Tag Archives: novels

Why lit classes should teach bad novels

Looking though a catalog of books for use in English classrooms, I saw many of the old classics. Here are the contents of a bundle of books labeled “Common Core Literature Pack for Grades 9 and 10“:

The Odyssey, The Best of O. Henry, The Metamorphosis, The Grapes of Wrath,  Fahrenheit 451, Things Fall Apart, To Kill a Mockingbird, The Killer Angels, The Joy Luck Club, Oedipus Rex, Macbeth, A Doll’’s House, The Glass Menagerie, Great American Poems, I Know Why the Caged Bird Sings, Great Speeches

This list seems tedious — it’s hard to imagine 14- and 15-year-old humans getting excited about reading Sophocles, Shakespeare, Ibsen, or Tennessee Williams — but this list is certainly full of books that are commonly considered to be worth teaching. These are good books, worthy of the title “literature.”

The tenth graders I’m teaching now are currently reading “Of Mice and Men,” another classic that this catalog company describes as “one of America’s most well-known naturalist stories.” As we read and discuss this book, I guide students in finding “textual evidence” to support their judgments of characters and their interpretations of themes. And Steinbeck’s novel/novella is very tightly structured; as I’m rereading this book this semester, I can see that Steinbeck foreshadows in the first 16 pages almost everything that will happen in the next 91.

The story works in the sense that readers can accept the text’s storytelling logic. Once these strongly defined characters are set together, they act on each other in ways that make sense. Curley starts a fight with Lennie because that’s what Curley likes to do, pick fights, we’re told. And once Lennie fights back and hurts him, Curley seeks revenge. This all makes sense (if maybe perhaps it’s a little too pat, too easy) and we readers are able to suspend our disbelief enough to accept this story as an entity worth discussing.

This isn’t always easy to do, as writers of fiction would acknowledge. It’s not hard to put words down on paper and say that one has written a story, but convincing readers that such a text is actually a story is a different matter. What exists on paper as merely words must build into a kind of (paradoxical) imaginary quasi-reality in a reader’s mind in order for a reader to think that there are “people” behind the words “George” and “Lennie,” and thus, to care about those people. (Perhaps psychologically, we readers think of fictional characters the way we think of our friends and family members who aren’t physically present to us. Maybe “Lennie” is a concept like my Dad, dead now 15 years, is a concept to me — it’s just that I also have a concept that my Dad was once alive, and Lennie never was. But, of course, it’s more complicated than that, because “Lennie” isn’t merely a fictional idea, either, as Steinbeck once said, “The characters are composites to a certain extent. Lennie was a real person. He’s in an insane asylum in California right now. I worked alongside him for many weeks. He didn’t kill a girl. He killed a ranch foreman.”)

A text that doesn’t convince readers it is a functioning story isn’t a story at all — it’s the literary equivalent of a set of car parts that can’t drive anybody anywhere. But when those car parts are properly assembled, they produce a machine that works, that functions. The physical objects, acting in consistent ways (we describe these ways as laws of physics), can produce motions that seem useful to us — namely, by moving us. But when a text works in conveying a usefully coherent story to readers, is it acting according to some psychological laws? Some thinkers, including Aristotle, this guy, here and here and here, have tried to discern the laws of making a satisfying story. But if there existed an adequate explanation of how to make stories that are effective and attractive to audiences, certainly book publishers would not make books that don’t sell. Even when a new story may follow the model of an familiar story that works, this may feel too formulaic for readers to really engage with the story. Readers may stay aware of the text as a text, not transmuting into story.

If literature students read only those novels that are good, that are judged to have succeeded, students are studying the effects produced by a text — the story — rather than the text itself. To continue the car analogy, it’s as if students experienced riding in the car but didn’t look at the parts of the car, or how the parts contribute to the car working, except as how the car parts affect the car rider’s experience. Saying “Lennie kills the girl because he likes to pet soft things and he gets carried away” is like saying “I could see out the windshield because the dashboard doesn’t rise too high” — both of these things are explicit to readers and riders (and these things are obvious to a more experienced reader, but maybe not to inexperienced students in schools. On the other hand, maybe part of what literature instruction is trying to do is to get students to make their implicit understandings explicit).

If we really want students to understand how fiction texts work, maybe we should have them read novels that aren’t good, novels that don’t really lead readers to suspend disbelief and fully engage in the story. By reading only good novels, students might see how a writer intends them to interpret the story’s text, but students might not see how the writer constructs and even manipulates the story to produce certain effects in the reader (for example, why did Steinbeck’s novel deviate from the facts of the story of real-life Lennie mentioned above? Is Steinbeck, as author, trying to tell readers what they should think, as opposed to just describing what happened? What is the point of fiction, anyway?) Students  are learning to follow the text’s decoding instructions, but maybe students should also be wondering why these instructions are there, and are the way they are.

As someone who teaches classes both in reading fiction and in writing fiction, I’m often looking at published novels by adopting the perspective of a writer, by which I mean that I want to see how the text was made, how it works. In literature classes, novels are often presented as inherently valuable, as worth the class’s time to study, and thus it’s easy to see why lit students would start to think of writers of these assigned novels as Great Writers, and thus the mythology around these writers builds (into its own story). In becoming a writer myself, however, I had to tear down this mythology and realize that Steinbeck and other writers were my peers, not my unassailable geniuses. And in a literature class, readers often treat the text as being complete, or perfect, as they find it in the published version. It makes sense for readers to approach texts this way, and yet, writers often view texts as imperfect, as infinitely revisable. This is perhaps what Valery meant by “a poem is never finished, only abandoned.” For instance, Whitman published multiple editions of “Leaves of Grass,” in which poems changed significantly between editions. It may give literature students a more realistic view of the novel to see it both as a reader and as a writer.

Links: Anonymity, long fiction, obsession, unicorns, clownfish

1. A memoir-essay about the writer’s obsessive worrying about things she feared she might do.

2. Unicorns: Invented by mistranslation.

3. There are lots of terrible lecture classes. But when lecturing is done well, it can work very well.

4. Clownfish change sex from male to female. This would give “Finding Nemo” a very different vibe.

5. Why people read long fiction, by Salon’s Laura Miller:

Part of the allure is simple gluttony: If you’re loving a book, it’s delightful to know that there’s plenty of it. But I believe there’s also an inherent appeal in fat novels, something that only written fiction can offer and that short stories, for all their felicities, aren’t able to provide. You can be swallowed up by a long novel, immersed in the world its author has created in a fashion that no other medium can rival. No, not even boxed sets of HBO series consumed in day-long binges! This immersion reminds many of us of our first, luxuriant plunges into books as children, and any author who can take us back to the place where we forget where we are and how much time has passed will pretty much have us eating out of her hand for good.

The pleasure readers find in this experience is often disdained by literary critics because it tends to hijack your ability to regard and evaluate the book as a work of art. You don’t want to think about the person who created it or what techniques he’s using or how this particular novel fits into a larger cultural or historical tradition. What you want is for your critical distance to fall by the wayside and for the author’s imagined reality to supplant your own. This is what some people refer to as the “willing suspension of disbelief,” even though the coiner of that phrase, Samuel Taylor Coleridge, meant it to apply only to well-told stories with elements of the fantastic, things that could never really happen. …

Much of the special appeal of a good long novel is rooted in the imaginative dynamics of reading fiction — assuming, that is, that you’re reading for the particular form of pleasure I’m celebrating here. The moment a reader turns to the first page of any novel, an intricate dance begins. “Do I believe this?” might be the first thing the reader asks. “Do I care?” is surely, then, the second. A character and a conflict are the most reliable way to lure the reader further into the story, but a setting, if skillfully evoked, can do the job, too: David Copperfield’s cold stepfather, Jane Eyre’s stifled pride, the glittering ballrooms of Tolstoy’s Russia, the threat posed to Middle-earth. Gradually, the words on the page stop being words on the page and seem to enter our minds as wholly formed sights and sounds and feelings.

It takes a while to become so invested, and it often doesn’t happen at all. Getting there is work, like pulling a sled up a hill, but when (and if) you crest the top, it’s a splendid ride from there. The problem with a short story is that even if the author does manage to seduce you into believing in her fictional mirage, it’s over almost as soon as you take a seat on the sled. A long novel promises an extended tour, and the ratio of ramp-up to glide is much lower. Of course, most novels can’t get you to the crest of the hill in the first place; you climb and climb and it never stops feeling like work, until you finally turn around and trudge home. Plenty of long novels have this problem, and when they fail, there is nothing worse. Few readings have been as torturous as my own personal slog through Thomas Pynchon’s “Against the Day,” for example.

I can appreciate the sense of getting absorbed, but it’s not an experience I tend to seek these days. More here about the “longer is better” idea of fiction.

6. Reason and religion

7. Theory of why a writer might choose to be anonymous.