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 by Harold Bloom X
How To Read And Why by Harold Bloom
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  • First Published:
    May 2000, 283 pages
    Sep 2001, 283 pages

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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. All rights reserved. Reproduced by permission of the publisher, Simon & Schuster.

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