A defense and celebration of the discipline of literary studies and its most distinctive practice—close reading. Does literary criticism offer truths about the world? In this book, Jonathan Kramnick explains literary criticism’s distinctive approach to knowledge and its disciplinary rationale by zeroing in on its singular method: close reading. Close reading is the field’s way of pursuing arguments and advancing knowledge—the crucial craft and skill that it imparts to students. For Kramnick, close reading is also a creative, transformative, and immersive writing practice that fosters a unique kind of engagement with the world. Drawing on recent examples of literary criticism, Kramnick unpacks the art of in-text quotations and other reading methods, advocating for them as a valuable form of humanistic expertise worthy of a prominent place within a multi-disciplinary university. As the humanities fight for survival in contemporary higher education, the study of literature doesn’t need more plans for reform. Rather, it needs a defense of the work already being done and an account of why it should flourish. This is what Criticism and Truth offers, in vivid and portable form.

How do minds cause events in the world? How does "wanting" to write a letter "cause" a person's hands to move across the page, or "believing" something to be true "cause" a person to make a promise? In "Actions and Objects," Jonathan Kramnick examines the literature and philosophy of action during the late seventeenth and early eighteenth centuries, when philosophers and novelists, poets and scientists were all concerned with the place of the mind in the world. These writers asked whether belief, desire, and emotion were part of nature--and thus subject to laws of cause and effect--or in a special place outside the natural order. Kramnick puts particular emphasis on those who tried to make actions compatible with external determination and to blur the boundary between mind and matter. He follows a long tradition of examining the close relation between literary and philosophical writing during the period, but fundamentally revises the terrain. Rather than emphasizing psychological depth and interiority or asking how literary works were understood as true or fictional, he situates literature alongside philosophy as jointly interested in discovering how minds work.

How do poems and novels create a sense of mind? What does literary criticism say in conversation with other disciplines that addresses problems of consciousness? In Paper Minds, Jonathan Kramnick takes up these vital questions, exploring the relations between mind and environment, the literary forms that uncover such associations, and the various fields of study that work to illuminate them. Opening with a discussion of how literary scholarship’s particular methods can both complement and remain in tension with corresponding methods particular to the sciences, Paper Minds then turns to a series of sharply defined case studies. Ranging from eighteenth-century poetry and haptic theories of vision, to fiction and contemporary problems of consciousness, to landscapes in which all matter is sentient, to cognitive science and the rise of the novel, Kramnick’s essays are united by a central thematic authority. This unified approach of these essays shows us what distinctive knowledge that literary texts and literary criticism can contribute to discussions of perceptual consciousness, created and natural environments, and skilled engagements with the world.

A defense and celebration of the discipline of literary studies and its most distinctive practice—close reading. Does literary criticism offer truths about the world? In this book, Jonathan Kramnick explains literary criticism’s distinctive approach to knowledge and its disciplinary rationale by zeroing in on its singular method: close reading. Close reading is the field’s way of pursuing arguments and advancing knowledge—the crucial craft and skill that it imparts to students. For Kramnick, close reading is also a creative, transformative, and immersive writing practice that fosters a unique kind of engagement with the world. Drawing on recent examples of literary criticism, Kramnick unpacks the art of in-text quotations and other reading methods, advocating for them as a valuable form of humanistic expertise worthy of a prominent place within a multi-disciplinary university. As the humanities fight for survival in contemporary higher education, the study of literature doesn’t need more plans for reform. Rather, it needs a defense of the work already being done and an account of why it should flourish. This is what Criticism and Truth offers, in vivid and portable form.

How do minds cause events in the world? How does wanting to write a letter cause a person's hands to move across the page, or believing something to be true cause a person to make a promise? In Actions and Objects, Jonathan Kramnick examines the literature and philosophy of action during the late seventeenth and early eighteenth centuries, when philosophers and novelists, poets and scientists were all concerned with the place of the mind in the world. These writers asked whether belief, desire, and emotion were part of nature-and thus subject to laws of cause and effect-or in a special place outside the natural order. Kramnick puts particular emphasis on those who tried to make actions compatible with external determination and to blur the boundary between mind and matter. He follows a long tradition of examining the close relation between literary and philosophical writing during the period, but fundamentally revises the terrain. Rather than emphasizing psychological depth and interiority or asking how literary works were understood as true or fictional, he situates literature alongside philosophy as jointly interested in discovering how minds work.

The first book-length study of Horace Walpole’s scandalous The Mysterious Mother, including critical essays, an abridged script, and a facsimile edition   Horace Walpole’s five-act tragedy The Mysterious Mother (1768), a sensational tale of incest and intrigue, was initially circulated only among the author’s friends. Walpole never permitted it to be performed during his lifetime except as a private theatrical. He described his play as a “delicious entertainment for the closet� and claimed that he “did not think it would do for the stage.� Yet the essays in this volume trace a history of private readings, amateur theatricals, and even early public performances, demonstrating that the play was read and performed more than Walpole’s protests suggest. Exploring a wide variety of topics—including the play’s crypto-Catholicism, its treatments of incest, guilt, motherhood, orphans, and scientific spectacle, and the complex relations between print and performance—the essays demonstrate the rich relevance of The Mysterious Mother to current critical discussions.   The volume includes the proceedings of a mini-conference hosted at Yale University in 2018 on the occasion of a staged reading of the play. Also included are the director’s reflections, an abridged script, a facsimile of Walpole’s own copy of the full-length play, and reproductions of the illustrations he commissioned from Lady Diana Beauclerk.