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Pictures from an Institution: A Comedy (Phoenix Fiction) Kindle Edition
Beneath the unassuming surface of a progressive women’s college lurks a world of intellectual pride and pomposity awaiting devastation by the pens of two brilliant and appalling wits. Randall Jarrell’s classic novel was originally published to overwhelming critical acclaim in 1954, forging a new standard for campus satire—and instantly yielding comparisons to Dorothy Parker’s razor-sharp barbs. Like his fictional nemesis, Jarrell cuts through the earnest conversations at Benton College—mischievously, but with mischief nowhere more wicked than when crusading against the vitriolic heroine herself.
“A most literate account of a group of most literate people by a writer of power. . . . A delight of true understanding.”—Wallace Stevens
“I’m greatly impressed by the real fun, the incisive satire, the closeness of observation, and in the end by a kind of sympathy and human warmth. It’s a remarkable book.”—Robert Penn Warren
“Move over Dorothy Parker. Pictures . . . is less a novel than a series of poisonous portraits, set pieces, and endlessly quotable put-downs. Read it less for plot than sharp satire, Jarrell’s forte.”—Mary Welp
“One of the wittiest books of modern times.”—New York Times
“[T]he father of the modern campus novel, and the wittiest of them all. Extraordinary to think that ‘political correctness’ was so deliciously dissected 50 years ago.”—Noel Malcolm, Sunday Telegraph
“A sustained exhibition of wit in the great tradition. . . . Immensely and very devastatingly shrewd.”—Edmund Fuller, Saturday Review
“[A] work of fiction, and a dizzying and brilliant work of social and literary criticism. Not only ‘a unique and serious joke-book,’ as Lowell called it, but also a meditation made up of epigrams.”—Michael Wood
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Editorial Reviews
Amazon.com Review
When the book was first published in 1954, most considered Gertrude Johnson to be a none-too-veiled portrait of Mary McCarthy. (The Partisan Review, for instance, failed to run a planned excerpt for fear of litigation.) "As a writer Gertrude had one fault more radical than all the rest: she did not know--or rather, did not believe--what it was like to be a human being. She was one, intermittently, but while she wasn't she did not remember what it had felt like to be one; and her worse self distrusted her better too thoroughly to give it much share, ever, in what she said or wrote." Pictures from an Institution is a superb series of poisonous portraits, set pieces, and endlessly quotable put-downs. One reads it less for plot than sharp satire, of which Jarrell is the master.
Review
"[T]he father of the modern campus novel, and the wittiest of them all. Extraordinary to think that 'political correctness' was so deliciously dissected 50 years ago."
-- Noel Malcolm ― Sunday Telegraph
“I’m greatly impressed by the real fun, the incisive satire, the closeness of observation, and in the end by a kind of sympathy and human warmth. It’s a remarkable book.”
-- Robert Penn Warren“A sustained exhibition of wit in the great tradition. . . . Immensely and very devastatingly shrewd.” -- Edmund Fuller ― Saturday Review
“[An] exquisite, unerring comedy of manners. . . . [P]erhaps the funniest book I have ever read.”
-- Cathleen Schine ― New York Review of Books"I can open it anywhere and it will make me laugh. We recovering professors owe him an enormous debt for his merciless treatment of academia." -- Donna Leon ― New York Times Book Review
"One of the wittiest books of modern times." -- Orville Prescott ― New York Times
"Mr. Jarrell is on the side of the angels. His is a divine meanness, and he exposes his female writing devil punitively, matching her stream of poinsonous wisecracks with a series of coruscating cracks of his own worthy of Dorothy Parker at her most hilarious and deadly." -- Francis Steegmuller, ― New York Times Book Review
Move over Dorothy Parker. 'Pictures' . . . is less a novel than a series of poisonous portraits, set pieces, and endlessly quotable put-downs. Read it less for plot than sharp satire, Jarrell's forte."
-- Mary Welp
“[A] work of fiction, and a dizzying and brilliant work of social and literary criticism. Not only ‘a unique and serious joke-book,’ as Lowell called it, but also a meditation made up of epigrams.”
-- Michael Wood
Review
About the Author
Randall Jarrell (1914–1965) was the author of six volumes of poetry and the recipient of the National Book Award for Poetry in 1961. Pictures from an Institution is his only novel.
Excerpt. © Reprinted by permission. All rights reserved.
Pictures from an Institution
A Comedy
By Randall JarrellThe University of Chicago Press
Copyright © 1954 Randall JarrellAll rights reserved.
ISBN: 978-0-226-39375-9
Contents
1. The President, Mrs., and Derek Robbins,2. The Whittakers and Gertrude,
3. Miss Batterson and Benton,
4. Constance and the Rosenbaums,
5. Gertrude and Sidney,
6. Art Night,
7. They All Go,
CHAPTER 1
The President, Mrs., AND Derek Robbins
1.
HALF THE campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President's waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one's sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.
In this office Constance Morgan had been, for a year, the assistant to the secretary of the President; this was her last day.
Her job was like most jobs, except for its surroundings: either she did what she did not want to do, or wished that she had it left to do. By four o'clock there was nothing left. She sat in uneasy content, in easy discontent—she could not tell, for a moment; then she remembered and laughed at herself. She picked an envelope from the top of one pile, put it on the top of another, and took a last last look through the drawers of the desk. Dr. Rosenbaum's old St. Bernard's voice came to her from the tennis courts, and she felt once more the pleasure she always felt at any reminder that he existed; she saved for him St. Augustine's best sentence: I want you to be. Two voices from the President's office—the President's, Gertrude Johnson's—she heard with different feelings; she could not have said exactly what they were.
2.
GERTRUDE JOHNSON was, of course, the novelist; she had come to Benton six and a half months ago, late in the fall, to replace a new teacher of creative writing who had proved unexpectedly unsatisfactory. Gertrude had, as her enemies put it, a hard heart and a sharp tongue, but her heart was softened a little, and her tongue dulled, at her first interview with the President of Benton, Dwight Robbins. He was a nice-looking and informal and unassuming man, a very human one, as he sat there on the edge of his desk, in the winter sunlight of his office; she felt—people could not help feeling as soon as they met President Robbins—as if she had just taken a drink. Everything was blurred a little with attractiveness, and she almost believed, as she did not ordinarily, in Friendship at First Sight. President Robbins wore a simple, grey flannel, undergraduate's suit; his fair hair kept flopping in his face; in spite of once having been a diver in the Olympics, he gave an impression of slightness. He had what novelists used to call "an engaging grin," but it was engaging; one liked the way the skin crinkled around his eyes. Gertrude tried to think of a word for him, and did: the word was boyish.
The President, for his part, saw a short slight woman who was from head to foot, except for her pale blue eyes, a pale, pale, almost wholly unsaturated brown. Her lips were painted a purplish maroon; she had put on no other make-up. She wore her hair more or less as our mothers wore it; her features, as far as one could distinguish them, were undistinguished. Then one noticed that she had an obstinate Irish—or, perhaps, an obstinate apish—upper lip. Her face seemed a ground on which anything could figure: one felt that when she wore new earrings her husband, the children in the street, and the blind beggar on the corner would congratulate her on them. This is what you saw. Yet when you knew her how different it all looked; Gertrude's spirit shone through her body as though the body were an old pane of glass, and you thought, "My God, how could I have been so blind!"
They talked a little (Gertrude in her anomalous Southern speech, President Robbins in Standard American) about the job he was offering her. The salary was not what either would have wished it, but he explained why it couldn't be in a way that was new to her: his married alumnae either died before their husbands, who left money to their own colleges, or else on their husband's deaths left money to the husbands' colleges as memorials; and his unmarried alumnae left their money to cats and dogs and causes. Gertrude and the President laughed. Gertrude had not met a great many college presidents, but she knew from fiction, conversation, and Reason what all of them are like; President Robbins was different.
The job seemed unusually undemanding: one taught classes only twice a week, and did the rest of one's work in individual talks or "conferences" with the students. Gertrude smiled and said, "There's nothing I'd rather do than talk." It was true.
President Robbins laughed—he admired frankness—and said heartily: "Good! Then Benton is certainly the place for you." They both sounded a little too hearty, but they knew that one necessarily sounds that way in such circumstances: who comments on the weather with all the lack of interest that he really feels?
Gertrude was, as novelists say, "between novels"; she had taught writing once at an old-fashioned, high-schoolish college in Missouri, and knew that after it Benton would be a breeze. The President seemed to feel—several sentences implied it—that she would be a great acquisition to Benton; this was so, of course, but she was pleased that he both knew it and showed that he knew it. They arranged everything: President Robbins took her back to the station in one of the school's cars, and they had a drink on the way; late that week Gertrude and her husband found an apartment in Mount Pleasant, the little city that Benton lay at the edge of, and on Monday of the next week—a snowy Monday—Gertrude taught her first class at Benton.
Now she had taught her last class there, thank God! Suffused in summer, blind with bliss, she sat saying goodbye to President Robbins; and President Robbins, blind with bliss, sat saying goodbye to Gertrude Johnson. Constance, in the office outside, could not help hearing every word of their somewhat self-conscious, wholly delighting voices; they both sounded a little hearty, but they knew that one necessarily sounds that way in such circumstances.
3.
GERTRUDE and the President's Friendship at First Sight had lasted only until they took a second look at each other. After this look Gertrude no longer felt as if she had just taken a drink, but felt as if she had a long time ago taken a great many: that look awoke both of them from their amicable slumbers.
What a pity it was that that party had ever been given!—the party that brought with it their first terrible quarrel, a quarrel that ended their friendship after eleven days. Without the party, they both felt bitterly, it might have lasted for weeks. One could not help blaming Gertrude a little more than one blamed the President; the President, like most people, behaved in a different way after he had had a great deal to drink, but Gertrude, knowing no other, behaved as she always behaved. But the drinks at the party, the almost unavoidable intimacies at the party, what they had said and what Mrs. Robbins had said and what people had said they all of them had said at the party—these, the memory of these, made Gertrude and the President look narrowly at each other, and their eyes widened at what they saw. George looked at the dragon and thought, Why, that woman's a dragon; and the dragon looked at George and thought, That's no man, that's an institution.
The word had come to Gertrude at the party, when she had found herself reflecting, "This institution's drunk." For days after the party the President felt, Another such party and we are lost—his ordinary disorderly executive existence had not prepared him for Life; Gertrude felt, yawning, Another party. It was one more pearl on the string of her existence, and she had come here to string pearls; when the pearls gave out, she knew, Godfather Death would come and cart her away.
But Dwight Robbins; President Robbins, that is; the President, that is—the President interested Gertrude. She realized, suddenly, that she was no longer between novels. She looked at the President as a weary, way-worn diamond-prospector looks at a vein of blue volcanic clay; she said to herself, rather coarsely—Gertrude was nothing if not coarse: "Why, girl, that Rift's loaded." How can we expect novelists to be moral, when their trade forces them to treat every end they meet as no more than an imperfect means to a novel? The President was such invaluable material that Gertrude walked around and around him rubbing up and down against his legs, looking affectionately into the dish of nice fresh mackerel he wore instead of a face; and the dish looked back, uneasy, unsuspecting.
Mrs. Robbins, the Robbins' little boy Derek, the Robbins' two big Afghans: these and Benton—and Benton!—interested Gertrude too. Derek and the Afghans didn't really, except as properties: Gertrude thought children and dogs overrated, and used to say that you loved them so much only when you didn't love people as much as you should. As much as you should had a haunting overtone of as much as I do—an overtone, alas! too high for human ears. But bats heard it and knew, alone among living beings, that Gertrude loved.
If you loved people as much as you should, Gertrude told you that you should not "extend to or expect from created things the love that belongs to their Creator." Gertrude's wheel was fixed, everybody soon found; and yet most of us, fools that we are, could not resist going back to play at it.
Gertrude thought Europe overrated, too; she voyaged there, voyaged back, and told her friends; they listened, awed, uneasy somehow. She had a wonderful theory that Europeans are mere children to us Americans, who are the oldest of men—why I once knew: because our political institutions are older, or because Europeans skipped some stage of their development, or because Gertrude was an American—I forget. She would have come from Paradise and complained to God that the apple wasn't a Winesap at all, but a great big pulpy Washington Delicious; and after the Ark she would have said that there had not been the animals, the spring rains, and the nice long ocean-voyage the prospectus from the travel-agency had led her to expect—and that she had been most disappointed at not finding on Mount Ararat Prometheus.
Age could not wither nor custom stale her infinite monotony: in fact, neither Age nor Custom could do anything (as they said, their voices rising) with the American novelist Gertrude Johnson.
4.
IF GERTRUDE had asked Dwight Robbins what two times three is, he would have hesitated a fraction of a second and then spontaneously replied—or rather, would have replied with charming spontaneity, with a kind of willing and unconsidered generosity, of disinterested absorption in her problem—
What did it matter what he would have said? You could always find it worked out in percentages in the monthly poll of public opinion in Fortune, back under the heading Opinions of Liberal Presidents of Liberal Arts Colleges. He loved to say to you, putting himself into your hands: "I know I'm sticking my neck out, but...." How ridiculous! President Robbins had no neck.
From The Wealth of Nations one learns that the interest of each is, in the end, the good of all; if one observed President Robbins one saw that the good of all is, in the beginning, the interest of each. We have read in the Gospels that the children of darkness are wiser in their generation than the children of light; but both, when they choose between God and the world, are stupider than those who know that we do not need to choose. President Robbins had no complaints about this Paradise, the world. The Tree of the Knowledge of Good and Evil is the Tree of Life, he knew; and President Robbins lay sleeping in its branches, his parted lips smelling pleasantly of apples.
About anything, anything at all, Dwight Robbins believed what Reason and Virtue and Tolerance and a Comprehensive Organic Synthesis of Values would have him believe. And about anything, anything at all, he believed what it was expedient for the President of Benton College to believe. You looked at the two beliefs and lo! the two were one. (Do you remember, as a child without much time, turning to the back of the arithmetic book, getting the answer to a problem, and then writing down the summary hypothetical operations by which the answer had been, so to speak, arrived at? It is the only method of problem-solving that always gives correct answers—that gives, even, the typographical errors in the back of the book.) President Robbins was so well adjusted to his environment that sometimes you could not tell which was the environment and which was President Robbins.
Had it not been for Mrs. Robbins, President Robbins' life would have been explicable down to the last detail, and he himself the only existing human representation of the Theory of Perfect Competition: as one looked at him one could not help thinking of all the marginal producers who because of him must have been forced out of living or what ever it was they did. But why had he married Mrs. Robbins? It was a question to which there could not be an answer. Marianne Moore has said: We prove, we do not explain our births; and this is true of marriages.
5.
PEOPLE DID not like Mrs. Robbins, Mrs. Robbins did not like people; and neither was sorry. She was a South African—not a native, not a Boer, a colonial. She had been a scholar once, and talked somewhat ostentatiously of her work, which she tried to keep up. To judge from her speech, she was compiling a Dictionary of Un-American English: if lifts and trams ever invade the North American continent, Pamela Robbins is the woman to lead them. Often, when you have met a true Englishwoman—the false ones are sometimes delightful—you feel that God himself could go no further, that way. Mrs. Robbins existed to show what he could do if he tried.
For Mrs. Robbins understanding anybody, having a fellow-feeling for anybody, admitting anybody else exists, were incomprehensible vices of Americans, Negroes, continentals, cats, dogs, carrots. She was "half British phlegm and half perfidious Albion," according to Gertrude Johnson, who loved to refer to Pamela as the Black Man's Burden; any future work on Mrs. Robbins will have to be based on Gertrude's. This half ... half formula was Gertrude's favorite. She said that the President was "half jeune fille, half faux bonhomme." I hadn't liked her formula for Pamela, so I accepted her description of the President with bored matter-of-factness, as if she'd told me that he was half H2 and half SO4; but then I thought, "It's so; it's so." Sometimes Gertrude was witty without even lying.
For Mrs. Robbins life was the war of one against all; in this she was another Gertrude, a commonplace, conventional, jointed-hardwood Gertrude. (Yet her conception of this war was that of a Hessian prince of the eighteenth century, while Gertrude's was that of the director of some War of the Future, a war in which the inhabitants of the enemy country wake up one morning to find that they have all been dead a week.) Mrs. Robbins asked: "If I am not for myself, who then is for me?"—and she was for herself so passionately that the other people in the world decided that they were not going to let Pamela Robbins beat them at her own game, and stopped playing.
Once Mrs. Robbins had a long and, in its later stages, surprisingly acrimonious argument with several of her guests (to Americans English manners are far more frightening than none at all) about a book of Evelyn Waugh's called Brideshead Revisited. She believed it to be a satire on the Roman Catholic Church, since she was sure that its author was "too intelligent a man" to believe in "all that." Her guests had few good arguments, and she many bad ones: yet, say what she might, the guests stayed unconvinced. Finally she exclaimed, drawing herself up: "I have lived among the English aristocracy, and I know." I had always loved Cleopatra's "The man hath seen some majesty, and should know," but before this I had never really heard it.
(Continues...)Excerpted from Pictures from an Institution by Randall Jarrell. Copyright © 1954 Randall Jarrell. Excerpted by permission of The University of Chicago Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- ASIN : B00DQMWSS6
- Publisher : The University of Chicago Press (March 25, 2010)
- Publication date : March 25, 2010
- Language : English
- File size : 4.3 MB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Print length : 290 pages
- Best Sellers Rank: #395,774 in Kindle Store (See Top 100 in Kindle Store)
- #311 in Satire
- #1,108 in Humorous Science Fiction (Books)
- #1,110 in Satire Fiction
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Customers have mixed reactions to the book's wit, with some finding it amusing while others say it's not interesting. The narrative style receives positive feedback, with one customer noting its snide look at institutional goings-on.
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Customers appreciate the narrative style of the book, with one review noting its snide look at institutional goings-on, while another describes it as richly imagined with uncanny observations.
"...His observations are uncanny and you could almost guess that a poet wrote the novel; it's uniquely expressive. Whole pages are quotable...." Read more
"...Though they go nowhere, they remain caustic, richly imagined, and absolutely devastating of human pretense...." Read more
"...This book takes a snide look at such goings on...." Read more
Customers have mixed opinions about the book's wit, with some finding it amusing and more than just satire, while others find it not interesting.
"...and you could almost guess that a poet wrote the novel; it's uniquely expressive. Whole pages are quotable. Furthermore, this is more than satire...." Read more
"...Its wit and sophistication demonstrate that academic pretentiousness and political correctness cannot be claimed as inventions of the 60s, 70s, 80s..." Read more
"...one novel written by master poet Randall Jarrell is a seminal masterpiece skewering academia...." Read more
"This is an amusing book, but it's not that great. It's "arch" to a fault, but it leads nowhere...." Read more
Top reviews from the United States
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- Reviewed in the United States on November 14, 2013This is satire of the American university scene, presumably in the 1950's. It's brilliant. The author, Randall Jarrell is a poet, and he may be close to the persona of the narrator, also a poet. The narrator stands outside the circle of professors to some extent and takes a rather detached view of them. His observations are uncanny and you could almost guess that a poet wrote the novel; it's uniquely expressive. Whole pages are quotable. Furthermore, this is more than satire. There is a positive element in the novel represented, at the top, by the composer, a benevolent and cultured old Viennese Jew, and his wife. At first, the old composer seems as if he might be a caricature, like the poor old professor in "The Blue Angel." Eventually, we see that he and his wife have qualities that none of the other characters (possibly excepting the narrator and his wife) have a chance of acquiring. Above all, they have balance, culture, and kindness. The malicious novelist hates the old composer because she can't pigeon-hole him, and she secretly suspects that he sees through her. Altogether, this is one of the best American novels of the last century.
- Reviewed in the United States on June 1, 2012This is the famous send-up of academic life at a small women's college modeled on Sarah Lawrence and featuring the acerbic woman novelist, Gertrude Johnson, based on Mary McCarthy. Its wit and sophistication demonstrate that academic pretentiousness and political correctness cannot be claimed as inventions of the 60s, 70s, 80s etc. This book was published in 1952 and is still as timely today as the day it was written. At Benton College, explains Jarrell, "just as ordinary animal awarenesss has been replaced in man by consciousness, so consciousness had been replaced, in most of the teachers..., by social consciousness."
Gertrude is merciless as she sends up the foibles of her faculty "colleagues." But Gertrude has a foible of her own, and not only that her "French was so bad that anyone could understand every word of it": "Gertrude knew the price of every sin and the value of none." There is no place in her world for the good or the simple, as Jarrell performs a send-up of his own on the cynical novelist. At the same time -- and despite the sweet Constance, the kind and elegant Miss Batterson, or the modest, modernist twelve-tone composer Gottfried Rosenbaum -- Jarrell portrays the world of Benton with nearly unremitting sarcasm himself.
When Gertrude tries to write her novel about Benton drawn from her anthropological observation of its denizens, she attempts to endow it with a lively plot. But anyone who has read thus far (p. 215) in Jarrell's plotless book knows that, as the narrator informs Gertrude, "nothing ever happens at Benton." The one character in this novel who dies has to get a job somewhere else in order to get the thing done. As the title indicates these chapters are sketches, "pictures from an institution." Though they go nowhere, they remain caustic, richly imagined, and absolutely devastating of human pretense. The book is least convincing when it is being kind, as for example when a clumsy and pompous studio art teacher abruptly produces a work of beauty. But even such reversals are effective because they train one to adjust to the unexpected. A book best savored by being read slowly.
- Reviewed in the United States on May 12, 2013I picked up this book due to its description as "A Comedy" on the cover, hoping for a 'Lucky Jim' type of entertainment set in the USA. However, it became apparent after just a few pages that it is "comedy" in the literary sense only, as it describes in detail the personality quirks of its characters and the manners of society, in this case, academic society. It contains literary and artistic allusions throughout, 'Ulysses'-like (the setting is an academic year, not a day), so is not an easy read for a non-specialist in literature.
The book creates a vivid impression of the burden of being an academic, and made me thankful that I am not one. At its core is an intellectual vanity that requires ignoring, minimizing, or denigrating the creative or scholarly achievements of others, including colleagues and peers, while simultaneously clinging to the illusion that their own ideas and creations provide a complete, fully developed, and unique achievement of human understanding. This is captured succinctly near the beginning of Chapter IV as a "restless dissatisfaction" with more or less everything. Surely there must be more to creative work and scholarship that dissatisfaction. Probably most of what was described as "witty" and humorous when the book was published are the snarky and sarcastic descriptions of the characters and the student body of the host university, a sort of high-brow insult comedy. The effort required to maintain the illusion and suppress self-doubt must the quite a burden indeed.
The illusory nature of this false sense of superiority comes out in the discussion of music in the novel, as has been made clear by the passage of time, in which a reverential treatment is given to the "twelve tone" school of music composition associated with Arnold Schoenberg. This undoubtedly appeared to be the ultimate in esoteric sophistication in the 1950s when the book came out, particularly since it was basically incomprehensible to the general population outside of the superior sophisticates in higher education. Now "twelve tone" compositions occupy a relatively small and fading historical niche in classical music and the associated technique proved to be essentially a dead end. With regard to the novel, this type of music is seen to have been valuable as a tool of intellectual snobbery, rather than for what it expresses.
One of the digressions in the book gives a good description of the experience of reading postmodern fiction: "...books....crushed down into method: as I read I was so conscious of what was being done that I scarcely noticed or cared what is was being done to......" (p. 132).
Top reviews from other countries
- Greg GauthierReviewed in the United Kingdom on September 19, 2022
4.0 out of 5 stars Hilariously dry humour. If it wasn't so American, Brits would love it :D
I saw this book mentioned in Bill Buckley's "Up From Liberalism", and decided to give it a go. It was one of the funniest books I'd read in 20 years. And it was written in 1953. Which is definitely saying something about our culture right now...
- Paul R TunsReviewed in Canada on April 12, 2023
5.0 out of 5 stars Happy with book
Quick, efficient service. Book in good condition.
- Tom GrayReviewed in Canada on March 31, 2017
4.0 out of 5 stars Compassion
This novel is set in and comments on life in women's liberal arts college of the 50's. Benton is described in the novel as place where nothing happens and this is seen as one of its virtues. The novel has three main characters - an unnamed narrator who is a faculty member at the college, Gertrude who is a successful novelist who is acting as a visiting professor of creative writing and Gottfried who is the composer in residence.
The narrator is good friends with both Gertrude and Gottfried and he describes their interactions with each other and with other members of the college community. Gertrude is an observer. She relates to life by examining people and collecting them to be characters in her novel. She is someone of acerbic wit and as the novel describes keeps the world at arm's length through her observations and her wit. Gottfried is not an observer. he accepts life and participates in it fully. This is the essence of the novel and is something that the narrator learns though it. Observation is imperfect and people can be more or less than they appear to be. In the last scene in the novel the narrator discovers that the local sculpture, who he and Gertrude have observed as trivial, has created a sculpture of great merit. the narrator is shocked has to reconsider his previous conclusions about the artist. He then discovers that she does not fully comprehend what she has created. The narrator discovers that she is both more and less than she appears to be. The implication here from the novel that compassion (empathy, sympathy and acceptance) provide a truer understanding than acerbic with. Gottfried lives his life within the life around him in this way.