Which
Books Should We Stop Calling Classics?
By Jason Diamond
Recently,
at Salon, Laura Miller wondered what makes a book a classic, and who gets to
say which books should be included in the conversation: do booksellers or
online book communities like Goodreads get to make the call? Do critics? Should
we consider David Foster Wallace’s work among these classics, even though it’s
so recent? Does a canon even exist or matter?
Taking all of these
questions into consideration, we asked a handful of critics, writers, and publishing
industry people for their take on which books should be considered classics —
and also which titles they would drop from the so-called canon. Today we
present the answers to the latter question, and hope you’ll join the
conversation in the comments by letting us know which books you don’t think
should still be called classic works of fiction.
Adelle Waldman
So this is awkward because Stoner
isn’t exactly in the canon, although not for lack of trying, at least lately.
For the past few years Stoner has become the darling of so many in the
literary world, who argue that it has been unjustly neglected. Personally, I
find the novel wholly unconvincing — not so much in its realism but in the
moral message that so many readers seem to attach to it, the sense that the
life it depicts is quietly heroic and more than a little tragic. To me, the
novel reads like hagiography, an unbalanced attempt to make the eponymous
Stoner out to be a noble-souled victim of his neurotic and unstable wife. I
have no problem believing that some women really are as bad as the horror show
of a person Professor Stoner married — Pride and Prejudice’s Mrs. Bennet
comes to mind — but Jane Austen, unlike Williams, is careful to show us that
the blame goes both ways. Mr. Bennet chose poorly and in Austen’s estimation
bears a good deal of the blame for what happens in the Bennet household.
Williams, in contrast, lionizes Stoner. But let’s be realistic — the man was
old enough to know better. A 20-something Ph.D. student in literature, some of
it rather deeply concerned with love, he wasn’t an innocent fresh off the farm
when he courted his haughty, unappealing wife. His subsequent unwillingness to
stand up to her when she was, in his view, tormenting their daughter makes him
not a victim but a coward who valued his own domestic peace over what he
believed was his daughter’s best interest. Believable yes? Tragic in its way?
Sure, I guess. But Stoner’s no hero, unless poor judgment, passivity and an
abdication of moral responsibility are your ideas of what constitutes the good.
Adelle Waldman is the author
of The Love Affairs of Nathaniel P.
Miriam Markowitz
The idea that some classics
“should be retired” or “are talked about too much” doesn’t sit right with me. I
would never advise someone not to read a classic — I’m not in the business of
advising people not to read books. A lot of books are dated, but their time may
come again. Classics are classics for a reason even if not all of those
reasons, or the books themselves, are truly good.
A book may not speak to
you; that doesn’t mean it isn’t all it’s cracked up to be. There are entire
national traditions I find a little boring, but I wouldn’t dare defame them
here, and not just because I’m scared of angry professors and pedants, but
because it’s possible that I may not really get those traditions, at least not
right now.
Books change for readers
over time. There’s this bizarre notion out there that if you consider yourself
a Serious Reader you must read everything that matters by the time you’re 25,
at which point you must be able to articulate an intelligent, coherent, and
defensible opinion about each of the titles you have so dutifully digested.
After that, all you need do is spend the rest of your life repeating this process
with new books and — presto! — you are a person of letters.
But reading a book when
you’re 25 isn’t the same experience as reading it when you’re 45 or 85, and if
all you read as an adult are new books, you will forget the cadences of the
old. This may sound crazy, but the more you read, the better a reader you will
become, but only if you push yourself beyond what’s trendy or fun or your kind
of thing. If you return to the books you loved and also to the books you
didn’t, you will likely be surprised. Which is kind of the point, isn’t it?
Miriam Markowitz is
associate literary editor of The Nation and a board member of the
National Book Critics Circle. Her most recent essay, “Here Comes Everybody,” is
about about old books, women and publishing, VIDA, MFA programs, Miley Cyrus,
and Syria. Follow her on Twitter @MiriMarkow.
Ilan Stavans
An eclipse would do John
Updike quite well. The House on Mango Street doesn’t deserve its place
in middle school. And we can do without To Kill a Mockingbird — it’s
cheesy and self-serving.
Ilan Stavans is the
publisher of Restless Books.
Adrian Todd Zuniga
Does anyone still read Ulysses
unless they have to? I feel like Ulysses does more harm to new readers
than any other book. “If it’s the best book ever, let’s read it!” quickly turns
into, “What have I gotten myself into?” Put something like Lolita v. Ulysses.
One is a gem of literary might and accessibility even today. The other is a
giant, painful slog.
Adrian Todd Zyniga is the
creator and host of Literary Death Match.
Justin Taylor
Salinger. Ayn Rand — though
I guess that’s more for politicians than critics or readers. I’m just tired of
seeing people pretend that citing her work or influence is a sign of anything
other than intellectual degeneracy and profound moral failure. Oh and I was
going to say Updike, but it seems like this is already happening on its own. I
bet a few of his books are pretty good. It’ll be interesting to see in thirty
years which 3 of the 70 or whatever it turns out to be.
Justin Taylor’s third book,
Flings, is forthcoming in August from Harper Collins. Follow him on
Twitter at @my19thcentury.
Edward Champion
As someone spending many
years of his life reading a canon with some caveats (see my Modern Library Reading
Challenge — in both fiction and nonfiction forms),
I have significant problems with junking a canon, or pretending that certain
strains of literature — even the odious ones — didn’t happen. It’s not unlike
historical revisionism. I’m on the side of literary expansionism, where a canon
naturally expands and contracts over time. Books are a kind of universe, yes?
Newer titles are absorbed into the promising cosmos, and titles get naturally
pushed out over time: not overnight and not without decades of serious
consideration. A literary canon is helpful in affirming literary taste, while
simultaneously offering a place for everyone to rebel against certain greatest
hits, which is also good. For example, I’m not especially fond of Arnold
Bennett’s fiction. (He also had detestable views on women.) On the other
hand, the idea of obliterating his reputation with one essay — Virginia Woolf’s
“Mr. Bennett and Mrs. Brown” — seems unreasonable, especially if we want to
understand why so many held this regressive and often voluble author in high
esteem during the early part of the 20th century. I think there’s a place for
understanding how certain authors rose to the top during a particular epoch.
But it is irresponsible to demand restitution when your response to a
sophisticated novel is little more than “Ugh!” rather than a lengthy argument.
A monosyllabic cry of disgust may aid a stoned undergraduate braying for
another beer, but such gormless egotism has no place among those giving serious
thought to literature.
Katherine Bucknell
For me, science fiction
classic is an oxymoron. What could possibly go out of date more rapidly than a
book imagining what will happen in a future time or place? I believe readers
are attracted to them because they like to be amazed at how long such fantasies
do continue to interest readers. And they like to be in on the game of
prophesying and guessing. The discussions I hear about science fiction
“classics” usually focus on how amazing it is that the author was so close to
imagining how things really turned out. But real technological, scientific and
also cultural change are far more interesting. Even the best-informed books
about the future and the best-written soon become boring. I’m afraid Brave
New World is the last of Huxley’s many interesting books that I would
recommend. And I would ditch Jules Verne, H.G. Wells, and the like.
Katherine Bucknell is the
author of four novels and the editor of Christopher Isherwood’s diaries.
Benjamin Samuel
I’ll probably catch some
flack for this, but can we stop talking about Finnegans Wake? Sure it
was innovative. Experimental, evolutionary, sure. But it also seems like it
might be a practical joke that we keep falling for year after year. Then again,
the best jokes are the old jokes, and this one’s one of the biggest. That’s
what she said?
Toby Hartwell
Too many to mention all of
them as there are a lot of so called ‘classics’ that deflect people from
reading some of the great undiscovered works, but here are some thoughts. If
you are a young reader, Black Beauty is overrated. There are better
books with horses in them, read Stuart Little instead. Naked Lunch
by William S. Burroughs could do with some time on the classic subs bench. Try Epitaph
for a Spy by Eric Ambler, the original spy thriller. Also Brave New
World seems less of a classic on recent reading.
Okey Ndibe
I wrestled for long with
this question, and here’s why. I don’t think there’s quite a “problem” of
over-hyped, over-discussed classics. My suspicion is that, on the whole, people
may be reading far less than used to be the case — and that includes less of
the classics. And here’s my example of a veritable classic that’s not read
enough: Gilgamesh. I’m often astounded at how many people, everyday
readers as well as scholars of literature, have NOT read this great Sumerian
epic. Apart from an apocalyptic flood scene that predates — and most likely
informed — the Biblical account of the flood and Noah’s ark, Gilgamesh is also
a riveting adventure story and speaks to timeless questions of the rampant ego,
the uses and limits of power, sexuality, and the fluid boundaries between the
sacred and the human. At any rate, my instinct is not to annul any classics,
but to urge the expansion of the canon. I’d like to say to people, by all means
read Shakespeare and Dickens and Sophocles and Jane Austen, but also read
Salman Rushdie, Wole Soyinka, Nadine Gordimer, Doris Lessing, Naguib Mahfouz.
Okey Ndibe is the author of
Foreign Gods, Inc.
Via Bauman Rare Books
John McElwee
Is The Alexandria
Quartet a classic? I’ve never been able to make it through one-eighth of
it.
John McElwee works in the
fiction department at the New Yorker and contributes special projects to
the New Inquiry.
Image via Book Witch
Jennifer Weiner
I’ll pass on the question
“what doesn’t belong in the canon?” It seems like an act of unimaginable
chutzpah for a writer to say, I have read this book and found it
inadequate for the generations. The only thing more arrogant than reading a
book and saying it doesn’t stand the test of time is NOT reading a book and
saying the same thing (Exhibit A: the affrighted clucking over all the
zipless-you-know-what-ing in Erica Jong’s Fear of Flying, from writers
who didn’t seem to understand that the zipless fuck was an unrealized fantasy,
and that Isadora Wing was hardly promiscuous and that what she wanted more than
anything wasn’t anonymous sex with a soldier but for her ne’er-do-well lover to
marry her).
Jennifer Weiner’s novels
include Good in Bed, In Her Own Shoes, and The Next Best Thing.
Her new book, All Fall Down, will be published in June.
Meakin Armstrong
I spent my adolescence in
Charleston, South Carolina, where it’s all very beautiful, but it’s also where
the “War Between The States” was still talked about and debated. As our
teachers often reminded us, the Civil War began in Charleston. Gone With The
Wind’s “Rhett Butler was also from there — we had a lot to live up to.
The more liberal classes
had us read To Kill a Mockingbird, but I have to admit: as good as that
book is (and it’s damned good), it leaves me cold. It has a white guy as the
savior, not an African American. African Americans freed themselves despite
white America — they didn’t need our white asses. After all, they were the ones
getting lynched and water-hosed, not us.
Molly Antopol
The Fountainhead. The
“political” writers I’ve always admired most write with as much emotion as they
do intellect: James Baldwin, Doris Lessing, Nadine Gordimer, to name a few.
I’ve just always felt that Ayn Rand was pushing her views down my throat in a
creepily pedantic way. And I find the rape scene between Roark and Dominique
gratuitous and awful.
Molly Antopol is the author
of The UnAmericans.
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