How to Read and Why

How to Read and Why

2.8 5
by Harold Bloom

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Information is endlessly available to us; where shall wisdom be found?" is the crucial question with which renowned literary critic Harold Bloom begins this impassioned book on the pleasures and benefits of reading well. For more than forty years, Bloom has transformed college students into lifelong readers with his unrivaled love for literature. Now, at a time

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Information is endlessly available to us; where shall wisdom be found?" is the crucial question with which renowned literary critic Harold Bloom begins this impassioned book on the pleasures and benefits of reading well. For more than forty years, Bloom has transformed college students into lifelong readers with his unrivaled love for literature. Now, at a time when faster and easier electronic media threatens to eclipse the practice of reading, Bloom draws on his experience as critic, teacher, and prolific reader to plumb the great books for their sustaining wisdom.
Shedding all polemic, Bloom addresses the solitary reader, who, he urges, should read for the purest of all reasons: to discover and augment the self. His ultimate faith in the restorative power of literature resonates on every page of this infinitely rewarding and important book.

Editorial Reviews

From the Publisher
Michael Pakenham The Baltimore Sun Superb...A wonderful, entertaining book...extraordinarily wise, nourishing, and beautiful.

John Sutherland The Washington Post Book World Harold Bloom is one of the great literary critics of his time...How to Read and Why is...the testament of a veteran.

John Banville The Irish Times Bloom is one of the last...of his of the greatest educators of our time...Wonderful...Bloom writes with passion of those writers whom he loves, and whose work for him affirms life.

Publishers Weekly - Publisher's Weekly
This aesthetic self-help manual is a reliably idiosyncratic guide to what Yale literary critic Bloom calls "the most healing of pleasures"-- 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 texts--classics 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 questions--"Why does Lady Bracknell delight us so much?"; "How does one read a short story?"--Bloom 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) Copyright 2000 Cahners Business Information.|
Library Journal
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 Copyright 2000 Cahners Business Information.\
Adam Begley
Why read Bloom? Because Bloom at his best, when you watch over his shoulder as he makes meaning out of the lines of a poem, is a wizard. Because even bad Bloom trails sparks of brilliance. Because he does insist in a world where judging by taste is shunned as invidious, on the importance of aesthetic choice. And because his trademark mantra about how to read, "There is no method except yourself"—a mantra he was repeating to his students decades before the word "best seller" ever flashed through his outsize brain—is a bold liberation from the airless squeeze of the classroomand a thrilling challenge to any reader who yearns to make the self stronger.
The New York Observer
Kirkus Reviews
The prolific critic Bloom (Shakespeare, 1998, etc.) has courted controversy in the last few years with his denunciations of the politically correct "School of Resentment" that now dominates most universities—and he has not been discreet in his attacks on many of the writers (such as Toni Morrison) that this school holds in highest esteem. Here, he carries his arguments to an even more fundamental level, demanding that we consider what the point and purpose of literature can be in an age where information has gone far beyond the verbal forms in which literature subsides. "Information is endlessly available to us," he points out, "where shall wisdom be found?" Naturally, Bloom finds it in the great writers of the Western tradition, and he proceeds to tell us just how great they (i.e., Hemingway, Shakespeare, Faulkner, Austen, Dickens, Chekhov, Cervantes, etc.) are—and why. As with most of Bloom's more recent works, the great controversy here is not what he says, but whom he chooses to say it about, and the many debates that he will set off are likely not to get past his table of contents. Which will be a pity, frankly, because Bloom's insights into just about anything can be worth all of his postures. A molehill of old lectures—some of them brilliant, all of them at least worth skimming through—that will probably get made into a mountain of academic politics.

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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

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M.H. Abrams
To read Harold Bloom's commentaries... is like reading classics by flashes of lightning.

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How to Read and Why 2.8 out of 5 based on 0 ratings. 5 reviews.
Guest More than 1 year ago
I bought this book thinking that it would be a guide to better appreciate literature. I was wrong. I'm about to finish up a second graduate degree but I found it almost impossible to read this book. The tone was pompous and while it does discuss the pleasures of reading, the amount of digressions in this book is distracting. I do not recommend this book.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
I had to read this book for AP english 3 (of high school). I'm in a book club and i love books. But this book was toture. The guy basically gives you a little review of the story in a paragrah and then compares the writer to shakespere or whoever. He's doing this on and on through the book. It's annoying and it seems like he's pressuring the information on the reader. I didnt like that at all. So for my class, I'm just going to read the "summary" parts and skip everything else. I'm dreading it. He goes back and forth on his opioions and keeps talking about how this or that writer is like shakespere. Don't read it if you don't have to.
Guest More than 1 year ago
Bloom's book on the guiding principles of how to read and why is an effort to elucidate the great meaning and subsequent pleasure derived from literature for the solitary reader. While one realizes that any attempt to fully explain the importance of reading in some 300 pages can only achieve so much (not that 1000 more could make up the difference), I found the preface and introduction to the book particularly useful. Most important advice offered: Do not read to believe or disbelieve, but rather to consider, and make later judgements based on those considerations. Bloom's approach is rather academic, but I believe he does so in order to keep his commentary close to his own life experience- he is a professor at Yale. I suggest borrowing this one from the library before you run out to buy it- read some of the original works he comments on, then read his commentary- in the context of each section's intro and summary observations. Bloom is very earnest in his reading, and though worth your time TO CONSIDER, it not a book for the unambitious reader.