This weekend, at Amherst, I enjoyed a rich conversation about the purposes of liberal arts colleges. One proposal (not mine, but I appreciated it) was for liberal arts colleges to nurture public intellectuals.
The colleges represented at the meeting use basically the same criteria and standards for hiring and promotion that research-intensive universities use. Should their faculty be distinctive in any way? Universities tend to reward work produced for experts within fields. Liberal arts colleges could favor work that is meant for the public. Because they can be very selective, they could attract public intellectuals without compromising quality.
Sometimes, writing or speaking for the public is defined as reaching a large audience–in a word, as fame. But the most famous person who ever lived in Amherst refused to share her work with the public and wrote several trenchant poems about fame.
For instance, these four lines constitute Emily Dickinson’s poem #1788:
Fame is a bee.
It has a song—
It has a sting—
Ah, too, it has a wing.
The “song” is the attraction of fame, but the the “wing” refers to its tendency to fly away after causing pain. The ancient personification of Fame was winged, but I think she was envisioned arriving by air to announce someone’s success, rather than flying away unpredictably. Dickinson suggests a similar idea in the poem (#1659) that begins “Fame is a fickle food / Upon a shifting plate.” There is also: “Fame is the one that does not stay” (#1507).
Dickinson carefully designed her own funeral, a public event that launched her career posthumously. It seems that she wanted to reach an audience (hence becoming famous) but did not want fame to affect her work. She carefully timed her fame until after she could experience it (Crumbly 2017).
That sequence is clear in #1427:
To earn it by disdaining it
Is Fame’s consummate Fee—
He loves what spurns him—
Look behind—He is pursuing thee.
So let us gather—every Day—
The Aggregate of
Life’s Bouquet
Be Honor and not shame—
The addressee of the poem (Dickinson herself?) is moving toward an unnamed goal. That goal is not fame, which is behind her. Fame pursues her because she does not seek him. Perhaps an author or thinker who disdains to pursue fame is more likely to become famous because the quality of her work will be higher.
There is an air here of lovers, like Keats’ figures on the Grecian Urn (“What mad pursuit? What struggle to escape?”). And there is something a bit creepy about Fame sneaking up from behind. You would think that turning around to see him would be a mistake, like Orpheus’ tragic error in looking behind him for Eurydice. But Dickinson’s narrator advises, “Look behind–he is pursuing thee.” Perhaps you should look back to remember the temptation that shadows you and then press forward to stay out of his clutches. Play hard to get.
The second stanza instructs us to attend to what life provides and to make art from it, not caring about the “shame” of becoming famous. We should be concerned with what we can gather, not with what people will think of us.
Nevertheless, Dickinson is a consummate rhetorician in the sense that she addresses strangers and tries to influence them, carefully considering what they may know, care about, and want to hear. Even though she eschews a contemporaneous audience, she writes for a public. Most readers feel that she is talking to them, and we certainly don’t have to be professional poets.
The kind of academic or intellectual work that I most appreciate (and try to support through the Tisch College of Civic Life at Tufts, the Institute for Civically Engaged Research, and other efforts) involves collaborations between scholarly experts and concrete groups, organizations, movements, or communities. The experts must talk in useful ways. It is exciting when their collaborative work expands to large scales and affects many people, but sometimes large scale is inappropriate or impossible. Aiming for big numbers can undermine integrity and quality. The goal is to share what Hannah Arendt calls a “world” with people who are independent and different from oneself.
If Amherst’s most famous resident is a model, the lesson would be to make things that have value for strangers, not just for colleagues and specialists. But treat fame as a threat to quality. Run away from it.
Source: Crumbley, Paul. “Emily Dickinson’s Funeral and the Paradox of Literary Fame.” The Emily Dickinson Journal, vol. 26 no. 2, 2017, p. 51-69. Project MUSE, https://dx.doi.org/10.1353/edj.2017.0014. See also: anxieties of influence; love of the world
