Excerpt from How To Read And Why by Harold Bloom, plus links to reviews, author biography & more

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How To Read And Why

by Harold Bloom

How To Read And Why
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  • First Published:
    May 2000, 283 pages
    Paperback:
    Sep 2001, 283 pages

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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.

Copyright © 2000 by Harold Bloom. All rights reserved. Reproduced by permission of the publisher, Simon & Schuster.

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