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• W1965603224 abstract "Introductions:A Preface Michael Gorra (bio) My high-school teachers didn't believe in summer reading lists, and so the first one I ever saw was the one I made for myself as a college freshman, scribbled down in my physics-for-poets notebook when I should have been paying attention to a lecture on quarks. Macbeth, I wrote, Mrs. Dalloway and Northanger Abbey. I added Washington Square because I liked Daisy Miller, even though I didn't understand it, and then there came Proust, everyone's summer hope, and almost everyone's failure. I read thirty pages and quit. Childe Harold's Pilgrimage—another flop, though maybe more Byron's than mine. The list ended with Conrad's Nostromo, and what sticks in my mind from that summer isn't the novel itself but the introduction my edition carried. It was a Modern Library volume dating from 1951 that I had bought used for a buck. The introduction was written by Robert Penn Warren—a name I knew but without knowing why. It was the first time I had read a piece of criticism of my own free will, and the hour I spent with it stands in retrospect as the greatest intellectual adventure of that bicentennial summer. Most of its pages compared Nostromo's characters to those in Conrad's other works, matching the moral solitude of the journalist Decoud to the isolation of Heyst in Victory, or putting the book's title character up next to Captain Brierly in Lord Jim. Simple enough—at least until you try it yourself—and yet that's exactly what I found so exciting. For I had read just enough Conrad already to see that Warren's comparisons amounted to a teasing out of the typical, a revelation of the writer's characteristic patterns of mind. They showed me what made Conrad Conrad. Most of the criticism I read in college came in just that form: introductions and prefaces, forewords and afterwords. Usually they appeared in books I had gotten secondhand, another student's discards. And most of them dated from a generation back, when a combination of the expanding postwar university [End Page 124] system, the paperback revolution, and a belief in the saving value of literature itself had led to a proliferation of cheap editions of classic texts. Randall Jarrell disparaged this period as only an age of criticism, not of great literature itself. Anyone who knows Lowell and Bishop and Bellow will know he was wrong about that, but what criticism! I read The Bostonians as introduced by Irving Howe, Great Expectations prefaced by Angus Wilson, and Jarrell's own On Preparing to Read Kipling. There was Malcolm Cowley on Faulkner, and more Conrad, this time with Albert J. Guerard telling me how to read Typhoon and The Shadow-Line. Best of all was Lionel Trilling's Emma and the Legend of Jane Austen (1957), a piece commissioned for the Riverside series of college texts that remains one of the most important essays ever written about her, still cited and argued with and deferred to half a century after its first appearance. In fact, many of Trilling's finest essays—pieces on Keats and Dickens and Orwell, on Anna Karenina and The Princess Casamassima—got their start as introductions, before being collected in volumes like The Liberal Imagination and Beyond Culture. Some of them were written for editions that now seem genuinely obscure: the one on Keats was written for a volume in The Great Letters Series. The frequency with which Trilling turned to such work-for-hire probably owed something to financial need. But after writing several such pieces myself—and even one about Conrad—I have begun to suspect he might also have been drawn to the particular challenges of this deceptively complex genre. An introduction introduces. This is Emma Woodhouse, who . . . An introduction tells you everything you need to sustain an initial conversation. It might include a bit of biography or a touch of critical history, and it should certainly establish the book in its own time and location, and perhaps place it in ours as well. For Trilling the significance of the revolutionary anarchists..." @default.
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• W1965603224 title "Introductions: A Preface" @default.
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