You must be familiar with that feeling that haunts you every time you’re thinking of starting a new book. The feeling that your choice means some other book will have to remain unread… The doubt whether you have made the right decision on how to spend reading time. It is pure book guilt and is paralyzing enough to make you give up reading altogether. The “so little time so many books” syndrome can either turn you to a compulsive reader or a non-reader at all.
How can we beat that fear of missing out and indulge in the reading process per se which is immune to what you’ ve read so far and what will follow? How about enjoying some book pride for a change and every time the toxic thought tries to settle we focus on the book we are reading and not on the others who line up and crave our attention?
It won’t happen overnight, if it is to happen at all. A true literature lover will always struggle between book choices and not-enough time, so, what I suggest is to be pragmatic, accept the fact as a… fatal condition and adopt an irreverent attitude even to the masters -and monsters- of literature.
What follows is a list of my alibis for not having read some 19th & early 20th century classics, for having read others instead and how I suggest we should cope with book guilt. The list is partial and conceals my true embarassment in not having read some important french classic literature (Zola, Stendhal, Balzac, De Maupassant) to the extent i would like. Any advice on that?
11 classics and how to deal with book guilt
You know the opening lines of “A tale of two cities” (1859) by heart “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair…”, but this is as far you’ ve got. You’ ve read Oliver Twist as a junior but then again you were only reading for plot. And you tried “Great Expectations” after you had seen the movie but Gwyneth Paltrow and Ethan Hawke kept messing in the pages and you couldn’t feel the original characters. You can always discard him as too Victorian or too Dickens to buy you some time but your chances are you will read “Bleak House” to find its two volumes actually poor for its… 157 characters.
“Pride and Prejudice” (1813), “Sense and Sensibility”, “Emma”, “Mansfield Park” are such household names you can’t even remember if you’ ve read them as a child or seen them in film or have “met” them in every other genre they inspired. You can discard Jane Austen as too Georgian, too marriage-obsessed (although single herself); but can you really? Can you resist reading a novel which begins “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife” and hosts the character of Mr. Benett, the father of the four daughters who, when his wife reprimands him “you have not compassion for my poor nerves” he answers “you mistake me my dear, I have a high respect for your nerves. They are my old friends”. So if you must settle with one of her books, go for “Pride and Prejudice”. But, chances are you’ll look for the rest.
It’s not that you didn’t try “Middlemarch” (1871). You did but reading Middlemarch is rereading some sentences for three times to grasp the meaning- and still having doubts. A book even Henry James who worshipped George Eliot called obscure and philosophical: “The author wishes to say too many things and to say them too well”. Of course, he loved it. But he didn’t have to wake up at 7.00 o’clock in the morning to go to work.
You’ ve devoured his writing tips and witticisms but not much of his fiction. And then you have Ernest Hemingway naming “The adventures of Huckleberry Fin” (1884) as the definitive American masterpiece:“All modern American literature comes from that book. There was nothing before. There has been nothing as good since.” Mark Twain was discarded as a humorist and definitely not a literary product by his peer critics but was soon to be considered the ultimate American novelist. So not to have read Huckleberry Fin is one thing. But how can you defy Papa Hemingway ?
I am afraid there is little one can say in your defense for not having read anything Henry James. “The Portrait of a lady” (1881) is unparalleled in making Isabel Archer such a vivid and three-dimensional character facing her destiny and James’s prose and rendering of detail, both scenic and emotional, is unique. And then, there’s the short novella “Daisy Miller” and the innocently sinister “The turn of the screw”, you shouldn’t really miss.
If you’ ve read Henry James then you can skip Edith Wharton, aka… masculine Henry James. Or is it that Henry James is a… feminine Edith Wharton? Still, how can you really miss “The Custom of the Country” (1913) and Undine Spragg, one of fiction’s most uncharming female characters- which is such a delight to read-, Countess Elena Olenska and her dilemmas in “The Age of Innocence” or the stunning but impoverished Lily Bart in “House of Mirth” and her emotional struggles?
Critics speak of “The Awakening” (1899) as being one of the model books for women’s emancipation. A woman not finding the purpose of her life in raising her children, -a taboo even today- in searching for other ways to find happiness and stimuli in her life… If you haven’t tried it, well, it’s a very easy book to read, you can do it overnight– but, no, it won’t spare you from reading “Madame Bovary” (1856), the… original first “desperate housewife”, written 50 years before.
It’s not only the subject, it is also Flaubert’s elaborate prose which made him a master among his peer novelists and his successors. His visual style, his fixation on style and the material world, the cadence of his sentences and the study of the human subject make it an essential read. If there is only one you had to pick from the French novelists of the 19th, make it his “Madame Bovary”. And, for a closer and more thorough look on the inexhaustible subject, go for “Anna Karenina” (1873).
You probably know that Anna Karenina committed suicide in a railway station, you must have quoted several times its opening line “All happy families are alike; each unhappy family is unhappy in its own way”, but still haven’t read the novel. Do, please. It’s a masterpiece. And don’t stop there. If “War and Peace” seems long enough (even Ernest Hemingway would argue: “I can write it like Tolstoi and make the book seem larger, wiser, and all the rest of it. But then I remember that was what I always skipped in Tolstoi”, don’t miss out on the novellas “The Death of Ivan Ilyich” and “The Kreutzer Sonatas”, outstanding tokens of what literature can do to describe the human predicament in death and love.
When it comes to the Russians, it’s difficult to lure the true lover of fiction out of their spell. Because the thing that best describes the relationship of an adequate reader to them is… binge reading. Fyodor’s Dostoyevsky “Crime and Punishment” (1866), “The Idiot”, “The Brothers Karamazov”, “Demons” , “The Gambler”, “Notes form the Underground” are reference books on life and death dilemmas and moral issues written on paper and treated as literature for the first time. When you make the acquaintance with Dostoyevsky’s universe there is no coming back.
And then again there is Anton Chekhov (1860-1904). The master of theatrical plays and short stories that has probably influenced every short story writer ever since. Binge reading is a common practice with Chekhov too. The struggle of his characters to come to terms with their incongruous desires and the mundane life that weighs on them are apparent even in his shortest stories. The doctor with a genuine passion for stories and talent for humanity is difficult to put down, so read at your own pace and risk.