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Pictures from an Institution: A Comedy (Phoenix Fiction) Kindle Edition

3.9 out of 5 stars 77 ratings

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

Editorial Reviews

Amazon.com Review

Randall Jarrell's only novel features a Bryn Mawr-like women's college in which whispers and verbal shivs and sycophancy rule. "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." The institution's star-struck head is a Clintonesque young man particularly adept at raising money in Hollywood and who "wanted you to like him, he wanted everybody to like him--it was part of being a president; but talking all the time was too." Unfortunately, his new creative-writing hire only likes him the first time they meet. Thenceforth, she not only stirs things up but skewers them as well.

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

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
  • Customer Reviews:
    3.9 out of 5 stars 77 ratings

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Randall Jarrell
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Customer reviews

3.9 out of 5 stars
77 global ratings

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Customers say

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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3 customers mention "Narrative style"3 positive0 negative

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

13 customers mention "Wit"9 positive4 negative

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

  • Reviewed in the United States on November 14, 2013
    This 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.
    3 people found this helpful
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  • Reviewed in the United States on June 1, 2012
    This 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.
    6 people found this helpful
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  • Reviewed in the United States on May 12, 2013
    I 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).
    5 people found this helpful
    Report

Top reviews from other countries

  • Greg Gauthier
    4.0 out of 5 stars Hilariously dry humour. If it wasn't so American, Brits would love it :D
    Reviewed in the United Kingdom on September 19, 2022
    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 Tuns
    5.0 out of 5 stars Happy with book
    Reviewed in Canada on April 12, 2023
    Quick, efficient service. Book in good condition.
  • Tom Gray
    4.0 out of 5 stars Compassion
    Reviewed in Canada on March 31, 2017
    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.

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