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The Perils of Pauline | Renata Adler | The New York Review of Books

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The job of the regular daily, weekly, or even monthly critic resembles the work of the serious intermittent critic, who writes only when he is asked to or genuinely moved to, in limited ways and for only a limited period of time. Occasionally, a particularly rich period in one of the arts coincides with a prolific time in the life of a major critic; or a major critic—Edmund Wilson, Harold Rosenberg—takes over a weekly column and uses it as the occasion for an essay. After a time, however, even Edmund Wilson no longer wrote frequently and regularly about books. He also wrote, all his life, on other subjects. Harold Rosenberg wrote continuously on subjects other than painting. Normally, no art can support for long the play of a major intelligence, working flat out, on a quotidian basis. No serious critic can devote himself, frequently, exclusively, and indefinitely, to reviewing works most of which inevitably cannot bear, would even be misrepresented by, review in depth. At most publicat

Pauline Kael; drawing by David Levine The job of the regular daily, weekly, or even monthly critic resembles the work of the serious intermittent critic, who writes only when he is asked to or genuinely moved to, in limited ways and for only a limited period of time. Occasionally, a particularly rich period in one of the arts coincides with a prolific time in the life of a major critic; or a major critic—Edmund Wilson, Harold Rosenberg—takes over a weekly column and uses it as the occasion for an essay. After a time, however, even Edmund Wilson no longer wrote frequently and regularly about…

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