Jerome J McGann, "The Textual Condition" (Book Note)

 

McGann's work is nothing short of a crusade, and his fervor for revolutionizing literary studies is both admirable and infectious. He wields a swashbuckling style, writing with a sense of urgency and personal engagement, drawing readers into his quest to transform the field. His goal is clear: to elevate bibliography from the mundane to the glamorous realm of hermeneutics, demonstrating that textual studies can be not only intellectually stimulating but also fun, witty, and entertaining.

 

In his collection of essays, lectures, debates, and teaching materials, McGann argues passionately for the radical indeterminacy of meaning based on textual instability, what he terms "the Textual Condition." He illustrates this argument with compelling examples from the works of Pound, Blake, D. G. Rossetti, Morris, and Yeats, showcasing how texts embody symbolic and signifying dimensions within their physical medium.

 

McGann's persuasive and powerful writing style is likely to attract disciples, but it is not without its critics. While his emphasis on the specificity of historical context and the materiality of texts is appealing, some readers may find his brand of historicism, like New Historicism, to be somewhat tame, focusing primarily on personal and local histories rather than broader social and economic movements. Additionally, his materialist approach to editing challenges traditional notions of authorial intention but may raise questions about the practicality of absolute textual insecurity for editors who must make choices and prioritize criteria.

 

Drawing on Derrida's critique of Romantic claims of solitary creative acts, McGann questions the role of unconscious meaning production and appears to be somewhat anti-theory in his rejection of manufactured meaning. However, his invocation of artists seeking tight control over meaning and his own privileging of his originary moment while attacking intentionalism suggest inconsistencies in his stance. His reluctance to engage with personal interpretative fantasia leaves some readers wondering if his proposed merger of bibliography and hermeneutics could potentially favor the former over the latter.

 

Despite these criticisms, McGann's work offers valuable insights, particularly in his "social theory of editing" and his examination of textual events beyond words. His discussion of Reagan's Farewell as a media spectacle highlights the importance of decoding non-verbal signs and understanding the ways in which ideology operates. McGann's emphasis on inspiring reflective and critical thought, moving beyond linear reading, is commendable, as it encourages readers to engage with texts in deeper, more nuanced ways.

 

While not without its flaws and contradictions, his writings offer valuable contributions to the ongoing conversation about the nature of meaning and interpretation in literature. As we navigate the complexities of "the Textual Condition," McGann's work serves as a catalyst for continued reflection and critical engagement.