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READING

“A truly great novel is a story to the simple, a parable to the wise, a direct revelation of reality to the person who has made it part of his or her being.”

“The novel is a work of fiction in which the imagination and the intellect combine to express life in the form of a story; the imagination is always directed and controlled by the intellect. It is interested chiefly, not in romance and adventure, but in men and women as they are; it aims to show the motives and influences which govern human life, and the effects of personal choice upon character and destiny. Such is the true novel; and, as such, it opens a wider and more interesting field than any other type of literature.”

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“The novel is the extended story of a group of individualized characters who are made to come alive in a normal background, and whose personalities interact on one another toward a specific outcome. The ultimate test of a true novel is its character drawing. In a good novel the incidents must be not only possible but probable; in a great novel, they must be inevitable.”

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From “The Writer’s Task,” An Address by Bernard Malamud, author, March 1959:

“It seems to me that the writer’s most important task, no matter what the current theory of man, or his prevailing mood, is to recapture his image as human being as each of us in his secret heart knows it to be, and as history and literature have from the beginning revealed it. At the same time, the writer must imagine a better world for men while he shows us, in all its ugliness and beauty, the possibilities of this. In re-creating the humanity of man, in reality his greatness, he will, among other things, hold up the mirror to the mystery of him, in which poetry and possibility live, though he has endlessly betrayed them. In a sense, the writer in his art, without directly stating it–though he may preach, his work must not–must remind man that he has, in his human striving, invented nothing less than freedom; and if he will devoutly remember this, he will understand the best way to preserve it, and his own highest value.”

   

In the study of literature, using the PSYCHOLOGICAL approach, one type of critic places emphasis upon subjective perception and emotional response to an aesthetic experience.

The “objects” of study are

the writer/author/artist

the work (characters/personae)

the reader/viewer and reactions/responses

in addition to the study of the creative process.

Literature helps us reveal ourselves to ourselves; yet literature often is expressing the author’s unconscious in symbolic terms without awareness. Images, connotations, desires, repressions become significant in a work.

HOW IT ALL WORKS (in a “perfect” situation):

The literary work is presented as a text. We use knowledge of the language to perceive the text as things we know in life/reality. Consciously we supply an intellectual meaning to the text by the process of abstraction.

We supply theme/meaning by thinking about the work as a separate entity: We reality test it. We experience the work by INTROJECTION, taking it into ourselves, feeling the nucleus of fantasy and the formal management of that fantasy as though it were our own. By ANALOGIZING, we bring to the work our own highly individualized fantasies.

Fantasies are not “good” or “bad”: only those that please or displease. So “good” now means that which pleases, and pleases for a long time.

However, MEANING is not there simply: it is something we construct for the text within the limits of the text. It is transforming unconscious relevancy to conscious relevancy.

So: “literary meaning” conveys an idea that all the details of the work are “about,” a “point” to which all the individual words, or events, or images in a literary work are RELEVANT.

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by Robert Heinlein: Stranger in a Strange Land, 1961

In 1962, Stranger in a Strange Land won the 1962 Hugo Award for Best Novel–and became the first science fiction novel to enter The New York Times Book Review‍ ’​s best-seller list.

In 2012, it was included in a Library of Congress exhibition of “Books That Shaped America.”

“I was not giving answers. I was trying to shake the reader loose from some preconceptions and induce him to think for himself, along new and fresh lines. In consequence, each reader gets something different out of that book because he himself supplies the answers … It is an invitation to think – not to believe.”

“In the absence of clearly-defined goals, we become strangely loyal to performing daily trivia until ultimately we become enslaved by it.”– —Robert Heinlein

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“The great books are those that tradition, and various institutions and authorities, have regarded as constituting or best expressing the foundations of Western culture…derivatively the term also refers to a curriculum or method of education based around a list of such books.

Mortimer Adler lists three criteria for including a book on the list:

the book has contemporary significance; that is, it has relevance to the problems and issues of our times;

the book is inexhaustible; it can be read again and again with benefit;

the book is relevant to a large number of the great ideas and great issues that have occupied the minds of thinking individuals for the last 25 centuries.” [Wikipedia]

TODAY:  In Defense of a Liberal Education (2015) by Fareed Zakaria is a “great book.”

YESTERDAY:  The Idea of A University (1854) by John Henry Newman is a “great book.”

Here are some other “Great Books”:

Classical/Old Fashioned, but not-outdated sources for reading/reading skills:

Art and Reality— Joyce Cary (1957)

The Dynamics of Literary Response--Norman N. Holland (1968)

Great Books–David Denby (1996)

How to Read a Book–Mortimer J. Adler and Charles Van Doren (1940; 1972)

Literature as Exploration–Louise M. Rosenblatt (1937; 1968)

On Moral Fiction–John Gardner (1978)

Perspectives in Contemporary Criticism–Sheldon Norman Grebstein (1968)

Principles of Literary Criticism–Lacelles Abercrombie (1932; 1960)

Understanding Fiction–Cleanth Brooks and Robert Penn Warren (1943; 1959)

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