…if “educators” – secondary and university-level – in the “humanities” know anything about the history of the “humanities”.
Teachers are worried about teaching the otherwise (ostensibly) brilliant work of artists whose personal lives are, well, problematic, in the #MeToo era:
For Martina Myers, a high school English teacher on the Navajo reservation in Arizona, Sherman Alexie’s novel “The Absolutely True Diary of a Part-Time Indian” seemed too good to be true: funny, well-crafted and focused on Native American youth.
Her students at Piñon High School, many of whom struggled with substance abuse and mental illness, took to it immediately. They wrote poems in response, on native pride, addiction, self-acceptance and suicide attempts.
So when Ms. Myers learned last year of the allegations of sexual harassment against Mr. Alexie, who issued a statement admitting he had “harmed other people,” she felt two waves of betrayal — first for her students and then for herself, a survivor of abuse.
“When the #MeToo movement happened I told my story,” Ms. Myers said. She knew some of her students, too, had experienced sexual assault.
Where do these hamsters come from?
The history of arts and humanities is clogged with deeply dysfunctional people. The drive to be an artist seems, in fact, to be closely linked with personal and emotional instability.
And the “artists” that fit neatly into the bounds of what’s considered socially acceptable today largely aren’t that interesting.
Why, it’s almost as if someone is trying to dumb society down, or something…