Gabriel García Márquez, Literary Pioneer, Dies at 87

“To him she seemed so beautiful, so seductive, so different from ordinary people, that he could not understand why no one was as disturbed as he by the clicking of her heels on the paving stones, why no one else's heart was wild with the breeze stirred by the sighs of her veils, why everyone did not go mad with the movements of her braid, the flight of her hands, the gold of her laughter. He had not missed a single one of her gestures, not one of the indications of her character, but he did not dare approach her for fear of destroying the spell.”

“He is ugly and sad... but he is all love.”

“[The captain] looked at Florentino Ariza, his invincible power, his intrepid love and was overwhelmed by the belated suspicion that it is life, more than death, that has no limits.”

Fermina Daza: "No. Forget it."

In general, I don't think there's a compelling reason why Writing Composition has to be tied so closely to Literature. And really of the two most demanding essay-writing profs I had, only one taught literature. (The other taught symbolic logic and a Frege/Russell/Wittgenstein seminar I took.)

You're right that most the essays are derivative and bad, but I think that's general to all writing--fiction, non-fiction, academic writing, whatever. It's all usually derivative and bad because it's really hard to make something that isn't. And while there is a taste for those name-dropping "look what I've read" essays, I never had a prof that didn't also appreciate a tight, close reading. I always stuck to close reading anyway, as I suspect most people on this forum would. (It feels less bullshitty to look at one or two small things extremely closely, than to fling around loose references to god knows what theories and famous names.)

It's interesting that your friend said that. I'm not sure I understand completely what is meant by that, but here's my personal take on it: I think literary criticism should be subject to the same scrutiny that the original literary texts are. And if a work doesn't partake of creative exuberance* like an excellent novel or poem might, then I can't really be bothered to care about it. I think literature should respond in kind. Some criticism does this, and is breathtaking in the same way reading Whitman, e.g., can be breathtaking. Bloom's little book Anxiety of Influence, for example, is something I found beautiful and strange in a way I had never before encountered.

I don't think academic literary critics really see what they do as an artform necessarily, so my view is probably a very marginal one, and one they might scoff at. I don't even know of a sub-discipline that promotes criticism-as-artform, so maybe I'm just weird. Probably weird.

In the end I try to take a soft stance on this because I want to leave room for the idea that other people may enjoy things that I don't. I would never talk about literature the way they do outside of the pressures of "academic success," but perhaps they find it to be genuinely thrilling. If so, I'm only happy for them, and wish them the best. Many of them had an obvious passion for literature, including one prof who was completely looney-tunes for Shakespeare. :-) And that's nothing but delightful.

* - which isn't to imply there need be an exuberant style.