? Why Has Arab Critical Taste Deteriorated and the Role of Critics Declined

By Ibrahim Hajjri – Moroccan Novelist and Researcher

Critical practice in literature and other fields, as is known, is governed primarily by the contexts that produce discourse and the prevailing values at the time. It is obviously futile to separate it from its surrounding philosophical, intellectual, social, and economic frameworks, as dominant values create their own standards in harmony with parallel authorities and impose their choices on individuals, who will act according to the dynamic process dictated by the produced discourse.

Thus, clinging to ideal standards and striving to apply them in a reality that does not align with their nature becomes an exercise in futility, akin to measuring barley with the tools used for gold, and vice versa.

In this context, we discuss the decline of literary criticism, the erosion of the ethics of the literary critic, the inconsistency of the critical work they produce, and, consequently, the collapse of the "charisma" that once characterized these individuals in terms of prestige, values, and function. On the first level, the critic no longer enjoys the same esteem in the cultural landscape and no longer commands the same respect once shown by writers and creators. Like other readers, they find that their critical work is no longer recognized due to the absence of the qualities that previously distinguished critical production. We are witnessing the era of the "death" of the critic, or rather the death of the role they once played in arbitration, evaluation, guidance, and articulating the artistic and creative value of literary works. The reverence for critics and their criticism has diminished, marred by disreputable influences.

Previously, the critic's role included evaluating texts before publication, as they often headed the cultural sections and supplements and presided over review committees for manuscripts at publishing houses and at the top of cultural and literary institutions. With the emergence of a new public medium—namely the digital platform—these responsibilities have been stripped from the critic, or their equivalents, as everyone now has the right to publish their work, regardless of its suitability for publication.

Publishing houses, too, have relinquished the role of reading committees, which has led to a proliferation of leniency in publishing and distribution and a diminishment of the pioneering role of evaluative processes. As a result, many well-known critics have become obscure figures, ignored by both the public and even when their critiques are valuable. This is because "writers," whether novice or established, no longer need the endorsement of critics to publish their work and distribute it among readers. Social media platforms, digital outlets, and personal blogs on the internet have replaced newspapers, magazines, and printed publications. Writers can now publish their work and engage with readers' reactions and comments in real-time.

The level of reading has declined, book circulation has waned, and electronic devices, TV series, and video games have consumed people's time, leading to the dominance of triviality as a hallmark of life, while serious cultural engagement has waned. This situation has contributed to the marginalization of the critic’s role, both in the public sphere and in institutions, including schools. Schools should prioritize training graduates in critical thinking and contemplation, but they have instead shifted to instilling passive consumer values and imparting knowledge in a superficial manner.

Gradually, this complacency has permeated daily life and reality. It is no secret that literature and art are inseparable parts of life, and they have inevitably been affected by these negative tendencies.

We must also not forget the significant role universities have played in the current state of literary criticism. Academic programs no longer foster the development of students capable of continuing research after graduation and contributing new insights or continuing the work of their predecessors. Many university professors do not engage in the required research activities or practice critical analysis through follow-ups and reviews. Most of their work is limited to traditional, consumer-oriented teaching that does not emphasize productive work or involve students in research paths or equip them with the skills to design their projects with critical awareness and personal input, avoiding mere repetition of past knowledge.

Undoubtedly, the decline of the intellectual's image in Arab societies and the marginalization of their leading role in evaluating and enhancing the scene, and in protecting taste from deviation, have allowed superficiality and triviality to prevail over time.

The interaction among members of this intellectual class and the public discussions they initiate on societal issues are what generate a critical dynamic that eventually becomes a collective concern. This context is essential for creating an aware and positive critical philosophy capable of nurturing taste and fostering diverse sensitivities, while constructively contributing to the establishment of high-quality artistic, literary, and creative paradigms that address people's questions, refine their understanding, challenge their preconceptions, and enable them to navigate the modern world with confidence and competence.

Unfortunately, such an atmosphere is absent in the Arab world. For all these reasons, the critic’s role has receded, their function has weakened, their critical performance has declined, and their contribution to fostering effective reflective processes has diminished. They have withdrawn from actively critiquing and assessing accomplishments in a coherent manner that serves the essential components and backgrounds. Instead, they chase personal interests and compromise their integrity and objectivity for gains beyond their original responsibilities, sacrificing their honest voice in society and tarnishing their image before a world that has always, and still, expects much from them. As a result, false evaluations have become widespread, lacking in artistic and aesthetic standards or logical sense, serving as mere acts of flattery.