The headline is stark: Americans are increasingly unlikely to read literature. So found the National Endowment for the Arts in its recently released Annual Arts Basic Survey (AABS). Measuring the ways adult Americans interact with and engage in the arts – from reading a book to playing an instrument to attending a performance – this year’s survey shows that only 43% of Americans read “novels, short stories, or plays not required for work or school.” Although the NEA’s research excludes narrative non-fiction and newer storytelling genres like blog posts and podcasts, the research suggests that reading rigorous literature may shrink away to nothing, with fewer and fewer Americans taking the time to explore the magic of literary worlds. But the NEA’s numbers are particularly striking as they break down along gender, race and educational lines.
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The prolific French author, Guy de Maupassant, is primarily remembered for his mastery of the short story, although he wrote novels and travel memoirs as well. Maupassant published his first short story, “Boule de Suif,” in 1880 at the age of thirty.
A realist author, Maupassant’s short stories tell the tales of common people permanently altered by larger forces at work in the world. “The Piece of String”is no exception. The story was published in 1884, within Maupassant’s larger collection, “Miss Harriet.” “The Piece of String” follows the experience of Maitre Hauchecorne, a peasant and farmer, as he is accused of theft. Join us as we use “The Piece of String” to reflect misunderstanding and misinterpretation.
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Although Katherine Mansfield spent most of her adult life living in London and traveling continental Europe, many of her short stories evoke the New Zealand of her childhood. A modernist writer, Mansfield was a friend of D.H. Lawrence and Virginia Woolf. Her short story, “The Garden Party,” influenced Woolf’s masterpiece, Mrs. Dalloway.
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“I was not sorry when my brother died.” So begins Tsitsi Dangarembga’s semi-autobiographical novel Nervous Conditions, the story of Tambudzai, a teenage girl in the former Rhodesia (now Zimbabwe) who lives in two worlds: that of her parents, poor farmers who earn a meager living, and that of her aunt and uncle, whom the British colonists have chosen to receive an education in England and eventually to run the missionary school. I fell in love with Tambu in the first few pages, and as I introduce her to more readers, I have discovered that they take her to their hearts as well. This includes participants in a Books@Work group as well as college students in a “Questions of Identity” seminar.
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At Books@Work, we enjoy a great deal of exposure to wonderful books—and to the conversations and insights those books inspire.
In the spirit of summer reading, here are a few we and our participants have been enjoying recently. Why not try one and start a conversation yourself?
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American author Willa Cather’s novels evoke the landscapes of the American west, from the plains of Nebraska to Colorado’s Mesa Verde, and they depict frontier life in the late-nineteenth and early twentieth centuries. Though she is primarily known for longer works such as My Ántonia, O Pioneers, and The Song of the Lark, Cather began her career as a poet and writer of short stories, and published many of them throughout her life.
“On the Gulls’ Road” (1908) takes place at sea rather than in the American west. Nonetheless, Cather’s short story attends to landscape and seascape, as well as the relationships between people, in a manner similar to her better-known works.
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When it comes to teaching, I confess that I’m a sucker for iconic texts: Shakespeare’s Othello, Mary Godwin Shelley’s Frankenstein, and Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde. Frankly, it bothers me that these authors’ fame derives from ubiquitous cultural allusions so divorced from their work. Boris Karloff immediately comes to mind when people hear the name Frankenstein. People blithely characterize someone as a “Dr. Jekyll and Mr. Hyde-type” without knowing the original story. And they refer to a talented person as a Shakespeare without having read enough of the Bard to know why he’s a genius. With the mission of connecting cultural allusions to their sources, I have introduced these texts to Books@Work readers, and several anecdotes will tell that tale of how well my approach has worked.
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Based on the success of our eighteen-day initiative earlier this year, we launch our monthly mindful reading series as a springboard to think about, and to practice, compassion, empathy, and awareness—of ourselves and of the world we live in. Reading mindfully allows us a few quiet minutes in the day to focus on something different, something literary or artful. Won’t you join us this week, and share your thoughts and reactions to Anton Chekhov’s short story, “The Princess”?
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In January, we experimented with something new. We at Books@Work and a number of volunteers who subscribed for this special series undertook to read a story, an essay or a poem every day for about three weeks. Intended as a springboard to think about mindfulness and to practice compassion, empathy and awareness (of ourselves and of the world we live in) the readings enabled—if nothing else—a few quiet minutes in the day to focus on something different, something literary or artful. Reading mindfully, we hypothesized, might be a way to decompress and engage our minds, with thought and deliberation. Here are our observations, plus a sampling of what we read.
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