Rhetorical Genre Is Pointless?

I probably would have posted this way earlier in the week, like back when we were actually discussing Miller actively, but I wanted to post the question all the same because her essay really interested me because, at least in how I read it, she hinted that attempts at creating and re-creating genre have become to problematic in their subjectivity and therefore... should be given up?  She doesn't outright say it, but it is heavily implied.  Humans and their natural need to sort things, even intangible and ungraspable things, into sorted categories has become the problem of genre.


She mentions that the goal of examining the problem of genre is to make “rhetorical genre a stable classifying concept” and “to ensure that the concept is rhetorically sound” (151), but then goes on to say how all sorting attempts have been to narrow-minded and confining and how all admittance to defeat is correct, such as the idea that “a collection of discourses may be sorted into classes in more than one way” (152).  After making that clear, she goes on to point out that discourse and situation are tied, but since discourse is an every-varying action and “genre becomes a complex of formal and substantive features that create a particular effect in a given situation” (153), that the possibilities for classification are too limited.

Late in her essay, she praises two critics because  “they do not attempt to provide a framework that will predict or limit the genres that might be identified” (153).

So, does that mean we should give up on classification of rhetorical/situational genre as a whole?  Or should critics be more open and their stratagems more flexible in order to satisfy her anti-limting criteria?  I was confused on this, and would be happy to hear other opinions on this, but that is the big puzzle for me.  Does Miller think we should give up on sorting genre, only because it would mean putting limits on a limitlessly developing social phenomena?  Or does she only prompt future critics of genre to build criteria that remain open and conscious of the never-ending changes to genre when rhetoric and situations (within the wider awareness of exigence) are always changing?