginalized” authors?
Moreover, given the historical disparities in educational opportunity, it is wrong to assume that all groups should be proportionally represented in the literary pantheon. For centuries, only European males (with few exceptions) received the rigorous training in the Classics that provided the materials for literary creation.
The reasons to study literature include linguistic beauty and insight into the human condition. Being “marginalized” is not one of those reasons, nor should an author’s sex and race count for or against him. If a great work happens to be unknown, that is another matter, one that has nothing to do with social justice. CONTINUE AT SITE
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