–Virgil Thomson, the composer, put it that “a good critic does not voice opinions, he describes; if his description is succinct, accurate and imaginative, the opinion will automatically shine through.” What is this (hardwired?) compulsion to evaluate, even in description? Better yet, what is it that I am missing when describing and evaluating with no fall in between?
One thing avoided is the question without an answer to evaluate. When Robert Desnos, the French surrealist poet, says “the questions that I am willing to discuss are all unanswerable,” how would he know an unanswer if he saw it, let alone evaluate it as such? When poet, Dylan Thomas asks, “What is the metre of the dictionary?/The size of genesis? the short spark’s gender?/Shade without shape? the shape of the Pharaoh’s echo?,” why would any answer be wrong, even were none evaluated? If there is a lapse between describing and evaluating, it would be as if we are delaying completion in the sense of an answer completing a question. But what is in between incomplete and completion? “Rehearsals”? But what if it’s only ever rehearsals, as in: Weather never really starts?
–The Russian playwright, Anton Chekhov, wrote to a correspondent, “you are confusing two concepts: answering the questions and formulating them correctly. Only the latter is required of an author. There’s not a single question answered in Anna Karenina or Eugene Onegin, but they are still fully satisfying works because the questions they raise are all formulated correctly.”
Which is a good thing for a people who get satisfaction in rehearsing small answers to perplex the Big Questions. “Whose asking?” shot back philosopher, Sidney Morgenbesser, when pressed to prove the existence of his questioner. “Why is there something rather than nothing?” led Morgenbesser to reply: “If there was nothing you’d still be complaining.”