Charles Green in Inside Higher Ed (image from Wikimedia Commons):
Rebecca Schuman…has a Ph.D. in German studies and a forthcoming book on Kafka, Wittgenstein, and Modernism. Despite those impressive credentials, she left academe and the crumbling job prospects of German studies in 2013, so she’s well-positioned to comment on the real crises in higher education. She even professes, in one essay, “I’m a higher-ed expert.”
While I sometimes agree with her, I think she crafts fundamentally anti-academic arguments, anti-academic in that they rely heavily on unsourced and unsupported generality clothed in hyperbole. While she frames her essays with her expertise and experience, she presents a funhouse image of the academic world as the norm and recreates fabulist stereotypes of the ivory tower gone mad. Ultimately, her writing most often fails to offer substantive critique of academe’s problems and instead offers empty amusement that misleads readers about the world she claims to analyze with expertise.
Her July 15, 2014 essay, “Revise and Resubmit,” exemplifies her anti-academic methods. Most prominently in that essay, Schuman revels in psychologizing straw men, scarecrows who lack not brains but hearts: “Think of your meanest high school mean girl,” she writes, “at her most gleefully, underminingly vicious. Now give her a doctorate in your discipline, and a modicum of power over your future. That’s peer review.” The peer reviewer is a type with easily decipherable, easily dismissed motives.
Yes, Schuman’s being amusingly hyperbolic — I see Regina George and the Plastics of Mean Girls with their burn book, telling lesser academics “Stop trying to make ‘synecdochic heteronormativity’ happen. It’s not going to happen. It’s problematic.” If Schuman’s writing then moved to a more complex, realistic, or data-driven exploration of peer review, I might accept one hyperbolic stereotype — but the psychological profile of straw men predominates her argument.
He even goes so far as to perform what appears to be a rhetorical exegesis of “Revise and Resubmit,” a roast of the humanities peer-review process done in my usual style, which is a mixture of dark humor, open hyperbole, and cutting truth — and which quotes, yes, a small sample of hilarious tweets about peer-review experiences from my readers, which I culled for their sharpness from a much larger “data set” of about 100.
But yes, the piece exaggerated. Every op-ed I write does. Every sentence I say at home does! My voice has, for better or worse, basically been what it is since my first turn as a columnist at the age of 17 (I appeared bi-weekly in Eugene, Oregon’s paper of record from 1993 to 1994 — kind of a big deal, I know). But it was sharpened in graduate school in a particular vein, as I fell in love with the crotchety Austrians who would come to define my research: Robert Musil, whose over-the-top satire of a bunch of rich drifters also belies harsh truths about the decline and fall of the Austro-Hungarian dual monarchy; the playwright Johann Nepomunk Nestroy, whose untranslatable humor involves saying something that is a massive exaggeration and an unfortunate truth at the same time; Karl Kraus, the patron saint of pithy bile and my personal hero.
Is Green correct that my 1,500-word op-eds (the appropriatelength for such a medium, ahem) are not researched with the same rigor as my academic book, which took seven years to write, and for which I am receiving the standard advance of zero dollars? He is.