[Following "The Writer's Technique in Thirteen Theses," another thirteen for book reviewers. To call the irony "savage" would be far too gentle – but is Benjamin uniformly ironical?]
The Critic's Technique in Thirteen Theses
I. The critic is the strategist in the literary battle.
II. He who cannot take sides should keep silent.
III. The critic has nothing in common with the interpreter of past cultural epochs.
IV. Criticism must talk the language of artists. For the terms of the cénacle are slogans. And only in slogans is the battle-cry heard.
V. "Objectivity" must always be sacrificed to partisanship, if the cause fought for merits this.
VI. Criticism is a moral question. If Goethe misjudged Hölderlin and Kleist, Beethoven and Jean Paul, his morality and not his artistic discernment was at fault.
VII. For the critic his colleagues are the higher authority. Not the public. Still less posterity.
VIII. Posterity forgets or acclaims. Only the critic judges in face of the author.
IX. Polemics mean to destroy a book using a few of its sentences. The less it has been studied, the better. Only he who can destroy can criticize.
X. Genuine polemics approach a book as lovingly as a cannibal spices a baby.
XI. Artistic enthusiasm is alien to the critic. In his hand the artwork is the shining sword in the battle of the minds.
XII. The art of the critic in a nutshell: to coin slogans without betraying ideas. The slogans of an inadequate criticism peddle ideas to fashion.
XIII. The public must always be proved wrong, yet always feel represented by the critic.
–One-Way Street, trans. Edmund Jephcott, Selected Writings, Volume 1: 1913-1926, ed. Marcus Bullock and Michael W. Jennings (Cambridge: Belknap P of Harvard UP, 1996) 460-1.