Interesting article by Dan Sinykin on close reading:
Reading, a skill easily taken for granted, is difficult–all the more so when reading literature that wields language as a medium for art. . . . It’s easy to see why close reading, which demands patience, openness to others, and slow, careful thought, is having a moment among academics. . . . academics are rediscovering the quiet excitement of close reading, a relief from the overheated corporate pablum routinely suffocating us.
Pablum is not just corporate
To the above, I’d just add that the “overheated pablum” is not just “corporate”; it’s coming from all sources. We see it in scientific research papers, on twitter, on NPR, all sorts of places that are not themselves corporate (OK, sure, twitter is owned by a corporation but the individual people posting the pablum are not themselves corporate). Overheated pablum is a style, a dominant style for the usual Gresham sort of reasons and also because, as Sinykin says, our discourse has evolved into position where nobody pays attention to anything, so things are written with the expectation that nobody will pay attention to them, etc. I see this sometimes online when someone will criticize something of mine, but they’re criticizing things I never said–one example is here, and there are links to a few more at the end of this post. Or, more directly, there are examples such as the psychology study described as “long term” even though it took place over only 3 days, or the study that claimed “That a person can, by assuming two simple 1-min poses, embody power and instantly become more powerful has real-world, actionable implications,” even though it had no evidence of anyone actually becoming more powerful.
As I’ve complained, my frustration about such things is not just that this happens–that credentialed scholars write articles with titles and abstracts that are flat-out false–but that nobody seems to care, even when these things are pointed out. To put it in Sinykin’s terms:
– People aren’t doing close readings on scientific papers, even high-profile papers that get tons of media attention.
– Scientists aren’t even doing close reading on their own papers! For example, in the papers linked above, I don’t know that the authors even considered the idea that there could be a contradiction between describing a study as “long term” even though it only lasted 3 days, nor that there could be a problem with claiming that people in their study “instantly become more powerful” even though the study had no measurements of power.
To put it another way, expressions such as “long term” and “more powerful” are to be taken metaphorically, as a sales job, in the same way that you might say that someone “is going to cure cancer in two years” even if, no, you don’t actually think they’re going to cure cancer in two years. It’s advertising-speak, it’s letter-of-recommendation-speak, it’s Ted-talk-speak, it’s the-title-and-abstract-of-papers-published-in-Psychological-Science-speak, and if everybody does it, then it doesn’t count as lying, indeed it doesn’t even feel like lying.
Bad news when close reading is no longer expected
I don’t agree with all the political things that Sinykin says, but that’s not so important for my point here, which is that I agree that there’s not enough close reading going on, and when audiences don’t read more closely, this provides less incentives for authors to write for close readers. Indeed, authors can become indignant at close readers, attacking them as obsessed Javerts. We’re seeing a development of a new equilibrium.
Just by analogy, consider the much-discussed phenomenon of Netflix-style movies where every action on the screen is announced by the characters as it is happening. This is so annoying! It’s certainly not the pattern with every Netflix show, but it happens a lot with the more generic offerings you’ll see on that and other streaming channels, and it’s said that the reason is that people have a movie on in the background while they’re doing something else so the running explanation allows the movie to be followed in that passive way. Then when more movies and shows are produced in this way, it encourages more of this background watching, and you get a new equilibrium in which everybody’s paying less attention–the viewers are paying less attention to what’s happening on the screen, and the actors, directors, and producers are paying less attention. Is this a bad thing? Maybe not! Maybe it’s a throwback to the classic era of radio drama, I don’t know. The point is that close reading, or close watching, is a choice. At least, it’s a choice if I’m reading or watching in my native language. When I’m reading or watching in French, I need to apply my full concentration at all times or I’ll lose the thread.
The 4 aspects of close reading
Sinykin gives two examples of close reading, one from the Odyssey and one from the Bible. These examples made it clear that close reading is four things.
1. Most directly, close reading is figuring out the literal meaning of the text. Who are the characters, who is saying what (this can be tricky when reading long stretches of dialogue), who’s alive and who’s dead, what is the sequence of action, etc. It’s possible to read a story and fail in this very basic task, sometimes because the author is hiding things (Agatha Christie, Gene Wolfe, etc.), sometimes because the story is itself incoherent (it’s easier to think of examples from movies where continuity or logic is violated, but this can happen in written stories as well), sometimes just because you’re reading quickly, watching the story go by, and not focusing on the details.
2. The second step of close reading is understanding the characters’ motivations: not just what is happening but why. Sometimes this is explicitly stated, but usually you have to figure it out. In this category I’d also place whatever struggles the reader might have with unreliable narrators, information gaps, and whatever deliberate ambiguities are in the text.
3. The third step is following all the details that flow by. Often I read a book and enjoy it, but only on rereading do I notice all sorts of little things that I zipped by the first time in my rush to follow the story. This can even happen on the umpteenth reading! I recently reread Forlesen, and it was full of fun bits that I’d not previously caught. I’m not talking about subtle references or misdirections or deep themes or “easter eggs” or whatever, just the granular bits of conversation, thought, and event that I’d earlier skipped without noticing.
4. Finally, close reading involves understanding a literary work in its historical and cultural context. This has two parts. From one direction, in reading a story or watching a movie or TV show we can learn a lot about the time and place when it was produced, just from things happening in the background–patterns of speech, clothing styles, the way people are milling around in street scenes, etc.–this is what we call the Speed Racer principle. From the other direction, if you know something about the culture within which a work was produced, you can get additional insights into what the author of the story is trying to say.
It’s that fourth aspect of close reading that Sinykin focuses on:
Late in The Odyssey, Odysseus, who has endured 10 years of wandering to return home from the Trojan War, encounters his childhood nurse. No one has yet recognized him, and he does not want to be recognized. He appears a stranger. His erstwhile nurse washes his feet and, in doing so, sees a scar on his thigh, startling her into recognition. The mark on the body becomes, once noticed by a caring, knowing observer, auratic, suffused with meaning. At that moment, Homer interrupts the story with some 70 lines about how Odysseus suffered the wound that left the scar, only to pick up when the nurse drops Odysseus’ foot in the basin.
We might think, given how we have learned to read stories in our time, that Homer interjects the history of the scar into the scene to induce a feeling of suspense, suggests [philologist Erich] Auerbach. But we would be wrong. Suspense requires a distinction between foreground and background, which is unknown to Homer, who writes everything in a fully saturated now. While narrating the history of the scar, he does not expect us to be waiting to find out what happens with the nurse. He expects us, argues Auerbach, to be 100 percent in the presence of the past. Homer must describe the scar because if he did not, we would be left with an unexplained, mysterious detail, which he cannot bear. Everything must be illuminated. He must account for the scar. Everything in Homer proceeds with clarity, “never a lacuna, never a gap, never a glimpse of unplumbed depth.”
Sinykin shares a related close reading of a biblical passage, then concludes:
We can learn about a people through its style, its literature, which bears an ineradicable record of its version of reality. This, at least, was Auerbach’s gambit. The method is close reading. Others do it differently and can be no less exhilarating. It starts with a cultivation of sensitivity to art and language.
Agreed. I’d just add that this has several aspects, starting with the most basic of trying to figure out, as a reader, what exactly is happening in the story and what could be going on in the minds of the characters.
Close reading in statistics
This was all on my mind because just last year we were discussing the connections between close reading in literature and close reading in statistics (see also here).
As a statistician, when I read a report closely I go through the four steps listed above:
1. First, I try to put in the effort to understand exactly what was going on in the experiments being discussed. This can be difficult! Research papers often don’t include crucial information such as how exactly the experiment is done and what measurements were taken.
2. Next, it’s useful to understand the authors’ scientific goals. This is usually pretty clear from the way the results are presented.
3. Then there’s the struggle to follow all the details. A paper can have a lot of graphs and tables, and each one can take a lot of close reading to figure out. Especially when the paper has errors, as in the notorious work of Brian Wansink or Richard Tol.
4. Finally, the context of the work. Is this a Psychological Science paper from the 2010-2015 era? A natural experiment from the bad old days of regression discontinuity analysis? Or maybe something that we would expect to be done well? As with a story or novel, it’s good to know what genre you’re reading. And, from the other direction, the just-taken-for-granted aspects of a paper can give us insight into the scientific culture that it came from.
What exactly is “close reading”?
After all this, I was wondering how other people define “close reading,” so I looked up the term on wikipedia:
In literary criticism, close reading is the careful, sustained interpretation of a brief passage of a text. A close reading emphasizes the single and the particular over the general, via close attention to individual words, the syntax, the order in which the sentences unfold ideas, as well as formal structures. Close reading is thinking about both what is said in a passage (the content) and how it is said (the form, i.e., the manner in which the content is presented), leading to possibilities for observation and insight. . . .
In the practice of literary studies, the technique of close reading emerged in 1920s Britain in the work of I. A. Richards, his student William Empson, and the poet T. S. Eliot, all of whom sought to replace an “impressionistic” view of literature then dominant with what Richards called a “practical criticism” focused on language and form. American New Critics in the 1930s and 1940s anchored their views in similar fashion, and promoted close reading as a means of understanding that the autonomy of the work (often a poem) mattered more than anything else, including authorial intention, the cultural contexts of reception, and most broadly, ideology.
Hmmm, interesting.
The first paragraph above is a good match for how I was thinking about close reading and how Sinykin discusses the concept.
But the description at the end of the second paragraph, describing the attitude of the American New Critics, is pretty much the exact opposite of what we were discussing! Sinykin explicitly talked about how you can use knowledge of the Homeric and biblical contexts to understand what the authors of those passages were doing, and I was saying something similar with regard to reading scientific papers.
So now I’m confused: Is close reading centered on an understanding of cultural and historical context and authorial intention (my take, and I think Sinykin’s) or is it about “the autonomy of the work . . . more than authorial intention the cultural contexts of reception, and . . . ideology”? What’s going on here???
P.S. I can’t figure out how Sinykin’s article ended up at a sports site. I once published something at Baseball Prospectus, but my article was actually about baseball so that made a bit more sense. I’m not complaining–Sinykin’s post was interesting, and it was written in a friendly, nonacademic style that fit in with other articles at that site–I just wonder how it happened. I see that, in addition to teaching English at Emory University, Sinykin is also a professor of Quantitative Methods. So maybe he’ll appreciate this post!