Why Corey Olsen harms Tolkien Studies

For some time now, a literature professor called Corey Olsen, who styles himself the “Tolkien Professor” (as though he were the only one deserving of the appellation) has been releasing podcasts and other material related to his work on author JRR Tolkien. Olsen appears to have quite a following these days. He has developed a new online “university” aimed at providing humanities content to fee-paying students, and more recently he has produced the “Riddles in the Dark” podcasts, which examine the Jackson Hobbit films. I was, at first, an admirer of Olsen, but over the last three or so years I have gradually changed my mind.

In the last two posts I examined Olsen’s treatment of the Turin story, and argued that his appreciation thereof is limited by his incessant need to Christianize Tolkien’s work, even in places where Tolkien’s ambiguous moral outlook is most apparent. He omits evidence and seems unaware of the scholarly opinions of others which might be pertinent to the issues he discusses. However, Olsen’s treatment of the Turin tale is merely symptomatic of a wider set of unfortunate trends which should disabuse his listeners of the notion that Olsen is in any way a proper Tolkien ‘scholar’. In this post, I will list several of these trends and discuss each in turn. I argue that Olsen’s sub-scholarly standards give a bad name to Tolkien studies and perpetuate stereotypes about it which are unhelpful. In the meantime, Olsen distracts from the great scholarship that is actually being done by luminaries like Michael Drout and Dimitra Fimi.

1. Failure to cite or discuss other scholarship.

Although Olsen has occasionally hosted podcast discussion with other Tolkien scholars (the aforementioned Mike Drout) his own work shows no signs of critical dialogue with the field. We might forgive this in his early, well produced Hobbit lecture series, but his teaching at Mythgard (I have taken a couple of his classes) leaves much to be desired. He seems stuck in a kind of New Criticism rut, wherein only ‘close reading’ counts as real scholarship. Never in my experience has he cited or discussed the works of other scholars in any detail. He has occasionally mentioned Doug Anderson and the History of the Hobbit by John Rateliff, but these authors are never engaged with seriously in his teaching or scholarly work.

However, Olsen’s greatest sin in this regard was to publish an introductory ‘close reading’ of the Hobbit without ever citing Hobbit scholarship in the text itself, despite it being a very fruitful area of Tolkien studies. Jason Fisher pointed this out in his review of the book in the journal Tolkien Studies, but Olsen was predictably silent on the criticism. When I posted on Fisher’s blog about this, several of Olsen’s fans (for that is what they are) decided to chime in and defend Olsen on the basis of the work’s popular appeal. But no scholarly work, however much it is aimed at the popular audience, should ever ignore the scholars who have come before. The very basis of scholarship is the critical back and forth, debate, discussion, and conversation. But Olsen refuses to have a debate or a discussion in his book.

Why is this important? Because literary scholarship is a part of the liberal arts, which seek to inquire into human art and production, human being and value. The very basis for the liberal arts consist in embracing the critical eye, of turning the scholarly apparatus toward the work in question and the interpretations of others. Olsen presents his own vision as though it were definitive, and seems to believe that the superior scholarship that has come before may be laid aside.

2. Olsen surrounds himself with yes-men

This critique is especially true of the Riddles in the Dark podcast, where his co-hosts, Dave and Trish, regularly defer to Olsen’s frequent monologues. Although the heinous quality of the last Hobbit film finally extracted some criticism from Olsen, the whole philosophical edifice which he sets up in the podcast remains unquestioned. By and large, this consists in his aversion to “crit-fic”. For Olsen, crit-fic involves the manufacture of spurious theories about film making or financial motivations on the part of the script writers or (say) the studios in order to explain some defect in the film. So, for example, Olsen accuses “purists” (he always uses this time in a derogatory manner) of missing the point when they argue that a two film treatment of the Hobbit movies might have been tighter and more focused than the bloated three film monstrosity it became. Instead, says Olsen, we should only look at the films as they are, and use what he calls “analysis” to understand them. In what does this “analysis” consist? Well, close-reading. As in his approach to written text, Olsen’s approach to the films completely omits context and assumes that all speculations based on the film-making choices of the script-writers/directors etc. are founded in ignorance. This is obviously absurd. Films are not produced in vacuums, and not every script-writing decision is based in some sort of careful story consideration. Film making involves a tension between artistic endeavor and other kinds of considerations, all of which are rather well understood by film scholars. It is Olsen who displays ignorance is assuming that this context fails to have any bearing on the outcome of the film.

However, a more sinister and reprehensible motivation appears hide behind “crit-fic”. Frequently in the podcast (see the final episode as an example) the co-hosts will obsequiously apologize for “doing crit-fic” as though Olsen’s word were the last on the topic, and completely unassailable. This is just nonsense. For Olsen, crit-fic is a means of making his own arbitrary interpretive philosophy the only game in town, and thereby to shut down critics and even his co-hosts.

Although I would not accuse Olsen of deliberately fostering an environment of critical complacency, it is clear that, at Mythgard and elsewhere, Olsen has done very little to actually change this culture and introduce voices critical of his own ideas. The whole enterprise rests on the mighty ego of Olsen himself.

3. Fanboyism

It is great to be a fan of franchises or books that are enjoyable and produce satisfaction. However, the ingratiating attitude of fandom is not always the best when approaching a literary work as a scholar. This is not to argue that scholars should always maintain some kind of emotional numbness toward the works that they find pleasure in (look at the the Jane Austen scholarship these days, I bet most of the literature professors studying her loved her work growing up) but rather that the saccharine, shallow attitude fans all too often bring to a ‘legendarium’ should be avoided.

This isn’t as true of Tolkien fandom as it is for other franchises, although even Tolkien scholars have occasionally been infected by the compulsion to ‘raise a glass’ to the Professor and treat him as an unassailable icon of literary brilliance. Unfortunately, this tendency has crept into Olsen’s podcasting and his teaching.

However, the worst of this trend is not directed toward Tolkien, but toward Olsen himself. Just as Olsen is surrounded by yes-men, the culture is made worse by the grovelling fandom that has developed around the podcast and now, Signum “university”. Far from this enterprise being an endeavor in providing quality education to the masses, it is a platform for Olsen to spout his ideas to fawning fans who are predisposed to agree with everything he says. This is not a new open university, a new Coursera, a new venue for critical thinking. Olsen’s online educational endeavours are produced by and for his fans. Once again, Olsen himself is the ego at the centre of everything.

Why this hurts Tolkien Studies

As a young field of scholarship, Tolkien studies is only now beginning to find its feet. The fantastic journal Tolkien Studies regularly produces great scholarship, and more scholars than ever are producing quality monographs engaging with various hard problems in Tolkien’s fiction. Meanwhile, anthologies and reference works have started to appear. This is all great stuff, but Olsen puts the reputation of the whole project in jeopardy by promulgating his oversimplified, fawning, fanboy-wridden version of Tolkien scholarship. At the beginning, during the 60s and 70s Tolkien studies did consist in fan produced “scholarship”, often appearing in zines or other magazines. Now that it has grown into a respectable discipline, it would be unfortunate if the progress that has been achieved in universities and in publishing were hurt by Olsen’s anti-intellectualism.

Although the field has (by and large) embraced Olsen, I think many top scholars like Drout, Shippey and others need to reconsider their support for Olsen’s project. The sycophantic cult that has grown up around the podcast and the Mythgard academy/university system is ugly to behold.  I urge these great scholars to disassociate themselves from Mythgard and continue their great work elsewhere.

Advertisements

One thought on “Why Corey Olsen harms Tolkien Studies

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s