Cover image for How to read and why
Title:
How to read and why
Author:
Bloom, Harold.
Personal Author:
Publication Information:
New York : Scribner, [2000]

©2000
Physical Description:
283 pages ; 23 cm
Language:
English
ISBN:
9780684859064
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Item Holds
Searching...
PN83 .B55 2000 Adult Non-Fiction Non-Fiction Area
Searching...
Searching...
PN83 .B55 2000 Adult Non-Fiction Open Shelf
Searching...
Searching...
PN83 .B55 2000 Adult Non-Fiction Open Shelf
Searching...

On Order

Summary

Summary

At a time when faster and easier electronic media threaten to eclipse reading and literature, the author explores reasons for reading and demonstrates the aesthetic pleasure reading can bring.


Author Notes

Harold Bloom was born on July 11, 1930 in New York City. He earned his Bachelor of Arts from Cornell in 1951 and his Doctorate from Yale in 1955.

After graduating from Yale, Bloom remained there as a teacher, and was made Sterling Professor of Humanities in 1983. Bloom's theories have changed the way that critics think of literary tradition and has also focused his attentions on history and the Bible. He has written over twenty books and edited countless others. He is one of the most famous critics in the world and considered an expert in many fields. In 2010 he became a founding patron of Ralston College, a new institution in Savannah, Georgia, that focuses on primary texts.

His works include Fallen Angels, Till I End My Song: A Gathering of Last Poems, Anatomy of Influence: Literature as a Way of Life and The Shadow of a Great Rock: A Literary Appreciation of The King James Bible.

(Bowker Author Biography)


Reviews 4

Publisher's Weekly Review

This aesthetic self-help manual is a reliably idiosyncratic guide to what Yale literary critic Bloom calls "the most healing of pleasures"Ä reading well. In chapters that focus on short stories, poems, novels and plays, Bloom takes readers on a swift but satisfying joyride through the West's most outrageous, original and exuberant textsÄclassics by Chekhov, Flannery O'Connor, Borges, Dickinson, Proust, Ralph Ellison and Toni Morrison, among others. Unconventionally organized by literary genre, his text is passionately anecdotal and observant. By asking great questionsÄ"Why does Lady Bracknell delight us so much?"; "How does one read a short story?"ÄBloom hopes to influence our reading lists and habits. He gives some texts, such as Moby-Dick, almost cursory treatment; others he discusses at length. Fans of his bestselling Shakespeare: The Invention of the Human (1998) will find the lengthy discussion of Hamlet here to be a kind of coda. Overall, this book is a testament to Bloom's view that reading is above all a pleasurably therapeutic event. "Imaginative literature is otherness, and as such alleviates loneliness," he notes, reminding us of what's inexhaustible about writers such as Whitman and Borges and attesting to the satisfaction that literary texts offer our solitary selves. (June) (c) Copyright PWxyz, LLC. All rights reserved


Choice Review

Bloom (NYU and Yale) always has illuminating perceptions to share, but this book will not raise the critical storm of his The Anxiety of Influence (CH, Sep'73). An extension of Bloom's Shakespeare: The Invention of the Human (1998) and The Western Canon (CH, Feb'95), the present volume is a nonsystematic, nontheoretical medley of applied criticisms, often very readable and perceptive but uneven in quality. Bloom praises unstintingly works that have earned a place in his canon and adds Cormac McCarthy's Blood Meridian (1985) as the "authentic American apocalyptic novel" by "the worthy disciple both of Melville and of Faulkner." Introductions to four literary genres are impressionist prefaces to passionate discussions of nine short story writers, 18 poets, 15 novelists, and three dramatists. Bloom answers the "why" of his title by stating that "we read ... in order to strengthen the self and to learn its authentic interests." Self--and not societal--improvement is the rationale. Throughout, Shakespeare's presence dominates; he is Bloom's ultimate and unparalleled touchstone for the creation of character. Even Milton wrote a heroic epic only because he realized that "tragic drama in English had been usurped forever." Although slight in comparison with Bloom's existing achievement, the book is well worth reading. All collections. D. S. Gochberg; Michigan State University


Booklist Review

Bloom, the best-known literary critic of our time, shares his extensive knowledge of and profound joy in the works of a constellation of major writers, including Shakespeare, Cervantes, Austen, Dickinson, Melville, Wilde, and O'Connor in this eloquent invitation to readers to read and read well. Why read? Because "reading is the most healing of pleasures." How to read? Bloom offers a set of cogent principles, which includes the all-important reminder to free the mind of all ideology and cant and experience each literary creation on its own terms. He then lights the way in expert and passionate interpretations of short stories--grouping them in two schools: the Chekhovian (impressionistic) and the Borgesian (phantasmagorical)--poetry, "the crown of imaginative literature"; plays; and novels. Every analytical performance is exhilarating, and his essay on Proust is one of the most beautiful and insightful tributes to the restorative powers of literature ever written. Bloom's clear vision and abiding humanity support his belief that "only deep, constant reading fully establishes and augments an autonomous self." --Donna Seaman


Library Journal Review

In the tradition of Mortimer Adler's How To Read a Book and Clifton Fadiman's Lifetime Reading Plan, the indefatigable and irascible Bloom (Shakespeare: The Invention of the Human) offers his apologia for the art of reading well. Greatly saddened by contemporary academic criticism, where the "appreciation of Victorian women's underwear has replaced the appreciation of Charles Dickens and Robert Browning," Bloom stridently argues that "we read in order to strengthen the self, and to learn its authentic interests." For Bloom, as for his critical forbears Samuel Johnson, William Hazlitt, and Ralph Waldo Emerson, reading is a solitary act that fills life with zest and insight. He suggests five guiding principles for the restoration of reading and applies these principles to short stories, poems, plays, and novels. Each brief analysis is a finely crafted meditation on the power of great literature, and Bloom's assiduous interpretations of the works of Marcel Proust, Thomas Mann, and Stendhal, among others, will send readers running to the books themselves. Although Bloom's use of Shakespeare as a touchstone for his "canon" of great literature is sure to be controversial, his book presents a forceful argument for the power and delight of reading deeply. Highly recommended. [Previewed in Prepub Alert, LJ 2/1/00.]--Henry Carrigan, Lancaster, PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

Prologue: Why Read? It matters, if individuals are to retain any capacity to form their own judgments and opinions, that they continue to read for themselves. How they read, well or badly, and what they read, cannot depend wholly upon themselves, but why they read must be for and in their own interest. You can read merely to pass the time, or you can read with an overt urgency, but eventually you will read against the clock. Bible readers, those who search the Bible for themselves, perhaps exemplify the urgency more plainly than readers of Shakespeare, yet the quest is the same. One of the uses of reading is to prepare ourselves for change, and the final change alas is universal. I turn to reading as a solitary praxis, rather than as an educational enterprise. The way we read now, when we are alone with ourselves, retains considerable continuity with the past, however it is performed in the academies. My ideal reader (and lifelong hero) is Dr. Samuel Johnson, who knew and expressed both the power and the limitation of incessant reading. Like every other activity of the mind, it must satisfy Johnson's prime concern, which is with "what comes near to ourself, what we can put to use." Sir Francis Bacon, who provided some of the ideas that Johnson put to use, famously gave the advice: "Read not to contradict and confute, nor to believe and take for granted, nor to find talk and discourse, but to weigh and consider." I add to Bacon and Johnson a third sage of reading, Emerson, fierce enemy of history and of all historicisms, who remarked that the best books "impress us with the conviction, that one nature wrote and the same reads." Let me fuse Bacon, Johnson, and Emerson into a formula of how to read: find what comes near to you that can be put to the use of weighing and considering, and that addresses you as though you share the one nature, free of time's tyranny. Pragmatically that means, first find Shakespeare, and let him find you. If King Lear is fully to find you, then weigh and consider the nature it shares with you; its closeness to yourself. I do not intend this as an idealism, but as a pragmatism. Putting the tragedy to use as a complaint against patriarchy is to forsake your own prime interests, particularly as a young woman, which sounds rather more ironical than it is. Shakespeare, more than Sophocles, is the inescapable authority upon intergenerational conflict, and more than anyone else, upon the differences between women and men. Be open to a full reading of King Lear, and you will understand better the origins of what you judge to be patriarchy. Ultimately we read -- as Bacon, Johnson, and Emerson agree -- in order to strengthen the self, and to learn its authentic interests. We experience such augmentations as pleasure, which may be why aesthetic values have always been deprecated by social moralists, from Plato through our current campus Puritans. The pleasures of reading indeed are selfish rather than social. You cannot directly improve anyone else's life by reading better or more deeply. I remain skeptical of the traditional social hope that care for others may be stimulated by the growth of individual imagination, and I am wary of any arguments whatsoever that connect the pleasures of solitary reading to the public good. The sorrow of professional reading is that you recapture only rarely the pleasure of reading you knew in youth, when books were a Hazlittian gusto. The way we read now partly depends upon our distance, inner or outer, from the universities, where reading is scarcely taught as a pleasure, in any of the deeper senses of the aesthetics of pleasure. Opening yourself to a direct confrontation with Shakespeare at his strongest, as in King Lear, is never an easy pleasure, whether in youth or in age, and yet not to read King Lear fully (which means without ideological expectations) is to be cognitively as well as aesthetically defrauded. A childhood largely spent watching television yields to an adolescence with a computer, and the university receives a student unlikely to welcome the suggestion that we must endure our going hence even as our going hither: ripeness is all. Reading falls apart, and much of the self scatters with it. All this is past lamenting, and will not be remedied by any vows or programs. What is to be done can only be performed by some version of elitism, and that is now unacceptable, for reasons both good and bad. There are still solitary readers, young and old, everywhere, even in the universities. If there is a function of criticism at the present time, it must be to address itself to the solitary reader, who reads for herself, and not for the interests that supposedly transcend the self. Value, in literature as in life, has much to do with the idiosyncratic, with the excess by which meaning gets started. It is not accidental that historicists -- critics who believe all of us to be overdetermined by societal history -- should also regard literary characters as marks upon a page, and nothing more. Hamlet is not even a case history if our thoughts are not at all our own. I come then to the first principle if we are to restore the way we read now, a principle I appropriate from Dr. Johnson: Clear your mind of cant. Your dictionary will tell you that cant in this sense is speech overflowing with pious platitudes, the peculiar vocabulary of a sect or coven. Since the universities have empowered such covens as "gender and sexuality" and "multiculturalism," Johnson's admonition thus becomes "Clear your mind of academic cant." A university culture where the appreciation of Victorian women's underwear replaces the appreciation of Charles Dickens and Robert Browning sounds like the outrageousness of a new Nathanael West, but is merely the norm. A side product of such "cultural poetics" is that there can be no new Nathanael West, for how could such an academic culture sustain parody? The poems of our climate have been replaced by the body stockings of our culture. Our new Materialists tell us that they have recovered the body for historicism, and assert that they work in the name of the Reality Principle. The life of the mind must yield to the death of the body, yet that hardly requires the cheerleading of an academic sect. Clear your mind of cant leads on to the second principle of restoring reading: Do not attempt to improve your neighbor or your neighborhood by what or how you read. Self-improvement is a large enough project for your mind and spirit: there are no ethics of reading. The mind should be kept at home until its primal ignorance has been purged; premature excursions into activism have their charm, but are time-consuming, and for reading there will never be enough time. Historicizing, whether of past or present, is a kind of idolatry, an obsessive worship of things in time. Read therefore by the inner light that John Milton celebrated and that Emerson took as a principle of reading, which can be our third: A scholar is a candle which the love and desire of all men will light. Wallace Stevens, perhaps forgetting his source, wrote marvelous variations upon that metaphor, but the original Emersonian phrasing makes for a clearer statement of the third principle of reading. You need not fear that the freedom of your development as a reader is selfish, because if you become an authentic reader, then the response to your labors will confirm you as an illumination to others. I ponder the letters that I receive from strangers these last seven or eight years, and generally I am too moved to reply. Their pathos, for me, is that all too often they testify to a yearning for canonical literary study that universities disdain to fulfill. Emerson said that society cannot do without cultivated men and women, and prophetically he added: "The people, and not the college, is the writer's home." He meant strong writers, representative men and women, who represented themselves, and not constituencies, since his politics were those of the spirit. The largely forgotten function of a university education is caught forever in Emerson's address "The American Scholar," when he says of the scholar's duties: "They may all be comprised in self-trust." I take from Emerson also my fourth principle of reading: One must be an inventor to read well. "Creative reading" in Emerson's sense I once named as "misreading," a word that persuaded opponents that I suffered from a voluntary dyslexia. The ruin or blank that they see when they look at a poem is in their own eye. Self-trust is not an endowment, but is the Second Birth of the mind, which cannot come without years of deep reading. There are no absolute standards for the aesthetic. If you wish to maintain that Shakespeare's ascendancy was a product of colonialism, then who will bother to confute you? Shakespeare after four centuries is more pervasive than ever he was before; they will perform him in outer space, and on other worlds, if those worlds are reached. He is not a conspiracy of Western culture; he contains every principle of reading, and he is my touchstone throughout this book. Borges attributed this universalism to Shakespeare's apparent selflessness, but that quality is a large metaphor for Shakespeare's difference, which finally is cognitive power as such. We read, frequently if unknowingly, in quest of a mind more original than our own. Since ideology, particularly in its shallower versions, is peculiarly destructive of the capacity to apprehend and appreciate irony, I suggest that the recovery of the ironic might be our fifth principle for the restoration of reading. Think of the endless irony of Hamlet, who when he says one thing almost invariably means another, frequently indeed the opposite of what he says. But with this principle, I am close to despair, since you can no more teach someone to be ironic than you can instruct them to become solitary. And yet the loss of irony is the death of reading, and of what had been civilized in our natures. I stepped from Plank to Plank A slow and cautious way The Stars about my Head I felt About my Feet the Sea. I knew not but the next Would be my final inch -- This gave me that precarious Gait Some call Experience. Women and men can walk differently, but unless we are regimented we all tend to walk somewhat individually. Dickinson, master of the precarious Sublime, can hardly be apprehended if we are dead to her ironies. She is walking the only path available, "from Plank to Plank," but her slow caution ironically juxtaposes with a titanism in which she feels "The Stars about my Head," though her feet very nearly are in the sea. Not knowing whether the next step will be her "final inch" gives her "that precarious Gait" she will not name, except to tell us that "some" call it Experience. She had read Emerson's essay "Experience," a culmination much in the way "Of Experience" was for his master Montaigne, and her irony is an amiable response to Emerson's opening: "Where do we find ourselves? In a series of which we do not know the extremes, and believe that it has none." The extreme, for Dickinson, is the not knowing whether the next step is the final inch. "If any of us knew what we were doing, or where we are going, then when we think we best know!" Emerson's further reverie differs from Dickinson's in temperament, or as she words it, in gait. "All things swim and glitter," in Emerson's realm of experience, and his genial irony is very different from her irony of precariousness. Yet neither is an ideologue, and they live still in the rival power of their ironies. At the end of the path of lost irony is a final inch, beyond which literary value will be irrecoverable. Irony is only a metaphor, and the irony of one literary age can rarely be the irony of another, yet without the renaissance of an ironic sense more than what we once called imaginative literature will be lost. Thomas Mann, most ironic of this century's great writers, seems to be lost already. New biographies of him appear, and are reviewed almost always on the basis of his homoeroticism, as though he can be saved for our interest only if he can be certified as gay, and so gain a place in our curriculum. That is akin to studying Shakespeare mostly for his apparent bisexuality, but the vagaries of our current counter-Puritanism seem limitless. Shakespeare's ironies, as we would expect, are the most comprehensive and dialectical in all of Western literature, and yet they do not always mediate his characters' passions for us, so vast and intense is their emotional range. Shakespeare therefore will survive our era; we will lose his ironies, and hold on to the rest of him. But in Thomas Mann every emotion, narrative or dramatic, is mediated by an ironic aestheticism; to teach Death in Venice or Disorder and Early Sorrow to most current undergraduates, even the gifted, is nearly impossible. When authors are destroyed by history, we rightly call their work period pieces, but when they are made unavailable through historicized ideology, I think that we encounter a different phenomenon. Irony demands a certain attention span, and the ability to sustain antithetical ideas, even when they collide with one another. Strip irony away from reading, and it loses at once all discipline and all surprise. Find now what comes near to you, that can be used for weighing and considering, and it very likely will be irony, even if many of your teachers will not know what it is, or where it is to be found. Irony will clear your mind of the cant of the ideologues, and help you to blaze forth as the scholar of one candle. Going on seventy, one doesn't want to read badly any more than live badly, since time will not relent. I don't know that we owe God or nature a death, but nature will collect anyway, and we certainly owe mediocrity nothing, whatever collectivity it purports to advance or at least represent. Because my ideal reader, for half a century, has been Dr. Samuel Johnson, I turn next to my favorite passage in his Preface to Shakespeare: This, therefore, is the praise of Shakespeare, that his drama is the mirror of life; that he who has mazed his imagination in following the phantoms which other writers raise up before him may here be cured of his delirious ecstasies by reading human sentiments in human language, by scenes from which a hermit may estimate the transactions of the world and a confessor predict the progress of the passions. To read human sentiments in human language you must be able to read humanly, with all of you. You are more than an ideology, whatever your convictions, and Shakespeare speaks to as much of you as you can bring to him. That is to say: Shakespeare reads you more fully than you can read him, even after you have cleared your mind of cant. No writer before or since Shakespeare has had anything like his control of perspectivism, which outleaps any contextualizations we impose upon the plays. Johnson, admirably perceiving this, urges us to allow Shakespeare to cure us of our "delirious ecstasies." Let me extend Johnson by also urging us to recognize the phantoms that the deep reading of Shakespeare will exorcise. One such phantom is the Death of the Author; another is the assertion that the self is a fiction; yet another is the opinion that literary and dramatic characters are so many marks upon a page. A fourth phantom, and the most pernicious, is that language does the thinking for us. Still, my love for Johnson, and for reading, turns me at last away from polemic, and towards a celebration of the many solitary readers I keep encountering, whether in the classroom or in messages I receive. We read Shakespeare, Dante, Chaucer, Cervantes, Dickens, Proust, and all their peers because they more than enlarge life. Pragmatically, they have become the Blessing, in its true Yahwistic sense of "more life into a time without boundaries." We read deeply for varied reasons, most of them familiar: that we cannot know enough people profoundly enough; that we need to know ourselves better; that we require knowledge, not just of self and others, but of the way things are. Yet the strongest, most authentic motive for deep reading of the now much-abused traditional canon is the search for a difficult pleasure. I am not exactly an erotics-of-reading purveyor, and a pleasurable difficulty seems to me a plausible definition of the Sublime, but a higher pleasure remains the reader's quest. There is a reader's Sublime, and it seems the only secular transcendence we can ever attain, except for the even more precarious transcendence we call "falling in love." I urge you to find what truly comes near to you, that can be used for weighing and for considering. Read deeply, not to believe, not to accept, not to contradict, but to learn to share in that one nature that writes and reads. Copyright © 2000 by Harold Bloom Excerpted from How to Read and Why by Harold Bloom All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

Miguel de CervantesStendhalJane AustenCharles DickensFyodor DostoevskyHenry JamesMarcel ProustThomas MannWilliam ShakespeareHenrik IbsenOscar WildeHerman MelvilleWilliam FaulknerNathanael WestThomas PynchonCormac McCarthyRalph EllisonToni Morrison
Prefacep. 19
Prologue: Why Read?p. 21
I. Short Stories
Introductionp. 31
"Bezhin Lea"p. 32
"Kasyan from the Beautiful Lands"p. 34
"The Kiss"p. 37
"The Student"p. 39
"The Lady with the Dog"p. 40
"Madame Tellier's Establishment"p. 43
"The Horla"p. 44
"Hills Like White Elephants"p. 46
"God Rest You Merry, Gentlemen"p. 47
"The Snows of Kilimanjaro"p. 48
"A Sea Change"p. 50
"A Good Man Is Hard to Find"p. 52
"Good Country People"p. 52
"A View of the Woods"p. 53
Vladimir Nabokovp. 54
"The Vane Sisters"p. 54
"Tlon, Ugbar, Orbis Tertius"p. 58
"Gogol's Wife"p. 61
Invisible Citiesp. 62
Summary Observationsp. 65
II. Poems
Introductionp. 69
Housman, Blake, Landor, and Tennysonp. 70
"Into My Heart an Air That Kills"p. 71
"The Sick Rose"p. 71
"On His Seventy-fifth Birthday"p. 72
"The Eagle"p. 73
"Ulysses"p. 74
"Childe Roland to the Dark Tower Came"p. 79
Song of Myselfp. 89
Dickinson, Btonte, Popular Ballads, and "Tom O'Bedlam"p. 94
Poem 1260, "Because That You Are Going"p. 95
"Stanzas: Often Rebuked, Yet Always Back Returning"p. 97
"Sir Patrick Spence"p. 99
"The Unquiet Grave"p. 102
"Tom O'Bedlam"p. 104
Sonnet 121, "'Tis Better to Be Vile Than Vile Esteemed"p. 111
Sonnet 129, "Th' Expense of Spirit in a Waste of Shame"p. 113
Sonnet 144, "Two Loves I Have, of Comfort and Despair"p. 114
Paradise Lostp. 116
"A Slumber Did My Spirit Seal"p. 121
"My Heart Leaps Up When I Behold"p. 123
The Rime of the Ancient Marinerp. 124
Shelley and Keatsp. 129
The Triumph of Lifep. 129
"La Belle Dame Sans Merci"p. 134
Summary Observationsp. 138
III. Novels, Part I
Introductionp. 143
Don Quixotep. 145
The Charterhouse of Parmap. 150
Emmap. 156
Great Expectationsp. 162
Crime and Punishmentp. 166
The Portrait of a Ladyp. 173
In Search of Lost Timep. 181
The Magic Mountainp. 187
Summary Observationsp. 193
IV. Plays
Introductionp. 199
Hamletp. 201
Hedda Gablerp. 218
The Importance of Being Earnestp. 224
Summary Observationsp. 231
V. Novels, Part II
Moby-Dickp. 235
As I Lay Dyingp. 239
Miss Lonelyheartsp. 245
The Crying of Lot 49p. 249
Blood Meridianp. 254
Invisible Manp. 263
Song of Solomonp. 269
Summary Observationsp. 272
Epilogue: Completing the Workp. 277