Waggish

Sentiment and Kitsch

Writers are seldom recognized as empiricists, idealists, skeptics, or stoics, though they ought–I mean, now, in terms of the principles of their constructions, for Sartre is everywhere recognized as an existentialist leaning left, but few have noticed that the construction of his novels is utterly bourgeois. No search is made for first principles, none for rules, and in fact all capacity for thought in the face of fiction is so regularly abandoned as to reduce it to another form of passive and mechanical amusement. The novelist has, by this ineptitude, been driven out of healthy contact with his audience, and the supreme values of fiction sentimentalized.

William Gass, “Philosophy and the Form of Fiction”

In a somewhat less propitious time, the poet X would have become a popular hack on a family magazine. He would then have presupposed that the heart always responds to certain situations with the same set feelings. Noble-mindedness would always have been recognizably noble, the abandoned child lamentable, and the summer landscape stirring. Notice that in this way, a firm, clearcut, and immutable relationship would have been established between the feelings and the words, true to the nature of the term kitsch. Thus kitsch, which prides itself so much on sentiment, turns sentiment into concepts. As a function of the times, however, X, instead of being a good family magazine hack, has become a bad Expressionist.

Robert Musil, “Black Magic”

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