The anecdote about the garden of earthly delights is going to be relatable even for art students. I've met art teachers that ended up "trapped" in Madrid by the Prado Museum: A green, American future Ph.D student that was heading to Greece to specialize in old greek art. But instead of flying straight there, they stopped at Madrid to see the Prado, and were never able to leave. Changed their direction immediately, and ended up teaching in Madrid, and retiring there, because one of the countless masterpieces in there stole their life plans away.
There's more famous museums, and it doesn't have the most popular paintings for non specialist, but it's just haymaker after haymaker, in every single room. And that's leaving the modern art to the Reina Sofia, a short walk away. (Although I guess keeping late Goya there is kind of cheating, as I'd argue he becomes a pioneer of modern art after the war starts)
Books might require quite a bit of work before you can tell they are eternal masterpieces. Seeing the depths of some forms of music might involve not-so-impressive efforts earlier, just to get to the good parts. The very best paintings in the world, in person, can stop people cold. Large format efforts that demand attention even when you don't consider every single small decision.
The Garden of Earthly Delights used to be stuck in a corner, at the edge of one of the wings of the Prado. As if "oh well, I guess it fits here, near all the medieval art". It counted as an ambush.
^^ this. I was never an art person and then one day I felt like I was just punched in the face when it hit me. It's not like "I like this, it's interesting", it's like "Oh. That."
> Why this word, this scene, this character, and not some other one?
The "why this not that, even when it looks like that would do just fine" style of differential analysis is an exquisitely powerful analytical tool. Asking this question is probably the single most powerful method I know of to generate deep thought, in absolutely any aspect of life. If you haven't tried it... go for it!
(Sample question: why'd I choose the word "exquisitely" in the above sentence?)
> In the short term, thinness prevails. ... The real question is not “which of these things looks nicer when you look at them for two seconds?” but “which of these things will stand the test of time?”
That tracks with another thing I've noticed I approach differently. I've recently joined a book club and everyone loves to talk about how many "stars" they gave a book. I've never really been able to rank things like that. Aside from there being no such thing as a total ordering of books (or movies or ...), who's to say what five stars from you means, compared to five stars from me? Instead I've started thinking about books in terms of "book of the month", "book of the year", "book of the decade", "book of the century", et cetera. Is this going to be the best thing I read all month or all decade? Am I going to remember this for a year or forget most of it next week? Is everyone still going to be talking about this one in 80 years? I think that's a much better scale than "one to five stars (but actually three to five stars)", and much more interesting. It also bakes in both the inherent subjectivity and inherent fuzziness really well.
(Yes, some things... plenty of things... are thin enough to be candidates for "book of the day" or "book of the hour". Few things are forgettable enough to go below that, though there have been some attempts; mostly at that level things underflow and you get in to Mystery Science Theater 3000 territory, which is its own special kind of thing.)
> Is this going to be the best thing I read all month or all decade?
Many times it is only possible to know that post hoc. There are several books I've read that, in the moment of completing them, stand as the best I'd read in the past few years. Others I finished and figured I'd never think of them past the current month.
But books and their impact upon you can be surprising sometimes. There are some books I think about often, and that I would say have even influenced me greatly, that I wouldn't have guessed would have that impact when I read them. And others that I figured would remain "book of the decade" that barely made it to the two-year mark before being surpassed by something else.
> Instead I've started thinking about books in terms of "book of the month", "book of the year", "book of the decade", "book of the century", et cetera. Is this going to be the best thing I read all month or all decade? Am I going to remember this for a year or forget most of it next week?
Really loved this essay, loved the irreverent style. I had a similar literary journey as this guy.
I think I would take it a step further though. It's not just that great literature has details and motifs that line up perfectly, it's not just that it took great effort to produce, or has some musicality or rhythm that is beautiful to take in experientially. It's that the thing that is communicated is truthful. Great fiction wipes away the noise of one's day-to-day thinking into some deep and essential truth about the human experience.
Which is difficult, because that type of truth is not mathematical, it cannot be arrived at through some standalone logical path. I think students suffer because instruction by its nature is framed as teaching a path to get to some destination. The author mentions this with the egg cracking metaphor. The reason that fiction can produce this type of truth and non-fiction cannot is that fiction relays a human experience, it's relational and personal and that is the whole point of it. And you get that transcendental truth out of it because our life experience is fundamentally relational, it is how we see ourselves in relation to others or god or nature or what have you.
Seeing fiction that way is the main difference between myself at 16 and myself today.
There's an interesting part of this that's mentioned in the comments that the original author states:
> Haha I had a section in this, but cut it, about how people jokingly suggest we should include one regular person in every Olympic event to show just how astounding Olympic athletes are, and this is also a good idea for art...
I've been getting into fiction writing a bit recently and learning to focus on incremental improvement is necessary, for example, getting feedback and trying to find good venues to get it is a challenge because getting helpful constructive feedback is hard
I'm beginning to wonder if, because the skill level of the creators of media the average person consumes on a regular basis is so high, it's actually difficult to get good feedback for learning from by asking them until you get to a minimum baseline of skill and improvement is constrained by finding environments that can provide high quality feedback
Feedback is a gnarly problem because a lot of people assume this means "I, the reviewer, will criticize what I think will improve this work" and "I, the receiver, will receive suggestions to improve my work" but the reviewer and the creative will never have the same idea of what the WIP's ideal state looks like. So the feedback can be actively harmful to the creator. For example, if I'm a Mexican author writing about my abuela, and a feedback is "you should replace all these words with English", that's probably actively harmful to the vision of the work. But also sometimes the creator must be actively open to feedback that "hey, your abuela isn't a person in this story, she's just a female cardboard character" because it's probably a disservice to the vision to have a cardboard character clouded by the creator's nostalgia.
As an old man I now think the art and humanities classes in school landed at the wrong time.
You need context to really understand a book or a work of art. You want to know what kind of environment produced it, what it's talking to.
But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
How would you know what the characters in Pride and Prejudice are worried about if you don't know how that society is?
So as a kid it just totally didn't mean anything to me, it was just a strange torture where you are meant to comment on the motivations of the characters and how the writing style brings that out.
To my shame I've never read Dickens, but I did read the Romanian canonical authors (I am Romanian), and a lot of them, the ones I liked, gave you a very real sense of the life of the people at the time.
Ion, for example, is basically a tragedy about the titular character scheming to marry a woman whom he doesn't love (but who loves him) because he's poor and she's "rich" (owns land). And the book really shows you how important and spiritually so it is for the main character (and therein, for the average farmer at the time) to work his own land, to sweat and toil over his land. How he collapses to his knees and kisses the dirt when he finally gets it etc.
High schoolers can get most books with adult themes, and most books require very little context, since they are filled with passages upon passages upon passages of description.
> How would you know what the characters in Pride and Prejudice are worried about if you don't know how that society is?
Because they literally say it!
“Not that I am afraid of myself, but I dread other people’s remarks.”
“How can I promise to be wiser … if I am tempted?”
“My father’s opinion of me does me the greatest honour; and I should be miserable to forfeit it.”
“Happiness in marriage is entirely a matter of chance.”
Or the narrator does
“To Elizabeth it appeared, that had her family made an agreement to expose themselves as much as they could during the evening, it would have been impossible for them to play their parts with more spirit, or finer success.”
And from the books YOU LEARN WHAT THE SOCIETY WAS LIKE!
I don't think waiting 20 years to acquire a much vaguer and much less correct understanding of the context from YouTube/TikTok/TV cultural diffusion is very wise.
I get your point, and the book does say that. It's just... For a teenager, it rarely lands. And connecting context is super important. I mean, sure Ion wanted land, but you really can't contextualize that kind of desire when your needs and desires are completely different.
Maybe you were more capable of empathy or better at contextualizing what you were reading. I sure as hell was not. And only now later in like I think I am able to read and understand books. And really get them at a much deeper level. I do wonder though if without going through the motions of reading stuff you contextualize poorly if you ever gain the capability to understand. Or if it just makes no sens to engage with certain material until mature enough, in the right frame of mind and, importantly, _interested in it_.
> I get your point, and the book does say that. It's just... For a teenager, it rarely lands.
Basic education is weird because it has two conflicting goals. One is to get everyone to the same basic level needed to function in a society. And that's where all the incentives are - that's what you and the teachers are graded on. But another goal is to give you a taste of what's out there, so that some of the more talented kids can decide they like literature or math or physics or whatever.
That second part really requires the teacher and the student to care, but the first part conspires to make that outcome unlikely. My memories from public school are that everything I'm interested in today, I'm interested in despite the efforts of the school system to make the topics appear painful and dull.
So on some level, I don't think the problem is with the literature itself, or with the student's age. It's just that the setting often sucks and you kinda start with the assumption that if the teachers are making you read a book or learn some dates, it won't be a fun experience. And so it isn't.
I don't see the conflict between the two. I think you can do both. But, yes, the quality of the teachers matters a whole lot. And, sometimes, how well they relate to the kids. Because I can imagine that some people just won't click well together. Thinking back on the poor professors, I kinds of am sorry for all the crap they had to put up with.
And I do believe the student has part of the blame here. Or at least, the culture the student is living in. Because if there is an air of "pff, school, who needs it?" it rubs on kids and they end up believing school is stupid, knowing things is dumb, and they just don't care about it. At least in my country, I just feel such an air of disdain for education, that, to me, just feels a problem of perception or cultural framing. Competency is cool. Knowing things is _actually_ cool.
You have 20 kids in a classroom. Fifteen of them want to know what's going to be on the state-mandated test. Five, if you're lucky, may have some interest in the subject you're teaching.
So, do you design the class for the five gifted kids and risk failing the other 15, or do you get everyone over the finish line through rote repetition until they can all recite the names of the Founding Fathers for the test, knowing full well that you can't make them care about history (or, in some cases, even keep them off drugs and street crime)?
Sure, there are exceptional teachers who can keep the entire classroom engaged, but it's so rare that we make films about them. In most cases, in public schools, it's a choice that needs to be made.
You can indeed do both. That's what separates a good teacher from a great teacher.
But I think we also all now understand that public teaching is one of the worst ROI careers financially and how the few carrpts on the stick (tenure, fairly strong job security) have been stripped away over the decades. The way schools are funded literally rely on real estste value in that area. It's all made so maybe some rich areas get great teachers, but the hopes of using education to crawl out of poverty gets harder and harder. Unsurprising that great teachers leave before their prime or never come in to begin with.
And nope. They do not teach you that in 12th grade econ/government class.
> in the right frame of mind and, importantly, _interested in it_
Very much so! I'm not saying the way school approaches books is good, I'd wish there would have been be a lot more time dedicated to reading the darn things. :)
My point is that, if you find reading enjoyable and do it as sort of a hobby instead of a chore (I did, and a bunch of my friends did too, so this wasn't just a me thing), you can get a lot out of the books even at that age.
Of course you understand them more later, but it also goes both ways, you also understand life situations a bit better because you've seen them before in books.
You're making a good point. I was also of the opinion that these books don't land well, because I'm missing the context. And I'm actually still thinking that about quite a lot of these classics. But what I believe I'm also concluding from your comment, is that these books aren't good hooks to get people, especially teenagers, interested in the context and in the society of the time. And that is where YouTube/TikTok/TV might shine. Or a well written and narrated podcast.
Dickens is full of extremely theatrical scenes. The characters are often a caricature, but the caricature is so finely drawn that it is tremendous fun.
(Nobody should be ashamed for having read or not read some work though, or for having enjoyed or not enjoyed one.)
Telling you about the great depression in Steinbeck's work is a lot different from living a few years out in the world and struggling to pay rent. Even if that's still a far cry from what actually happened 80-90 years ago. I think those are the key sensations that are missing that made me resonate with a lot more classic literature post-college rather than bumbling through English class in high school.
I think you really need to spend a few years fighting your politics to really capture the politics depicted in literature. And many US grade schoolers simply don't do that.
> So as a kid it just totally didn't mean anything to me, it was just a strange torture
A lot of school is like this though. English is basically my only language, I have taught myself some very basic Spanish over the years but it is a struggle when you are busy and don't have a consistent routine. I can't believe that for years the state paid a professional to spend hours each week trying to teach me not one but two languages and I completely wasted it. I just had no interest.
In school they basically teach you a bit of everything (maths, science, languages, arts, history, etc), if you are lucky you will take to one or two of those subjects and view the rest as a chore, but all of them are potentially valuable if you really embrace them.
> So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
Ideally, a good English teacher will explain these things, and/or you will also be learning history which may touch on them. Sure, maybe that isn't enough, but I still think it is better for people to be exposed to these things at a young age. Many young people do actually really take to these works and get a lot of value out of them.
A lot of people revisit these works later in life and have even further appreciation of them. I think it all validates the goal is to teach learning as a life skill. Learning is never complete. Even things you know, you may not understand until later. It’s all part of the process of learning to learn and emphasizing curiosity and critical thinking. These are the high level objectives of education and inform a lot of the processes that exist.
I’m in my fifties and taking a break from work and have now found myself reading Macbeth, Doctor Faustus, along with Gibson’s Sprawl trilogy. My movie watching is now much more auteur and reaching for the unconscious and immaterial experience.
I’ve wonder if I was taught Shakespeare too early, but see it more as an Easter egg or gift waiting for me to catch up. I think more so I was so focused on the rational I was ignoring the other parts though fully immersed in being the other part. Now I see it and appreciate so much have the right lens from early teachings with my experiences. And to your point continuing to learn.
It felt even worse when reading Shakespeare, which is nominally the same language you and I speak, but just barely. Add the fact that it's a play, where the performance carries a lot of the meaning.
The end result was that I - and as far as I could tell, 99% of my classmates - got basically negative value out of sitting in class and reading lines we didn't understand out loud, without even time to try and parse it out because we were too busy just scanning the lines to see when it was our turn to speak.
I had the same experience reading A Midsummer Night's Dream in high school -- I could follow the story, but it was a slog to get through and I didn't understand what was supposed to be so great about it.
Then I saw an actual performance of the play recently, and it all clicked. It was just as understandable as any contemporary film, and easily one of the most fun and entertaining stories I've seen.
I've had a similar experience, with the same play, but in an absolutely minimalist setting. No sets, the only props were a few chairs, and costumes were the same white slacks and smock worn by all the players.
And it absolutely worked.
This wasn't long after my secondary education --- I'd just started uni. But enough had happened that I got it.
As I've commented recently, even as an excellent reader, there's something that hits quite differently from hearing fiction (or even nonfiction) not just read but acted. Selected Shorts is an excellent source for this. See: <https://news.ycombinator.com/item?id=49163756>.
I think that is one thing about trying to study Shakespeare in class that can be improved. The class shouldn't just be taking turns saying the lines out loud. But you don't need a full theatrical production either or memorize lines. Read the lines with some light acting out of scenes with just the tables, chairs, and a small bit of imagination could be the class room study impactful.
I couldn't find the exact point that I was thinking of (when Hamlet is telling Ophelia that men are basically all just assholes), but I think this modern-day version of Hamlet helps to illustrate your point: https://www.youtube.com/watch?v=LdZVR4Ry3jQ
I gave up trying to read plays shortly after school. There's no point to me, they are supposed to be performed. I still think it's worth studying some of the more famous ones in school, but any study should absolutely involve actually going to see the play at some point.
I commented elsewhere but my schooling had a pattern of: read > analyze/discuss > watch movie > analyze/discuss. Most of the material has film adaptations and this was fairly sufficient in closing the loop during the course.
Even in history class, when we studied key documents the teacher would often at some point show us an oral presentation of the document- like a clip of (actor portrayed) Abraham Lincoln reading the Gettysburg Address. It’s such a well written speech that’s it’s exceedingly simple to comprehend when read. However, when you hear it orated it becomes evident how powerful it was and monumental moment in American history to justify learning about as it was unifying and motivating for all even in the midst of civil war. (Sorry may not be relatable reference for non Americans was just the first that came to mind)
A couple years after I graduated college, I came across the 1972 movie of Macbeth. The experience was so drastically different from reading it in high school that it seemed like a completely different play. Suddenly, it all made sense now that I had a visual context.
I remember one of the characters (Macduff?) covered in blood after a battle and grinning about how he had opened up his opponent "from the knave to the chop" with appropriate gestures. I remembered that specific phrase from high school and now, instead of being an abstract comment, it had actual meaning that I could relate to.
I'm of the opinion that most plays simply shouldn't be taught in high school English class. There just isn't enough context to really understand them.
I have heard that Shakespeare is much easier and more enjoyable for non-English speakers, because they get modern translations and we do not
Linguist John McWhorter says that Shakespeare is often an "the Emperor has no clothes" situation. No one wants to admit to themselves or others that they don't understand it, and the people who think they understand it are often misunderstanding a lot of it
It's a tragedy that most English classes don't have field trips. Going to an actual Shakespeare play would probably change many people's minds than having to direct it in book form.
What clicked for me was after being forced to read The Merchant of Venice in grade 9, I suddenly saw all the cultural references ("I want my pound of flesh" or "All that glisters is not gold") in movies, music, etc. I remember watching Strange Brew and somebody mentioned that it's basically Hamlet and you can't unsee it once you realize which movie character is matched to which Shakespeare character.
Over the years I've been to several adaptations of A Midsummer Night's Dream and it was a ton of fun every single time.
I was preparing to heavily disagree with you before that "because". I'm French speaking, one of my highschool English teachers made us read Romeo and Juliet, and it's different enough from modern English that my brain just couldn't understand anything at all. Thank god Sparknotes already existed in the early/mid 00s cause I would have fluked that class so hard.
Funnily enough I never read the translations, so can't speak as to how accurate your affirmation is, but I can see it happening for sure. I'd say it depends on the style of the translation. I've seen some try too hard to preserve the tone of the original.
Now, maybe I was convincing myself that I understood in high school when I’ve in fact it not, but I found that reading it aloud and trying to say the words, as if you were the character (acting, if you will), made it much more understandable.
I mean, even the most famous line in all of Shakespeare, "wherefore art thou Romeo" is frequently misunderstood because many people reasonably assume "wherefore" means something like "where". Yes, you can figure it out from context, but the context is in the same archaic language. Very possible to untangle all that while you're reading it and perhaps it's a good mental exercise. But it can be really tough to keep up when you're watching in the form it was meant to be enjoyed in, a play
That speech is expressing an awesome idea: Juliet is saying that she loves Romeo-the-person, but she is terrified of her bad luck in that he happens to have a certain surname ("Montague") which will automatically cause her family to hate him. Which, indeed, they do. It's basically something like "why did I fall in love with such an inconvenient person?", together with "why does my family care so much about this thing that I'm not sure needs to matter?".
Sure, but the archaic language can obscure the awesome idea.
"Why are you Romeo?" may sound less poetic to modern ears, but isn't that how people back then would have parsed it - just as easily as everyday language, because it was their everyday language?
I feel like in a way we're losing Shakespeare's intended effect, because we insist on using a "language" that isn't used anymore. Yes, I understand that it's considered the same language, but a language isn't really one thing, it's more of a spectrum without sharp edges. Shakespeare is much closer in time to Middle English (which is considered a different language) than he is to our time
I disagree. Shakespeare was not "plain" even in the 16/17th century. It wasn't archaic, but it was far, far from plain. The same is true for a lot of great literary works, even recent ones. Many great works have a lofty diction, which is easy to lampoon when inferior works veer into purple prose, but when it works, really elevates language.
True. But I think you can agree that the (now) archaic language and cultural context that would have been common knowledge back then gives an extra layer of difficulty over the already poetic/literary nature of the work
Watching Shakespeare has a similar feel to me as watching cartoons in Spanish as an intermediate Spanish learner. I can understand a lot of it. But I have to use so much of my brain power interpreting the language and get so distracted by unfamiliar phrases or words that I can't really get immersed in the story
I don't know, I guess it's just not for me. I think the 1700/1800's are about as far back as I can go
True, but a big part of Shakespeare is the rhythm, and if you replace the words with newer words that disappears.
Not to say it will be a complete failure, but it does lose some of its poetry and power.
And smut. There's a lot of smut and double entendre in Shakespeare. An innocent modern word like "nothing" has multiple layers of meaning in Elizabethan English.
Modern audiences don't get it unless someone explains it to them.
We often didn’t just get sent home with a copy of Romeo and Juliet and then get asked to write an essay.
We went through it, a bit at a time, in class. With a very good teacher. Not just helping with word and phrases, but digging in a little bit. And at the end we watched a performance of it.
I think that made it so much easier to appreciate, and it made it a ton easier to read and appreciate Julius Caesar or whichever ones we did next.
And like… that was 30+ years ago for me, but I feel like I see echoes of that stuff all the time.
This is a really good point. My wife and I produce a history podcast where, right now, a lot of it draws on primary sources such as letters, diaries, etc. from the late 1800's to early 1900's. The ones in German she translates into English, but it feels "wrong" to change someone's words that are already in English.
The net result is that it's easier (for me) to understand a letter written by someone in a translated foreign language than one written by someone in English from the same period.
Well yeah. Look no further than the "brevity is the soul of wit" quote. It's taken at literal value when, in context, you know it's a joke, a potshot at the expense of the character saying it, who's anything but brief in speech.
Yes, I agree completely with the Shakespeare point.
I was lucky enough to have a close friend (also a teenager!) who really got Shakespeare. She would explain to me what was actually going on, and read it with the correct emphasis so you could mostly actually follow it. She is 100% of the reason that I was ever able to appreciate Shakespeare.
You would hope that most teachers could do this, but in my experience it was only my one friend who had the literary and dramatic talent to explain Shakespeare well to teenagers.
There is no correct way to read Shakespeare. There are many wrong ways, but don't let your friend's interpretation cloud you from the others. It is really magic when you see some other interpretation and understand both are right despite not being compatible.
Example: The song "We Are Young" by fun features the following lyrics.
My seat's been taken by some sunglasses /
asking 'bout a scar, and /
I know I gave it to you months ago /
I know you're trying to forget /
But between the drinks and subtle things /
The holes in my apologies, you know /
I'm trying hard to take it back
The aspiring song analyst might think it's about the singer being asked by a cop (wearing sunglasses) asking about him abusing his girlfriend, or whatever, but Nate Ruess is on record saying it's just about being hung over, and no more deep than that.
Projecting meaning where there is none, or where the meaning is clear, is simply not valid even for Shakespeare.
> in my experience it was only my one friend who had the literary and dramatic talent to explain Shakespeare well to teenagers.
Could she explain Shakespeare to teenagers, or could she explain Shakespeare well to you. If she was in front of your class—explaining to all your classmates how she explained it to you—would your whole class get it? Or would some kids get it, and love it, and some kids bounce off it? In other words, what already happened, just with a different set of kids getting it?
Shakespeare isn't always easy to explain, and I don't think all kids get it the same way. I don't think there's any one way to teach it which will work for everyone. Instead, you're exposed to it a bunch of times, by different teachers in HS, in College, in Life, and ... hopefully everyone will be reached by at least one of those.
I felt the same way. I think we were on Hamlet, and reading it alone just felt so confusing and lifeless. I couldn't tell when characters were upset, sarcastic, ecstatic, etc. It drained it of all character.
But then later on I saw a play version of it and suddenly it all made sense! Even if the words were identical, the context made it much easier to follow the story. I could piece together what it meant even if it wasn't modern English. You could hear the emotion in the voices and better follow what they're reacting to. I really appreciated it!
It's not like it would have cost the school anything...it was freely available online!
Reading these comments about Shakespeare makes me think that most of you had terrible teachers of Eng. Lit.
Plays, all of them not just Shakespeare, are written to be performed. If your teachers didn't have you perform plays and also watch professional and amateur performances they were derelict in their duties as teachers.
I guess I can't lump every English teacher into the same bucket, but in my experience, they aren't particularly skilled at explaining the context behind a lot of the stuff being taught.
I would agree wrt my High School teachers. They were basically competent, but not particularly good.
In college however, my Humanities professors were better than I appreciated at the time. They forced us to think about the material and challenged us to defend our interpretations. As an Engineering student who just wanted the class to be over, I really missed out on a lot of good stuff.
Frankly, Shakespeare is one of the few things I enjoyed reading in school. It was classic American novels I couldn’t stand. I couldn’t tell you why, but getting through something even as simple as Tom Sawyer was such a chore for me.
Twain can be tedious because he’s a humorist and we’ve heard those jokes a million times by now. Also he writes speech in dialect which now means nothing to us and makes him harder to read. I find him easier to read as an adult but he can still be a slog.
I think a lot of classic American lit is hard as an American kid because it’s removed enough from today that you don’t get the nuances and also so influential that the storytelling feels trite, even if it was revolutionary at the time.
The teacher makes a huge difference. My kids teacher somehow made The Odyssey a page turner for them and when the movie came out they were able to critique and delta the way the movie and book portrayed Odysseus. I was pretty impressed, because like the parent, The Odyssey and Shakespeare was a form of torture when I was in school.
Rant: I missed lot of Shakespeare appreciation when they somehow failed to teach that (other) people actually like how iambic pentameter sounds, and this is critical to enjoying it. Nothing about how Shakespeare is voiced has ever registered as sounding particularly pleasant to me. The word choice, sure, but not the meter or stressing.
They taught that Shakespeare used iambic pentameter, and how you're "supposed" to stress it, but it came off to me as "technical curiosity you're supposed to memorize" not "universal experience of enjoyment" that I apparently don't share.
Yeah, Shakespeare is not going to land if iambic pentameter doesn't sound like anything special to you. It's a big part of why many Shakespearean quotes stick so hard in people's brains, like 'To be or not to be', 'But soft, what light through yonder window breaks?' and 'If music be the food of love, play on'. If all of these have to carry their weight with only their literal words on the page, and not how they're actually said and stressed, they're going to be a lot less memorable.
Again, it was taught[1]. The fact that (speaking it with) one meter sounds particularly pleasant (to some people), and that this is a big part of its appeal (to those who like it) was not taught.
IOW, it's the difference between "these words in this poem rhyme" vs "this poem sounds nice because these words rhyme". Which, incidentally, is an analogy I make in the lightning talk to explain why this part would be glossed over: people assume that appreciation of rhyming/iambic pentameter is universal.
Another really good and interesting film adaptation of Shakespeare is "Scotland, PA" - Macbeth, set against the backdrop of a 1970s fast food restaurant featuring a soundtrack that consists entirely of Bad Company songs (apparently the library was shockingly inexpensive?) and Christopher Walken as an inspired Detective Macduff.
I think there's a lot of value in going back to examine the original text in school, but adaptations can do a lot to help students connect the idea that this story has characters and motivations that are human and resonate even outside the context of whatever the setting of the original play is.
> Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such?
We did talk about these things in English class in high school. The teachers would lay out the historical/social/cultural context of each book we read. Did your school not do that?
It still feels academic though. Suppose your response to that is, "Well, suck it up, its formalized".
I'd argue that it'd be worse if you could teach your book, and a 50 year old who both has rich lived experience and grew up in the time period the book was talking about has the exact same understanding of said book as a bored edgy 16 year old.
Either you're a godly teacher, or chances are the book doesn't have much depth. And maybe you are a really good teacher, I certainly wouldn't want to teach public school teenagers for a job. But while I'm charitable to teachers, I'm also charitable to the depth of novels.
I read Dostoevsky when I was 16 and I'm still learning more things about him and myself a decade later.
There are books that I read every decade or so, and there is always new insight. Sometimes I will identify with an older character and see the entire story through their eyes.
Often times an interesting novel will prompt me to study the cultural context independently.
There was still tremendous value in exposing myself to Dostoyevsky as a teenager. I have observed myself make the same mistakes as his characters, blinded in the moment by emotion. He had so much insight into human nature - but even if forewarning doesn't prevent us from folly, it can highlight a path to acceptance, repentance or redemption that otherwise may take a lifetime of self-reflection.
I don't mean that in a religious context, if that matters.
This was my thought as well. They were teaching us not to just read the words for their face value, to imagine the time and place the events occurred within.
Honestly, this is why at the conclusion of many books we would watch the movie (when available). Many movie adaptations are period pieces in terms of fashion and depicting struggles/victories that contemporary readers may not be able intuitively grasp.
Several of our English and History classes were paired on purpose for just this reason. We'd be reading Dickens while study that era, or Catch-22 when studying WWII and the immediate post-War era, etc.
That said, I'm also frequently amazed at the stuff some people didn't learn that I clearly remember being covered in school...
I'm not sure I would necessarily agree with "strange torture" more like "sore muscles from exercising mental muscles". Yes I remember hating The Great Gatsby when I was 14 and having to read it critically in school, I sure didn't have a lot context, but I remember having to do it, and I can look back after years of secondary and post secondary schooling and appreciate the exercise.
I think we should be much denser and more rigorous with school material in the middle/high schoolers, at least relative to what my experience in public school USA was, but that's sort of a separate discussion.
Context is everything for art and literature! It's not to say they can't be enjoyed out of context, but a lot can be lost without it, especially for a teenager.
I'm tempted to say that history and literature classes should just be combined, gradually working in books from (or about) the period and place being taught!
It took about 20 years for my philosophy and literature degrees pay off.
I know more now, but I had to start -somewhere- even if it was hard to get the whole context.
Much of that time between putting in all that work and feeling like it was worth it was spent reading a lot of other things and amassing life experience, raising my kids, and working in unrelated professions.
However, having that context for the experiences I was getting is probably why it feels useful in retrospect.
Even though I didn't really understand Sartre or Kirkegaard or whoever (and I suspect that they don't have the best ideas all the time), having them available to me was helpful.
To me, even if I didn't totally get the context of "Pride and Prejudice" or "The Mayor of Casterbridge" or "Ulysses" or "Pamela" or "Borderlands/La Frontera" or "The Sun Also Rises":
a) knowing that these were things people do deeply explore was helpful and
b) the little bits that did resonate have stayed with me.
Further, it's been very useful to re-visit these texts as I've gotten older has been supremely interesting.
So yeah, education is wasted on the young and all but it set me up well.
As a not-super-old 48-year-old with adult children, I'm quite pleased that I can review the texts from my 20s and will be able to do the same if I get to be in my 70s or 80s.
> But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
I think you just had bad teachers. Historical context was always part of the English language/literature curricula at my high school, and it definitely made a difference. I didn’t even go to a good school. Our district was the worst funded in our state with a 40% dropout rate.
It’s certainly true that an adult would tend to have more additional knowledge and be better able to understand a lot of writing, but if you avoid exposing kids to anything they don’t have total understanding of the context of, you won’t really be able to teach them anything. Discussing books can help provide some of that context they’re missing. It’s probably fine to teach arithmetic before algebraic number theory too.
I'm honestly of the opinion that teaching children arithmetic (as in, having them perform arithmetic algorithms) is not just a complete waste of time, but actually detrimental as it sours them to the idea of anything labeled "mathematics".
At their young age, it typically takes children the ritual of performing arithmetic algorithms at least several dozens of times if not a hundred times to get them to understand and internalize the algorithm itself. You can't actually teach the algorithm itself because they haven't studied basic algebra yet, so the only approximation is using the algorithm on multiple numbers. Then afterwards just give them a calculator.
In contrast, in high school, when a student has sufficient mental maturity to understand algorithms abstractly, it suffices to have the student do a few integrations by hand (say using the integration by parts technique) and then hand them a computer algebra system.
If problems were properly designed the students shouldn't even need calculators. In math the specific numerical value of a result is far less important than how it relates to the inputs. Raw calculation doesn't develop the intuition of when one operation is more appropriate than another.
The real value isn't in getting it at the time, it's having those seeds planted, among a population who will likely read very little after graduation, to find fertile ground later.
There's all manner of things I'd Studied in School (primary, secondary, uni) which only became clear to me many, many decades later.
I'm helping an older friend with their one remaining pastime, audiobooks, many of which are re-readings of works they'd first encountered as a teen or young adult (now in their 10th decade). As TFA notes, there's a thickness to many of these works, and even having read them several times already, there's a reward in hearing them again, 60 or 70 years after first encountering them.
I listen in on some of the books. They've covered over 2,000 titles, which is impressive for anyone. One aspect that stands out to me is that I now catch the references to many of them: Herman Hesse commenting on Dante Gabriel Rosetti's "Beata Beatrix" (at the Tate), several references to Erewhon, and numerous places, people, and historical events of which I now have far more context.
I second this. As a teenager, you don't have the life experience to appreciate most classic literature. I don't even think you have it in college, although this is less true.
That being said, there is important literature, both fiction and non-fiction, that should be introduced early, even if they won't really grasp it for decades. Most would be early philosophy and mythology, along with their best refutations. Learning how to read, think, and discuss them is the skill you're really looking to impart on the students to prepare them for real reading as adults.
Unfortunately, the education system is designed to train children to the minimum requirements of their predestined jobs and no further. It's no surprise that schools have made reading and thinking so unpleasant that most people are too traumatized to do it on their own.
> So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
Well, you probably had some history classes, maybe watched a movie or two, heard something, maybe asked your parents or the teacher, etc. Also the books usually do set the scene by describing the environments, so you can infer from them.
It also works the other way, after reading that book it gives you some foundation for when you consume other media related to that period/place.
> Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
I think this depends on who is reading it, but not the "obviously" type of depends. I'd imagine a teenager from America reading it would have a different take than someone from the UK (possibly Europe at large as well). A lot of that understanding will come from the context of living in the same area. A lot of history is learned/absorbed without formal teaching. Kids just ask questions about various buildings and the why? type of questions that start forming that kind of context.
But fiction is the best way to learn about those past times.
You could read in a history book - in the few sentences your locality's curriculum can spare for Victorian England - that there was a lot of urban poverty in London after the industrial revolution. Or in a geography book, that that area is prone to smog if you build coal-burning factories in it.
But are you really going to get it in the same way as someone who reads and imagines young Oliver Twist asking for "more", or about the smoke and the mud and the fog crawling down over rooftops in Bleak House?
100% agree. The best literature class I ever had was in college. In class our professor spent very little time discussing the book and spent most of the time discussing the author's life and historical context. I understood those books way more than I had ever understood classical literature before.
Depends on your teachers and your school. I've been lucky to have really good teachers despite attending public schools from K-12 (except Spanish - my Spanish teachers sucked. Turns out being fluent Spanish first speakers doesn't make someone a good teacher).
The best class I had in high school was American Dream: a mixture of literature and history/social studies. You'd learn about a time and then read a book for that time, like Grapes of Wrath or The Jungle or All Quiet on the Western Front. It was a double period, had two dynamic teachers (one old hippie and one young fun guy), and most of the grades were from papers about how the book and history related. More schools should have something like that.
This is a message that should be conveyed to kids. It's one that I didn't get. I wore blinders and prejudged that basically all the humanities was a waste of time. The guidance counselor would sign me up for history classes and I literally didn't even show up beyond the first day when I told the teacher that I have better things to do. I regret doing that.
My daughter, fortunately, did not make that mistake and got exposed to a great deal of art and history and literature that I had denied myself. Now I love history and I'm trying to make up for the gap.
It’s not only the historical context is missing but you yourself haven’t experienced life to be interested in the topic. If you haven’t had a child or a marriage, or even a friend who had one. Why would you understand that relationship. How can you possibly think about government structures when you’ve never led anything.
One might consider this an argument for an integrated curriculum. Teach Les Misérables during a unit on the French revolution. Teach Huckleberry Finn or Roots when discussing the history of slavery in the US. Teach The Great Gatsby as part of a unit on the roaring 20s and Prohibition or alternately on the second world war.
If there is one thing I miss about my adolescence, it is the vast amount of free time. I have never again been able to devote hours upon hours to reading. I used to be able to finish entire books in a couple of days, or a week at most.
It's this, and also a lot of required readings were just girl books even in hindsight. I wasn't part of the intended audience. It's like if some day Twilight becomes an American classic.
I think books in education often serve as an means to putting yourself in those scenarios and attempting to learn more about different times and cultures.
I think the Joni Mitchell song Both Sides Now applies, life is a conversation with experience.. you are not the same person you were in your teens, in your twenties.. and once you go through life some more life you perspectives shift even more drastically. Doesn't mean younger perspectives are useless.. you were more engaged with the world when you younger and more innocent.. you really can't get back to that
I don't know any 50+ year who really looks as young people as anything other than filtered reflections of themselves who will learn on their own..
is innocence unwise and experience embittered? Perhaps but that is a Judgemental and cynical perspective - we need more perspective in this world..and we must expose our best art early so that conversation can begin...The young will get there.
> You need context to really understand a book or a work of art. You want to know what kind of environment produced it, what it's talking to.
But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
That suggests a need for better cooperation across subjects. In college I learned calculus at the same time as physics and the two reinforced each other. We should be aligning English reading requirements with what's being taught in history class.
This. I am late bloomer in humanity subjects. I was a typical stem students that didn't really understand any of those classes.
It was not until working after finishing Universities, I started to get back to understand those topics. It also became much more enjoyable once I had the contexts. And learning the contexts is a actually a bigger part of the fun
School is about wide exposure to concepts that wouldn’t be encountered elsewhere. The goal is to teach students how to think, not what to think. The actual subject matter is irrelevant.
I don’t remember if the area of a triangle in my geometry homework was 5 or 7 and it genuinely doesn’t matter. What I do remember is that formulas are generalized way to solve problems.
Nobody needs to remember the content of fictional literature. But malleable brains do need to examine it critically so they can examine anything critically.
A book report is simply a demonstration that you can ingest and comprehend non-trivial information. That’s it. The content is irrelevant.
A book report on Timothy Zahn’s Star Wars novels serves the same purpose. But your instructors need to be familiar in order to assess your competency so they stick with the classics.
Having completed book reports on any topic at all better prepares you to study history (or any topic) later in life because it is literally just “how to internalize information”.
Wow. So I'm a college instructor (in IT) and you're nailing what I'm trying to defeat to the best of my ability. I do an intro class, and I think most everyone around me believes that my job is to "go over the technologies that are important to students."
And it's kind of like that, but overwhelmingly what I'm really doing is "I find technology to be endlessly fascinating and exciting and important, and here is both how and why, let me see if I can transfer this excitement to you."
If that's there, the learning just happens, that's the easy part.
There is no vampire in all of literature able to suck blood from victims as well as high school English classes are able to suck all the joy from reading.
Here's a seminal work of literature. Instead of taking your time and reading it, write an essay about something you don't give a shit about that's tangentially related to the book.
I feel like it depends on how the classics are introduced.
Being forced to read classics in their original form, while illuminating is unneccesary at the K-12 level where classics, humanities, and arts are meant to spark curiosity and an openness to synthesis.
Using abridged adaptations (eg. Illustrated abridged classics, wishbone) aren't a bad way to impart much of the ethos of those works.
The best thing about gaining an appreciation of this aspect of life is it opens up so many extra pleasures. I can spend an entire day at the (free entry!) V&A in London and never be bored. Likewise with a great book (when my 11-year-old isn't around!)
If you enjoyed this you will probably enjoy Against Interpretation by Susan Sontag[0]. Great piece that discusses why and how art moves us and pushes back a bit against the idea that is presented in this post that real art is art you can ask questions about and get answers from. I think most people including the author can recognize impactful art is more than just being able to get your 'why' questions answered (some might claim modern art is about challenging these assumptions), but it is even more difficult to talk about that concept without sounding extremely snobby, and Sontag has the credentials / writing skills to discuss it well.
> Sontag has the credentials / writing skills to discuss it well.
100%, and just to give an example, she finds good art is excreted (her words - perfectly chosen) rather than created, and I think her example was how the immaculate constructions of somebody like Flaubert lose a certain impact and potency, precisely because they betrays some sort of methodological process. And this cannot yield Truth.
To me, reading this now, that sort of analysis struck me rather as very much dated, and an example of that flippant iconoclasm of modern literary criticism, basically, of the hippies.
Because, really, who is she to throw Flaubert so casually under the bus? (im joking) Mme bovary is perfect, in a way a classical music composition is perfect, it is the oppressive knowledge that perfection can be willed into the world and it's the artist who has the task to will it in the world, no matter the devotion and commitment required. Causally dismissing this, is at its base adolescent posturing (like the hippies). But more importantly, and this is why I say "dated", is that we now, after 60-80 years very much have witnessed what sort of art we get when creating art should be more akin to some physiological evacuation. It's just no good, and it's being rejected more and more.
> But those works were much more like dark, winding caves with treasure stashed inside of them. My teachers were like, “Right, well, into the cave you go!” and I was like “But there’s nothing in there” and they were like “Entering the cave is 30% of your grade” and so I took a few steps into the darkness and I was like “Just as I suspected: an empty cave” and then I came trudging back out and pretended that I saw something.
That part made me feel seen. I took a handful of literature classes, all to satisfy some requirement. I don't think I ever once generated a genuine appreciation of any of it. Sometimes a resentment (particularly for Shakespeare) but most often just an indifference. Like maybe there's something there, but if so, it must be for other people who are just better at understanding this stuff. It's not for me. I just need to come up with some plausible ideas to get through this class with a passing grade.
> I was presented with art and literature as if it was self-explanatory, and that everything wonderful about it was plainly visible from the outside. But those works were much more like dark, winding caves with treasure stashed inside of them. My teachers were like, “Right, well, into the cave you go!” and I was like “But there’s nothing in there” and they were like “Entering the cave is 30% of your grade” and so I took a few steps into the darkness and I was like “Just as I suspected: an empty cave” and then I came trudging back out and pretended that I saw something.
Doesn't particularly sound like their English teachers are owed an apology.
How conditioned am I? I thought the title was a play on "em dashes" and when I got into the second paragraph and saw em dashes I immediately flipped to assuming I was reading a story from some never-lived life manifest by a diffusion model. I don't think it is. But that is irrelevant. The point is if our content cannot avoid or ultimately pass the sniff test it won't have the impact we hope.
Well, it's actually an essay against the thinness of AI slop.
> Erasing the line between the thick and the thin has left us defenseless against slop at the exact moment of its onslaught. Everyone can sense there’s something amiss with the prose that comes out of the machines, but we lack the language to talk about it, and so we’ve converged on the idea that slop simply means using too many em dashes, bullet points, and line breaks.
I genuinely think that the vast majority of English teachers have had experiences like this. It's what made them become English teachers.
Then, with all the best intent in the world, they try to explain to their students "Look, you don't get this, this fat book is transcendent if you can just sit with it and understand it! I, too, used to think that English class was just stupid words that they force you to read, but let me help you get this! You've got to..."
But all their students hear is Charlie Brown's adults going "Waa waa waa..." because they're genuinely not mature and experienced enough to "get" the book the way the English teacher understood it.
Ten years later a student will re-read one of their literature books, have this same epiphany, and talk excitedly about deep literature is, and someone will tell them they ought to be an English teacher. And the cycle continues.
Ok, so some English teachers are of course better than others, and some will convey their excitement a little better, and some students will be mature enough to understand it better than others.
But I will definitely maintain that all (close to all) English teachers have this same love of books, and want desperately to pass it on.
I think this is one of the more important points in this thread.
The problem is that too many pieces require experiences that the majority of the classroom just doesn't have.
It's not that students don't venture far enough into the cave to find the treasure, it's that the treasure literally isn't treasure to them yet.
The venturing that needs to happen for them to find the treasure isn't time spent in the material, it's time spent gaining life experiences.
Ex - there was nothing you could have done to make a book like "The Great Gatsby" good for me as a 15 year old. It's filled with themes that I had no experiences to connect with - no lost romances, no wealth (or even really a sense of wealth and money), no major life regrets, nothing at all to make this book hit. It's a dreary book about miserable, unlikable people when read from the perspective of a 15 year old student.
So why are we asking 15 year old students to read this book?
And that doesn't mean we can't throw students in over their heads every now and then (ex - exposure to the unfamiliar is fine). But if that's all you give them... they decide reading is pointless. You have to strike a middle ground with material that hits home.
And there's a range of teacher quality here as well - some are genuinely good at pushing students towards understanding the value in material, even if they lack experiences. But most aren't (at least in the US educational system I went through, which was a mix of decent public schools and expensive private schools)... they're passionate and well intentioned, but fail to empathize with the emotional maturity and world view of their young students.
> The Met Cloisters has these wooden altarpieces from the 1400s that draw your attention immediately, I think because the mind can subconsciously calculate the time it must have taken to carve them, and it sends a signal back to the eyes: important. You know that you are not just seeing a work of art, but the expenditure of a life.
Reminds me of one part of Vernor Vinge's "A Deepness in the Sky".
No, the very first meeting with the Emergents, where ... I forget the character's name (Trixia?), but she's a linguist and she figures out that there's something odd about the painting-carvings in the Emergent habitat. She can't put her finger on it until she spends more time studying their language, and figures out that they... well, we're getting into spoiler territory, so rot13: Fur svtherf bhg gung gurl gnyx nobhg crbcyr nf bowrpgf gb or bjarq.
Well that's a new experience, I naively googled for "Fur svtherf bhg gung gurl gnyx nobhg crbcyr nf bowrpgf gb or bjarq" and gemini responded to the text without rot13ing it, so I had no idea why it was telling me what it told me, I had to decode it to make sense of it's answer
I’ve long held the opinion that humans ‘over’-value complexity. It’s why we can spend so much time tasting, analyzing, and enjoying fancy coffee or whisky - despite the fact that almost everyone is repulsed by them the first time they try them. Literature might be the same?
Good writing isn't complex for complexity's sake though. Mistaking complexity for quality is the most common mistake when it comes to writing — and I allege one central reason why many people like and trust LLM output.
I'd argue that complexity is not even the right word to describe what the author describes. Thickness or depth is more accurate.
The simpler pleasures and pains of life are easier to speak to and we have a lot more (proportionally) media that reflects those experiences. Particular media does it better and worse and so there's a hierarchy, but if you are looking to have your enjoyment of good food and drink reflected in a story that's pretty easy to find.
But life is often more complex than that and it requires great skill to accurately reflect that complexity in creative works. When you're struggling with an experience that is difficult to talk about and understand, a creative work that seems to "get it" can be really valuable in sorting out how to think about that experience. I rarely need help in describing how much I like coffee, but I welcome good writing on the subject of "how should one understand the mixed experience of being very close to someone who you often disagree with."
To add on - complexity itself is a perceptual feature introduced by language - we treat and describe things as though they are made of an unimaginable number of tiny parts. So this also increases the fun of the wordy wine/coffee/whisky descriptions!
I get your idea but I wonder about the construction of this argument:
Is it the complexity itself people value, or the rewards of things that are complex? IME, the most valuable things are complex. Maybe that's because there is not enough capacity in simplicity to contain exceptional value (speaking very generally and loosely - we really need to define terms).
Also, I certainly think people value complex things, but I strongly disagree that they are over-valued. All the best things in my life seem complex.
I could imagine that complexity stimulates the brain in a different way and that adds to reward.
I've thought something similar but never put it into words.
It's nice when someone else puts your thoughts into words so clearly that you go, "That's exactly how I see this topic!"
> I was presented with art and literature as if it was self-explanatory, and that everything wonderful about it was plainly visible from the outside. But those works were much more like dark, winding caves with treasure stashed inside of them.
> But if someone had outfitted me appropriately, if they warned me that you have to bring one of those crank-up flashlights and you might have to shimmy through some narrow antechambers and spelunk through some flooded passageways, but that eventually you would reach a room full of untold riches—well, maybe I would have actually tried.
As they say, when the student is ready the teacher will appear. I think thick works though are not necessarily works with a lot of detail, but works where when you revisit them, you get something more from them. This does not have to be a detail, but more subtle, as if coming to contact with it the first time changed you as a person, and allowed you to see it with different eyes the second time.
This was very good to read. I would like to add "form/structure" to attributes of "thick"ness. It is possible for good art to adhere strictly to a form and yet be universal and transcend the confines imposed by form. E.g. meters in poems. When I write a poem, the imposed constraints make me weigh and choose from multiple words in a way that free-verse doesn't. Now whether that makes for better reading or not is something a reader should say :)
About the benches: seems like an oxymoron. New Yorkers love busy places! Of course; they live in New York. Plenty of people on the benches in my midwest city park. Because we by and large are uncomfortable with crowds and noise. Why we don't live in New York.
But when I see something incomprehensible, is it thick, or is it just stupid?
Surely the literary field has its cranks that believe they have made something deep, but have just made something nonsensical? What's the literary equivalent of TimeCube or chemtrails?
I wonder whether people who use open source software in the way I do are merely providing the egg (in the context of tfa). Most people, that I know, rarely modify the code in any way and merely build and use. Do not even read it most times. But, it somehow conveys a sense of _doing_ something that the mere install of a binary does not.
I also feel like I was let down by my English teachers. Even in high school I would complain that they would suck all the enjoyment out of a reading a book. Every book felt like a chore and I was an avid reader, a get-in-trouble-because-I-stayed-up-too-late-reading kid. I was the "reading at an N+1/N+2/N+3 grade" student, but I hated English/reading classes with a passion.
I've gone back to re-read some of the books I read in school and disliked and I find myself wondering constantly "why didn't the teacher point that out?" or "why didn't they give me the context to understand that?". I feel cheated in a way. And I had good teachers (I think), I'm not sure if I just wasn't in the right mind-space to understand or appreciate it or what.
Oh sure, they'd talk about symbolism and all of that but it always felt a little like BS to me as a kid. Like they were deriving meaning from thin air. I unfortunately cannot remember specific examples or I'd love to go back and re-read the book in question to see if I could understand/see it now. It felt like they never "grounded" the book in the context I needed to "get" the joke or understand the reference/metaphor/etc. I'm sure there were countless clever passages that went right over my head and instead of it being explained I was just supposed to understand that this was a metaphor for XYZ (something I'd not experienced yet, was well before my time, etc). It felt more like I just needed to memorize what they said and parrot it back since I wasn't getting that from what I had read.
I have (and continue to) re-read books from school and find myself amazed to find myself enjoying books that I remembered disliking or merely tolerating. Did I need more life experience? Was I just too focused on "more important" things? I don't know. I look back on most of my education and wish I could re-do it with my current eyes/mindset, I feel like I'd get way more out of it.
I remember hearing once that a core element of collegiate humanities education involves teaching that a great work can only be understood and appreciated when the reader first understands the work's context. Only then should the reader attempt to summit the great work.
Of course, this is also true in engineering disciplines as well. Perhaps the greatest software engineering work is the Linux kernel. Open the repo, and navigate to a random line in a random file. The odds that you will understand exactly--and I mean exactly--what occurs on that particular line on your first read without an explanatory comment is relatively low. If, however, you consider header files, libraries, how the file fits into the broader kernel, language features, and additional contextual information, your ability to understand that line of code increases significantly.
"I know exactly the feeling that these slop-trepeneurs are preying on, because I feel it all the time: I’ve got these thoughts in my head, and boy oh boy they’re good ones, all-timers, really, and it’s so annoying that I have to spend all this time making the words sound good, when the ideas behind the words are already so good!
But this is an illusion. The ideas are not already good. They need to be thickened. I understand why it’s tempting to force a machine do the hard part for you, but it can’t, and the hard part is the only part worth doing anyway. Making something thick—that’s a lot of pressure! But remember: you were built to perform under pressure, and that’s just what you’ll do."
This is so true. I should re-read this weekly and not feel like some ultra-philosopher trapped by his own laziness... I can just... not feel guilty, the ideas are not that good... yet.
A Chinese example of this for me is Jin Yong, probably the most influential wuxia (Chinese martial-arts fiction) novelist in the Chinese-speaking world. His books are popular fiction in the most literal sense: enormously entertaining, widely read, and for many people first encountered simply as page turners.
As a kid, that was how I read them too.
Only after I started working did I realize how perceptive some of the character writing was. Murong Fu, for example, is genuinely capable, but his ambition is even greater. Everyone around him, friends, followers, even people who love him, is ultimately someone he is willing to sacrifice for his goal. I have met people who seem to reproduce almost the whole arc: the ambition, the triumphs, the disappointments, the pain, the struggle, and sometimes even the madness. Suddenly Murong Fu no longer feels like an exaggerated fictional character.
The book never changes. I had finally acquired the experience to see what was already there. That feels like thickness to me.
There's a lot of truth to this, but....... fuck they did a great job disincentivizing it.
In high school we had to read and annotate this 900p Greek mythology book during our summer break. Our grade reflected how well we annotated it. I didn't do any of it (thanks Ultima Online).
The very first in-class assignment we had that year took about an hour and had about a 25% bigger impact on our grade than annotating did.
Not saying that grades are the end goal but it felt like a slap in the face that the exploration of such a deep topic just.. didn't matter.
> I’m sorry, but if you’re building or using a tool like this, then you’ve got slop for brains.
unfortunately a lot of people in tech tend to think in terms of technology - looking at this from one solution - not looking at the problem holistically. turning their brains into slop brains.
There's a lot of great things about this piece, but I'm kind of stuck on the "Hieronymus Bosch Butt Music". Listened to it a bunch of times now. https://www.youtube.com/watch?v=OnrICy3Bc2U
Something I learned recently and which this article sort of hints at - look at the three drafts of Under The Wave Off Kanagawa. The composition is different, but also the colours are much more muted. In the first draft, the only colours highlighted are the people in the corner; in the second, the cliffs. The third draft finally colours the wave, but it's a sedate grey-blue. It's not until the fourth draft that everybody recognizes that we get this brilliant dark blue wave rising up over the the boat, dwarfing the mountain in the background.
And that's because when Hokusai sat down to print that fourth draft, people had recently started exporting prussian blue dye to Japan; prior to that point, he just straight up didn't have access to that striking blue colour that dominates the print.
> The slop-acalypse that so many of us fear, when people will stop looking at anything made by humans and only look at things made by machines—why hasn’t that happened yet?
Unfortunately, I'm pessimistic here. I don't think the slop-acalypse is held back by taste or an appreciation for "thickness". I think there's already very successful slop media in the world (e.g. see microdramas). In other words, it is happening, but like anything else, it's happening in a non-evenly distributed way.
Do you not think those teachers all failed Lockhart's Lament?
Sure you were too young to appreciate great literature natively. That is simply a function of the human condition. You were not failing at anything, no matter how great the great things actually were that you did not appreciate.
There should be like one of the responsibilities of adults is to show kids what's actually so great about greatness. There can even maybe be a profession where the, let's call them "teachers" are specially trained to be aware of the limitations and stages of development of children such that they know how not to drop a heavy advanced things on a hyper 10 year old like a bag of sand, but show them one example concept or facet that they can appreciate, and also in the process show them that there are such things as great things that you don't yet grasp but they are there and when you get there you will find them great.
That sounds like the entire purpose of a teacher to me. So if none of them did that, then I don't think it is you who owes any of them an apology.
> The slop-acalypse that so many of us fear,
> when people will stop looking at anything
> made by humans and only look at things made
> by machines—why hasn’t that happened yet?
I contend people will be willing, even eager, to pay a premium for content provably produced by humans.
Are you an artist? A woodworker? Metalsmith? ... start recording your work and post it to youtube. I guarantee people will be willing to pay extra for the thing you built (I certainly would).
I really enjoyed reading this and I've been thinking along similar lines when I imagine viable careers of the future. No one will care if code is "thick" but why would anyone buy a novel written by AI? What does the reader get out of it? It seems like the humanities might be the most stable career path available.
Haha and suddenly we'll have the pivot where all the software engineers try their hand at being writers. I can already see glimpses of it here wirh articles like this.
Code can be thick, but it's really the value and conscientiousness of the thing being created that will be judged as "thick".
One hope I have when the wave of AI acceleration comes smashing down to reality is that it will force people into being deliberate, measured, and "thick" with their designs, approaches, attitudes, etc.
i’m working on a little ios widget display currently. even a tiny little one view box has hundreds of nuanced design and structure decisions behind it.
That reasoning is the thickness not the amount of code that powers it though they are somewhat interrelated.
I really like this, in the world burning, slaughter of the young all around and the economy unbalanced and tettering on the brink...
Art.
I have a quibble, that does not detract: This is about consuming art, and the appreciation of great art. Part of the pleasure of art, is making art.
In a community we appreciate each other's art in an altogether different way. We cheer on our comrades and they cheer on us, and we make (not very thick) art
Bless. Thick art is truly awesome, and makes the world a better place.
Complexity should be relative to the material covered.
Verbosity without substance is tiresome. But so is hand-waving and vagueness over complex topics (the hallmark of conspiracy theorists and absolutist fundamentalists).
Providing a rich exposition of a rich topic is indeed a divine sort of thickness.
> Guys who work in bike shops like to joke about bicycle-shaped objects—sure, that mass-produced hunk of metal and plastic has a seat, pedals, wheels, and handlebars, but that doesn’t mean it’s a bike. When the materials are so cheap and the construction is so slapdash, it deserves another name entirely.
> This terminology comes in handy, because it turns out there are also movie-shaped objects and book-shaped objects, art-shaped objects and thought-shaped objects. Just because a series of pictures flickered across the screen and the credits followed, that doesn’t mean it was a movie. Just because it’s printed out and bound in cardboard, that doesn’t mean it’s a book. There is an additional essence that is necessary to turn something from the shape of a thing into the actual thing, and the difference between having and lacking that essence is the difference between a corpse and a person.
There's nothing more to be said. This right here is what slop enthusiasts will never get, because they equate thought with a thought-shaped object.
By rejecting postmodernism and even the Enlightenment (due to the overwhelming reactionary messaging) most people have unilaterally disarmed themselves, or so I hypothesize. It's hard to talk about these things in any specific, evidence-based way, but here is the idea:
Without the ultimate postmodern truth that there is none, that deep skepticism of power especially and always of oneself, how do people decide what to embrace? Whatever is effectively sold to them, no questions asked. There isn't an instinctive worry about but an almost survival-level embrace of mass messaging - the way is to be safe in the crowd, not to doubt it or to worry about its power in society and its effect on you.
And without believing in the Enlightenment vision of the transformative power of our minds to make a better humanity, expressed especially in art as the pinnacle of human expression and acheivement, art is ruled out and actually threatens your worldview (and that reactionary messaging) of powerlessness and survival.
Although I appreciate the article, what's the deal with calling depth thickness? Is it because it looks like the meme word 'thicc'?
> If you allow for the existence of secret treasures that can only be accessed with effort and analysis, then you empower the elitists and the snobs. “Buddy, don’t even talk to me until you’ve been in the cave!”
I don't agree with this statement. Being a snob and/or elitist means looking down upon others. If you appreciate these 'secret treasures' without being a dick about it, everybody wins.
I imagine the word thickness represents the great number of (metaphorical) layers of a painting, since paintings are the reoccurring symbol to talk about art in this essay.
I don't think the author is claiming you HAVE to be a dick about it. But that the pursuit of "thickness" does in reality give ammunition to a lot of people who are inevitably dicks about it seems observably true to me.
It's almost as though the author thought about and cared about the content and exact words he chose. "Thick or Treat" and "Thickening agents" and "Slim pickings" even immediately evoking imagery of a thin slop gruel in my own head.
By using an unexpected word I think I thought more critically about it, in fact. Had the author used depth I would've immediately had more superficial imagery in my own head.
I think it's made obvious that "thick" can mean many different things. Personally, I've never heard "thick" to mean "dimwitted" or it ever used as such.
"Thick" already has a meaning of "dimwitted" so it's a particularly strange choice of word in this context. Is this something this new use of "thick" as a synonym for "deep" something this author is trying to coin, or is this already an established meaning among younger generations?
I think I like the term "thickness" over "depth" here because thickness implies a sort of solidity, an ability to stand up to being held and examined, turned over and and handled. Depth can feel unapproachable (the ocean is pretty deep and it is famously challenging to explore) while something which has thickness intuitively feels like you can walk right up to it and try to learn something.
This doesn't hold for all things - I would, for example, describe a wine as having "depth" but probably not "thickness" because in the case of potables "thickness" also implies a particular sort of textural feel, but I do like the idea of a piece of art as being thick with meaning as opposed to deep. A book which is deep can be reread multiple times, but a book which has thickness just sounds like a book that can live on your bookshelf and be paged through year after year for decades, with not only the content to support it but also the sturdiness to hold up to the use.
First, as a point of style it makes no sense for the author to have chosen “thick” rather than the more common adjective “deep”. They describe the same thing, and “deep” even works much better for the cave analogy which is central to the author’s argument.
Deep also has ties to game theory, where increasing depth introduces exponential complexity. The deeper you calculate in chess for example, the more likely you are to find emergent ideas and refutations. Thick is simply an odd choice.
Now to the analogy of literature to caves. It’s highly flawed: unfalsifiable, and its actual supporting evidence is easily refuted by existence of tradition. If you haven’t found the treasure in the cave, you just have to keep looking. It’s definitely there, right?
Further, I am not persuaded by the actual examples the author gave of “thick” art. The nonsense music written on the butt of a subject of a painting is an Easter egg. Ok, the painter doesn’t like secular music, but is there any deeper consideration of why a chromatic scale is fundamentally more sacred than a 13 note scale or a 120 note scale? It’s an anachronistic detail.
The example with Hamlet and ears is even worse. The author says “thin art has no answers, thick art does” then in the very next paragraph concludes no one knows if the recurring theme of ears in Hamlet means something or it’s just something Shakespeare felt like adding.
And this was my entire problem with finding “themes” in books. This exercise was often an exercise in finding patterns where there are none:
Ok, Shakespeare had a thing with ears, so what? I’m sure you can find countless patterns, intentional and unintentional in all sorts of books. Who cares if they mean anything. Now please find three of these “themes” (the more obscure and irrelevant the better, because your teacher has probably already found the real ones) and sandwich them between an opening and a concluding paragraph for your five paragraph essay.
> This kind of quality can only be proven by longevity. Which answers another question I had when I was scowling in the back of English class: why do we have to spend so much time reading old stuff? And the answer is: this is the only stuff that we can be sure is any good. Great works of art, like successful genes, convince humans to keep passing them on. If something has survived for centuries, then there’s probably something to it. We’re not still brewing Bronze Age beer and we’re not still sailing Bronze Age ships, but we are still telling Bronze Age stories, and this warrants our attention.
The fact that the books on the library shelves this year are mostly the same as last year isn’t a statement about the quality of old books. It is a statement about library budgets. Same thing with museum inventories and English literature curriculums. Jane Eyre is going to feature prominently in AP Lit essays this year not because it is a good book (it was one of the worst things I have experienced) but because teachers know it, the library has it, and the curriculum is written already.
This comment is just truly bleak and I hope you find something artistic that you can enjoy the depth of.
The fact that some things are considered classics is not a mercenary logistical concern. Some movies are considered classics and this has nothing to do with library budgets. Standing the test of time indicates that it’s not just a product of the cultural trends of the time and speaks more universally.
> I always assumed that so-called “great” literature was a hoax, a punishment inflicted upon adolescents for the crime of being young.
It's mixed. It's both true and false.
There are a great many books out there, but there's also countless pointless turds.
Then something has to be said about your teacher forcing you to read a great book in a language that is not the author's native language. Some do translate well (Dostoevsky for example) but for many others it simply doesn't make any sense. A great book is not just a story: the writing itself is an art form and that cannot be translated.
Then many books are just bland, naive, with a ridiculously laughable "message" they try to pass.
The problem is a teacher shall force you to read either indistinctly. At least mine was.
I could be forced to read great literature just as I was forced to read the latest fart from whatever author was fancy in the city atm for his parents owned a bookstore.
Another way to see it is this: how many books (novel books) are there out there? Like, literally, how many? The number is gigantic. How many great novels are there?
If you were to pick one at random, which probability that you'd end up on a great one?
What's the probability your teacher will pick great ones?
In my case, the odds were basically as you'd expect: I remember very few of them because most didn't warrant being remembered.
It's always funny to me how often comments like yours show up, despite a long history on here of diverse thoughts and intellectual curiosities, technological or otherwise.
But especially funny and bewildering in this case is that you have this in your About section of your HN user account:
> A journey from the liberal arts to hacking the latest gadgets or statistics.
You say you felt like the article wasn't well-written (which I disagree with, btw, it was clear and with many nice turns of phrase), but your comment complained about it not being very hackery or newsy. Maybe your comment was thick cause we were supposed to figure out what you actually mean.
Hacker news comments aren't private, and they shouldn't be private. I find it interesting that you think your own public soapbox declarations should not be discoverable.
As you delve further into the article, and (ironically, based on the topic) consider the ideas presented, it becomes more clear. Or skip to near the end to see.
TLDR: AI and generic pop culture artifacts have something in common - a lack of a certain type of depth that makes art great.
I think that's not the author's point; he's mostly talking that time solidifies ideas as shown by the evolution of points of view. At the same time, his picture of the wave shows that over time the painting feels more distilled and simplified. So is his point actually that simple ideas persist and are appealing? It isn't clear? That an art improves?
I think slop-pocalypse misses one thing. AI's time of thinking is very different than ours.
A "thick" argument that could take a lifetime in human terms could happen in minutes of AI.
In my understanding of literature, I went through the same arc as the poster, but then I made it to the next realization- "thickness" is just your willingness to give authors credit for things they didn't write, and it can be done just as well for works that are considered "schlock" as it can for the canon of works that are considered "great".
You can read "Moby Dick" as a story about a fish, and you can read "50 shades of grey" as a treatise on existentialism and the human spirit- it's all up to you!
Your point of view seems to imply that the author's skill and intent don't matter, which I can't agree with. The reason that a reader's effort gets more out of a great work is because the author put it there, not because it exists as a function of the work in itself.
I'm sure this aesthetic relativism holds up under argument, but this is an 'anti realization' that:
-Reduces explanatory power (if Moby-Dick and 50 Shades are the same, why has one been lauded for 100 years, minted the careers of countless academics, etc.?)
One of them has existed for more than 100 years. One of them has been granted credibility by a small number of academics before becoming a safe conservative choice for subsequent ones.
I don't know, but those sounds like some plausible answers.
On the first point, explanation is inherently subjective. It reduces explanatory power purely because you're forced to acknowledge it was never universally appropriate, which tracks. The variety of explanation you're referring to in this context is one that I always found to be unsatisfactory. It's inherently stripping context (IE every component of what makes something the right place, the right time) out of the equation, which makes comparative analysis absurd.
On the second point, I vehemently disagree, and I'm curious how you think a larger, more complicated world can be argued to be less interesting? Does the fact that your hallucinations and delusions are vacuous, and that they don't sit alone in a dark void, paralyze you with fear?
I don’t think that’s true. True masters will create works that enable additional interpretations, perhaps beyond or even contradictory to those intended by the original authors. I doubt 50 Shades of Grey enables such a multitude of additional interpretations.
I strongly disagree. Sure, I can say story X is about Y, for any arbitrary Y.
But take Hamlet, for example. You can say that it's about revenge destroying the one who takes it. Or you could say it's about failing to seize the moment ultimately making you pay a much higher price. Or you could say it's about insanity, and whether sane people are insane and insane people are sane. And none of those is wrong!
You could even say it's about how tedious it is to have to listen to pompous old windbags, and you'd be at least partially right.
But if you said it was about body thetans, then no, you are objectively wrong. There is no honest reading of Hamlet that reaches that conclusion.
"Thickness" is giving authors credit for things they didn't write, but they did leave breadcrumbs for. That's different from "they didn't write it at all", and it's also different from "I didn't look for breadcrumbs, so I didn't see them".
Here's an example: The song "Welcome to the Future", by Brad Paisley, the third verse says:
I had a friend in school
Running back on the football team.
They burned a cross in his front yard
For asking out the homecoming queen.
I thought about him today
And everybody who'd seen what he'd seen
From a woman on a bus
To a man with a dream.
That verse is thick. There are breadcrumbs all over the place, trails leading to things that the author did not say. And yet he did say them, through the breadcrumbs.
The anecdote about the garden of earthly delights is going to be relatable even for art students. I've met art teachers that ended up "trapped" in Madrid by the Prado Museum: A green, American future Ph.D student that was heading to Greece to specialize in old greek art. But instead of flying straight there, they stopped at Madrid to see the Prado, and were never able to leave. Changed their direction immediately, and ended up teaching in Madrid, and retiring there, because one of the countless masterpieces in there stole their life plans away.
There's more famous museums, and it doesn't have the most popular paintings for non specialist, but it's just haymaker after haymaker, in every single room. And that's leaving the modern art to the Reina Sofia, a short walk away. (Although I guess keeping late Goya there is kind of cheating, as I'd argue he becomes a pioneer of modern art after the war starts)
Books might require quite a bit of work before you can tell they are eternal masterpieces. Seeing the depths of some forms of music might involve not-so-impressive efforts earlier, just to get to the good parts. The very best paintings in the world, in person, can stop people cold. Large format efforts that demand attention even when you don't consider every single small decision.
The Garden of Earthly Delights used to be stuck in a corner, at the edge of one of the wings of the Prado. As if "oh well, I guess it fits here, near all the medieval art". It counted as an ambush.
Totally. The right way to approach an art gallery is definitely just to walk round until something hits you.
Most astonishing time that happened to me was a wall-sized Rothko that just floored me, in a way I never would have expected a slab of color to.
Dali’s La Gare de Perpignan stopped me in my tracks too.
Rarely been as stunned by more famous works as when I got blindsided by something that leapt out and said ‘look’.
^^ this. I was never an art person and then one day I felt like I was just punched in the face when it hit me. It's not like "I like this, it's interesting", it's like "Oh. That."
I was in Prado and it felt overwhelming to me. Like trying to eat an entire cake. I think it must be taken in in measured doses.
Goya's museum in Zaragoza was the one I could take in during one visit.
> Why this word, this scene, this character, and not some other one?
The "why this not that, even when it looks like that would do just fine" style of differential analysis is an exquisitely powerful analytical tool. Asking this question is probably the single most powerful method I know of to generate deep thought, in absolutely any aspect of life. If you haven't tried it... go for it!
(Sample question: why'd I choose the word "exquisitely" in the above sentence?)
> In the short term, thinness prevails. ... The real question is not “which of these things looks nicer when you look at them for two seconds?” but “which of these things will stand the test of time?”
That tracks with another thing I've noticed I approach differently. I've recently joined a book club and everyone loves to talk about how many "stars" they gave a book. I've never really been able to rank things like that. Aside from there being no such thing as a total ordering of books (or movies or ...), who's to say what five stars from you means, compared to five stars from me? Instead I've started thinking about books in terms of "book of the month", "book of the year", "book of the decade", "book of the century", et cetera. Is this going to be the best thing I read all month or all decade? Am I going to remember this for a year or forget most of it next week? Is everyone still going to be talking about this one in 80 years? I think that's a much better scale than "one to five stars (but actually three to five stars)", and much more interesting. It also bakes in both the inherent subjectivity and inherent fuzziness really well.
(Yes, some things... plenty of things... are thin enough to be candidates for "book of the day" or "book of the hour". Few things are forgettable enough to go below that, though there have been some attempts; mostly at that level things underflow and you get in to Mystery Science Theater 3000 territory, which is its own special kind of thing.)
> Is this going to be the best thing I read all month or all decade?
Many times it is only possible to know that post hoc. There are several books I've read that, in the moment of completing them, stand as the best I'd read in the past few years. Others I finished and figured I'd never think of them past the current month.
But books and their impact upon you can be surprising sometimes. There are some books I think about often, and that I would say have even influenced me greatly, that I wouldn't have guessed would have that impact when I read them. And others that I figured would remain "book of the decade" that barely made it to the two-year mark before being surpassed by something else.
> Instead I've started thinking about books in terms of "book of the month", "book of the year", "book of the decade", "book of the century", et cetera. Is this going to be the best thing I read all month or all decade? Am I going to remember this for a year or forget most of it next week?
This is a wonderful thought, I thank you for it
Really loved this essay, loved the irreverent style. I had a similar literary journey as this guy.
I think I would take it a step further though. It's not just that great literature has details and motifs that line up perfectly, it's not just that it took great effort to produce, or has some musicality or rhythm that is beautiful to take in experientially. It's that the thing that is communicated is truthful. Great fiction wipes away the noise of one's day-to-day thinking into some deep and essential truth about the human experience.
Which is difficult, because that type of truth is not mathematical, it cannot be arrived at through some standalone logical path. I think students suffer because instruction by its nature is framed as teaching a path to get to some destination. The author mentions this with the egg cracking metaphor. The reason that fiction can produce this type of truth and non-fiction cannot is that fiction relays a human experience, it's relational and personal and that is the whole point of it. And you get that transcendental truth out of it because our life experience is fundamentally relational, it is how we see ourselves in relation to others or god or nature or what have you.
Seeing fiction that way is the main difference between myself at 16 and myself today.
There's an interesting part of this that's mentioned in the comments that the original author states:
> Haha I had a section in this, but cut it, about how people jokingly suggest we should include one regular person in every Olympic event to show just how astounding Olympic athletes are, and this is also a good idea for art...
I've been getting into fiction writing a bit recently and learning to focus on incremental improvement is necessary, for example, getting feedback and trying to find good venues to get it is a challenge because getting helpful constructive feedback is hard
I'm beginning to wonder if, because the skill level of the creators of media the average person consumes on a regular basis is so high, it's actually difficult to get good feedback for learning from by asking them until you get to a minimum baseline of skill and improvement is constrained by finding environments that can provide high quality feedback
Feedback is a gnarly problem because a lot of people assume this means "I, the reviewer, will criticize what I think will improve this work" and "I, the receiver, will receive suggestions to improve my work" but the reviewer and the creative will never have the same idea of what the WIP's ideal state looks like. So the feedback can be actively harmful to the creator. For example, if I'm a Mexican author writing about my abuela, and a feedback is "you should replace all these words with English", that's probably actively harmful to the vision of the work. But also sometimes the creator must be actively open to feedback that "hey, your abuela isn't a person in this story, she's just a female cardboard character" because it's probably a disservice to the vision to have a cardboard character clouded by the creator's nostalgia.
As an old man I now think the art and humanities classes in school landed at the wrong time.
You need context to really understand a book or a work of art. You want to know what kind of environment produced it, what it's talking to.
But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
How would you know what the characters in Pride and Prejudice are worried about if you don't know how that society is?
So as a kid it just totally didn't mean anything to me, it was just a strange torture where you are meant to comment on the motivations of the characters and how the writing style brings that out.
Because the book tells you?
To my shame I've never read Dickens, but I did read the Romanian canonical authors (I am Romanian), and a lot of them, the ones I liked, gave you a very real sense of the life of the people at the time.
Ion, for example, is basically a tragedy about the titular character scheming to marry a woman whom he doesn't love (but who loves him) because he's poor and she's "rich" (owns land). And the book really shows you how important and spiritually so it is for the main character (and therein, for the average farmer at the time) to work his own land, to sweat and toil over his land. How he collapses to his knees and kisses the dirt when he finally gets it etc.
High schoolers can get most books with adult themes, and most books require very little context, since they are filled with passages upon passages upon passages of description.
> How would you know what the characters in Pride and Prejudice are worried about if you don't know how that society is?
Because they literally say it!
Or the narrator does And from the books YOU LEARN WHAT THE SOCIETY WAS LIKE!I don't think waiting 20 years to acquire a much vaguer and much less correct understanding of the context from YouTube/TikTok/TV cultural diffusion is very wise.
Oh, such a day, a talk about Ion on HN.
I get your point, and the book does say that. It's just... For a teenager, it rarely lands. And connecting context is super important. I mean, sure Ion wanted land, but you really can't contextualize that kind of desire when your needs and desires are completely different.
Maybe you were more capable of empathy or better at contextualizing what you were reading. I sure as hell was not. And only now later in like I think I am able to read and understand books. And really get them at a much deeper level. I do wonder though if without going through the motions of reading stuff you contextualize poorly if you ever gain the capability to understand. Or if it just makes no sens to engage with certain material until mature enough, in the right frame of mind and, importantly, _interested in it_.
> I get your point, and the book does say that. It's just... For a teenager, it rarely lands.
Basic education is weird because it has two conflicting goals. One is to get everyone to the same basic level needed to function in a society. And that's where all the incentives are - that's what you and the teachers are graded on. But another goal is to give you a taste of what's out there, so that some of the more talented kids can decide they like literature or math or physics or whatever.
That second part really requires the teacher and the student to care, but the first part conspires to make that outcome unlikely. My memories from public school are that everything I'm interested in today, I'm interested in despite the efforts of the school system to make the topics appear painful and dull.
So on some level, I don't think the problem is with the literature itself, or with the student's age. It's just that the setting often sucks and you kinda start with the assumption that if the teachers are making you read a book or learn some dates, it won't be a fun experience. And so it isn't.
I don't see the conflict between the two. I think you can do both. But, yes, the quality of the teachers matters a whole lot. And, sometimes, how well they relate to the kids. Because I can imagine that some people just won't click well together. Thinking back on the poor professors, I kinds of am sorry for all the crap they had to put up with.
And I do believe the student has part of the blame here. Or at least, the culture the student is living in. Because if there is an air of "pff, school, who needs it?" it rubs on kids and they end up believing school is stupid, knowing things is dumb, and they just don't care about it. At least in my country, I just feel such an air of disdain for education, that, to me, just feels a problem of perception or cultural framing. Competency is cool. Knowing things is _actually_ cool.
You have 20 kids in a classroom. Fifteen of them want to know what's going to be on the state-mandated test. Five, if you're lucky, may have some interest in the subject you're teaching.
So, do you design the class for the five gifted kids and risk failing the other 15, or do you get everyone over the finish line through rote repetition until they can all recite the names of the Founding Fathers for the test, knowing full well that you can't make them care about history (or, in some cases, even keep them off drugs and street crime)?
Sure, there are exceptional teachers who can keep the entire classroom engaged, but it's so rare that we make films about them. In most cases, in public schools, it's a choice that needs to be made.
You can indeed do both. That's what separates a good teacher from a great teacher.
But I think we also all now understand that public teaching is one of the worst ROI careers financially and how the few carrpts on the stick (tenure, fairly strong job security) have been stripped away over the decades. The way schools are funded literally rely on real estste value in that area. It's all made so maybe some rich areas get great teachers, but the hopes of using education to crawl out of poverty gets harder and harder. Unsurprising that great teachers leave before their prime or never come in to begin with.
And nope. They do not teach you that in 12th grade econ/government class.
> in the right frame of mind and, importantly, _interested in it_
Very much so! I'm not saying the way school approaches books is good, I'd wish there would have been be a lot more time dedicated to reading the darn things. :)
My point is that, if you find reading enjoyable and do it as sort of a hobby instead of a chore (I did, and a bunch of my friends did too, so this wasn't just a me thing), you can get a lot out of the books even at that age.
Of course you understand them more later, but it also goes both ways, you also understand life situations a bit better because you've seen them before in books.
You're making a good point. I was also of the opinion that these books don't land well, because I'm missing the context. And I'm actually still thinking that about quite a lot of these classics. But what I believe I'm also concluding from your comment, is that these books aren't good hooks to get people, especially teenagers, interested in the context and in the society of the time. And that is where YouTube/TikTok/TV might shine. Or a well written and narrated podcast.
> "To my shame I've never read Dickens"
I suggest dropping the shame; you're not missing much. IMHO Dickens is hugely overrated. Paid by the word and it shows.
Go for "Great Expectations", "David Copperfield" and "Bleak House". If they are not great novels, I don't know what are.
"A Christmas Carol" will never be a great novel, but there is a reason it is beloved the world over for what it is.
Dickens is full of extremely theatrical scenes. The characters are often a caricature, but the caricature is so finely drawn that it is tremendous fun.
(Nobody should be ashamed for having read or not read some work though, or for having enjoyed or not enjoyed one.)
To each his own. I love Dickens, though I haven't read that much.
Dumas was also paid by the word. Still fun to read.
Telling you about the great depression in Steinbeck's work is a lot different from living a few years out in the world and struggling to pay rent. Even if that's still a far cry from what actually happened 80-90 years ago. I think those are the key sensations that are missing that made me resonate with a lot more classic literature post-college rather than bumbling through English class in high school.
I think you really need to spend a few years fighting your politics to really capture the politics depicted in literature. And many US grade schoolers simply don't do that.
> So as a kid it just totally didn't mean anything to me, it was just a strange torture
A lot of school is like this though. English is basically my only language, I have taught myself some very basic Spanish over the years but it is a struggle when you are busy and don't have a consistent routine. I can't believe that for years the state paid a professional to spend hours each week trying to teach me not one but two languages and I completely wasted it. I just had no interest.
In school they basically teach you a bit of everything (maths, science, languages, arts, history, etc), if you are lucky you will take to one or two of those subjects and view the rest as a chore, but all of them are potentially valuable if you really embrace them.
> So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
Ideally, a good English teacher will explain these things, and/or you will also be learning history which may touch on them. Sure, maybe that isn't enough, but I still think it is better for people to be exposed to these things at a young age. Many young people do actually really take to these works and get a lot of value out of them.
A lot of people revisit these works later in life and have even further appreciation of them. I think it all validates the goal is to teach learning as a life skill. Learning is never complete. Even things you know, you may not understand until later. It’s all part of the process of learning to learn and emphasizing curiosity and critical thinking. These are the high level objectives of education and inform a lot of the processes that exist.
I’m in my fifties and taking a break from work and have now found myself reading Macbeth, Doctor Faustus, along with Gibson’s Sprawl trilogy. My movie watching is now much more auteur and reaching for the unconscious and immaterial experience.
I’ve wonder if I was taught Shakespeare too early, but see it more as an Easter egg or gift waiting for me to catch up. I think more so I was so focused on the rational I was ignoring the other parts though fully immersed in being the other part. Now I see it and appreciate so much have the right lens from early teachings with my experiences. And to your point continuing to learn.
> Ideally, a good English teacher will explain these things
A high school English teacher won't have time for that. There are standardized tests to pass.
The American civil war was about slavery. That's all you need to know.
The civil war was, in fact, about slavery.
FAQ:
"No it was about states rights" States rights to? Allow slavery.
"No states rights to decide for themselves" About? Slavery.
"No it was freedom of association" Why did they not want to associate with the abolitionist president? Oh right.
"It was about economic issues" Like...
"It was about agriculture" With labor provided by _____
It felt even worse when reading Shakespeare, which is nominally the same language you and I speak, but just barely. Add the fact that it's a play, where the performance carries a lot of the meaning.
The end result was that I - and as far as I could tell, 99% of my classmates - got basically negative value out of sitting in class and reading lines we didn't understand out loud, without even time to try and parse it out because we were too busy just scanning the lines to see when it was our turn to speak.
I had the same experience reading A Midsummer Night's Dream in high school -- I could follow the story, but it was a slog to get through and I didn't understand what was supposed to be so great about it.
Then I saw an actual performance of the play recently, and it all clicked. It was just as understandable as any contemporary film, and easily one of the most fun and entertaining stories I've seen.
I've had a similar experience, with the same play, but in an absolutely minimalist setting. No sets, the only props were a few chairs, and costumes were the same white slacks and smock worn by all the players.
And it absolutely worked.
This wasn't long after my secondary education --- I'd just started uni. But enough had happened that I got it.
As I've commented recently, even as an excellent reader, there's something that hits quite differently from hearing fiction (or even nonfiction) not just read but acted. Selected Shorts is an excellent source for this. See: <https://news.ycombinator.com/item?id=49163756>.
I think that is one thing about trying to study Shakespeare in class that can be improved. The class shouldn't just be taking turns saying the lines out loud. But you don't need a full theatrical production either or memorize lines. Read the lines with some light acting out of scenes with just the tables, chairs, and a small bit of imagination could be the class room study impactful.
I couldn't find the exact point that I was thinking of (when Hamlet is telling Ophelia that men are basically all just assholes), but I think this modern-day version of Hamlet helps to illustrate your point: https://www.youtube.com/watch?v=LdZVR4Ry3jQ
I gave up trying to read plays shortly after school. There's no point to me, they are supposed to be performed. I still think it's worth studying some of the more famous ones in school, but any study should absolutely involve actually going to see the play at some point.
I commented elsewhere but my schooling had a pattern of: read > analyze/discuss > watch movie > analyze/discuss. Most of the material has film adaptations and this was fairly sufficient in closing the loop during the course.
Even in history class, when we studied key documents the teacher would often at some point show us an oral presentation of the document- like a clip of (actor portrayed) Abraham Lincoln reading the Gettysburg Address. It’s such a well written speech that’s it’s exceedingly simple to comprehend when read. However, when you hear it orated it becomes evident how powerful it was and monumental moment in American history to justify learning about as it was unifying and motivating for all even in the midst of civil war. (Sorry may not be relatable reference for non Americans was just the first that came to mind)
A couple years after I graduated college, I came across the 1972 movie of Macbeth. The experience was so drastically different from reading it in high school that it seemed like a completely different play. Suddenly, it all made sense now that I had a visual context.
I remember one of the characters (Macduff?) covered in blood after a battle and grinning about how he had opened up his opponent "from the knave to the chop" with appropriate gestures. I remembered that specific phrase from high school and now, instead of being an abstract comment, it had actual meaning that I could relate to.
I'm of the opinion that most plays simply shouldn't be taught in high school English class. There just isn't enough context to really understand them.
They really need to be produced to be appreciated.
I came to love Shakespeare in High School because I happened to perform it in a Theatre Class. Acting it is totally different from reading it.
I have heard that Shakespeare is much easier and more enjoyable for non-English speakers, because they get modern translations and we do not
Linguist John McWhorter says that Shakespeare is often an "the Emperor has no clothes" situation. No one wants to admit to themselves or others that they don't understand it, and the people who think they understand it are often misunderstanding a lot of it
It's a tragedy that most English classes don't have field trips. Going to an actual Shakespeare play would probably change many people's minds than having to direct it in book form.
What clicked for me was after being forced to read The Merchant of Venice in grade 9, I suddenly saw all the cultural references ("I want my pound of flesh" or "All that glisters is not gold") in movies, music, etc. I remember watching Strange Brew and somebody mentioned that it's basically Hamlet and you can't unsee it once you realize which movie character is matched to which Shakespeare character.
Over the years I've been to several adaptations of A Midsummer Night's Dream and it was a ton of fun every single time.
I was preparing to heavily disagree with you before that "because". I'm French speaking, one of my highschool English teachers made us read Romeo and Juliet, and it's different enough from modern English that my brain just couldn't understand anything at all. Thank god Sparknotes already existed in the early/mid 00s cause I would have fluked that class so hard.
Funnily enough I never read the translations, so can't speak as to how accurate your affirmation is, but I can see it happening for sure. I'd say it depends on the style of the translation. I've seen some try too hard to preserve the tone of the original.
Now, maybe I was convincing myself that I understood in high school when I’ve in fact it not, but I found that reading it aloud and trying to say the words, as if you were the character (acting, if you will), made it much more understandable.
I mean, even the most famous line in all of Shakespeare, "wherefore art thou Romeo" is frequently misunderstood because many people reasonably assume "wherefore" means something like "where". Yes, you can figure it out from context, but the context is in the same archaic language. Very possible to untangle all that while you're reading it and perhaps it's a good mental exercise. But it can be really tough to keep up when you're watching in the form it was meant to be enjoyed in, a play
That speech is expressing an awesome idea: Juliet is saying that she loves Romeo-the-person, but she is terrified of her bad luck in that he happens to have a certain surname ("Montague") which will automatically cause her family to hate him. Which, indeed, they do. It's basically something like "why did I fall in love with such an inconvenient person?", together with "why does my family care so much about this thing that I'm not sure needs to matter?".
Sure, but the archaic language can obscure the awesome idea. "Why are you Romeo?" may sound less poetic to modern ears, but isn't that how people back then would have parsed it - just as easily as everyday language, because it was their everyday language?
I feel like in a way we're losing Shakespeare's intended effect, because we insist on using a "language" that isn't used anymore. Yes, I understand that it's considered the same language, but a language isn't really one thing, it's more of a spectrum without sharp edges. Shakespeare is much closer in time to Middle English (which is considered a different language) than he is to our time
I disagree. Shakespeare was not "plain" even in the 16/17th century. It wasn't archaic, but it was far, far from plain. The same is true for a lot of great literary works, even recent ones. Many great works have a lofty diction, which is easy to lampoon when inferior works veer into purple prose, but when it works, really elevates language.
True. But I think you can agree that the (now) archaic language and cultural context that would have been common knowledge back then gives an extra layer of difficulty over the already poetic/literary nature of the work
Watching Shakespeare has a similar feel to me as watching cartoons in Spanish as an intermediate Spanish learner. I can understand a lot of it. But I have to use so much of my brain power interpreting the language and get so distracted by unfamiliar phrases or words that I can't really get immersed in the story
I don't know, I guess it's just not for me. I think the 1700/1800's are about as far back as I can go
True, but a big part of Shakespeare is the rhythm, and if you replace the words with newer words that disappears.
Not to say it will be a complete failure, but it does lose some of its poetry and power.
And smut. There's a lot of smut and double entendre in Shakespeare. An innocent modern word like "nothing" has multiple layers of meaning in Elizabethan English.
Modern audiences don't get it unless someone explains it to them.
We often didn’t just get sent home with a copy of Romeo and Juliet and then get asked to write an essay.
We went through it, a bit at a time, in class. With a very good teacher. Not just helping with word and phrases, but digging in a little bit. And at the end we watched a performance of it.
I think that made it so much easier to appreciate, and it made it a ton easier to read and appreciate Julius Caesar or whichever ones we did next.
And like… that was 30+ years ago for me, but I feel like I see echoes of that stuff all the time.
This is a really good point. My wife and I produce a history podcast where, right now, a lot of it draws on primary sources such as letters, diaries, etc. from the late 1800's to early 1900's. The ones in German she translates into English, but it feels "wrong" to change someone's words that are already in English.
The net result is that it's easier (for me) to understand a letter written by someone in a translated foreign language than one written by someone in English from the same period.
What’s been your favorite episode to put together?
Well yeah. Look no further than the "brevity is the soul of wit" quote. It's taken at literal value when, in context, you know it's a joke, a potshot at the expense of the character saying it, who's anything but brief in speech.
It sounds like it's still meant in earnest, then. That it's a self-deprecating joke doesn't detract from the sentiment.
I know a fair number long winded people who like that quote and have no clue it should apply to them despite repeating it often.
> where the performance carries a lot of the meaning
The big one for me is you don't necessarily know Elizabethan slang, but when you see the play performed, the dirty lines get delivered dirty.
That's why The Taming of The Shrew is recommended for children. The bawdiness s straightforward.
Yes, I agree completely with the Shakespeare point.
I was lucky enough to have a close friend (also a teenager!) who really got Shakespeare. She would explain to me what was actually going on, and read it with the correct emphasis so you could mostly actually follow it. She is 100% of the reason that I was ever able to appreciate Shakespeare.
You would hope that most teachers could do this, but in my experience it was only my one friend who had the literary and dramatic talent to explain Shakespeare well to teenagers.
There is no correct way to read Shakespeare. There are many wrong ways, but don't let your friend's interpretation cloud you from the others. It is really magic when you see some other interpretation and understand both are right despite not being compatible.
Obligatory "To Be or Not to Be"
https://youtu.be/iQULEW2JwHE
Oh, I hate this sentiment so very much.
Example: The song "We Are Young" by fun features the following lyrics.
The aspiring song analyst might think it's about the singer being asked by a cop (wearing sunglasses) asking about him abusing his girlfriend, or whatever, but Nate Ruess is on record saying it's just about being hung over, and no more deep than that.Projecting meaning where there is none, or where the meaning is clear, is simply not valid even for Shakespeare.
> Projecting deeper meaning where there is none is simply not valid.
Nah, that is the most fun part.
> in my experience it was only my one friend who had the literary and dramatic talent to explain Shakespeare well to teenagers.
Could she explain Shakespeare to teenagers, or could she explain Shakespeare well to you. If she was in front of your class—explaining to all your classmates how she explained it to you—would your whole class get it? Or would some kids get it, and love it, and some kids bounce off it? In other words, what already happened, just with a different set of kids getting it?
Shakespeare isn't always easy to explain, and I don't think all kids get it the same way. I don't think there's any one way to teach it which will work for everyone. Instead, you're exposed to it a bunch of times, by different teachers in HS, in College, in Life, and ... hopefully everyone will be reached by at least one of those.
I felt the same way. I think we were on Hamlet, and reading it alone just felt so confusing and lifeless. I couldn't tell when characters were upset, sarcastic, ecstatic, etc. It drained it of all character.
But then later on I saw a play version of it and suddenly it all made sense! Even if the words were identical, the context made it much easier to follow the story. I could piece together what it meant even if it wasn't modern English. You could hear the emotion in the voices and better follow what they're reacting to. I really appreciated it!
It's not like it would have cost the school anything...it was freely available online!
Reading these comments about Shakespeare makes me think that most of you had terrible teachers of Eng. Lit.
Plays, all of them not just Shakespeare, are written to be performed. If your teachers didn't have you perform plays and also watch professional and amateur performances they were derelict in their duties as teachers.
Performance isn't just rote recitation.
I guess I can't lump every English teacher into the same bucket, but in my experience, they aren't particularly skilled at explaining the context behind a lot of the stuff being taught.
I would agree wrt my High School teachers. They were basically competent, but not particularly good.
In college however, my Humanities professors were better than I appreciated at the time. They forced us to think about the material and challenged us to defend our interpretations. As an Engineering student who just wanted the class to be over, I really missed out on a lot of good stuff.
Frankly, Shakespeare is one of the few things I enjoyed reading in school. It was classic American novels I couldn’t stand. I couldn’t tell you why, but getting through something even as simple as Tom Sawyer was such a chore for me.
Twain can be tedious because he’s a humorist and we’ve heard those jokes a million times by now. Also he writes speech in dialect which now means nothing to us and makes him harder to read. I find him easier to read as an adult but he can still be a slog.
I think a lot of classic American lit is hard as an American kid because it’s removed enough from today that you don’t get the nuances and also so influential that the storytelling feels trite, even if it was revolutionary at the time.
The teacher makes a huge difference. My kids teacher somehow made The Odyssey a page turner for them and when the movie came out they were able to critique and delta the way the movie and book portrayed Odysseus. I was pretty impressed, because like the parent, The Odyssey and Shakespeare was a form of torture when I was in school.
Rant: I missed lot of Shakespeare appreciation when they somehow failed to teach that (other) people actually like how iambic pentameter sounds, and this is critical to enjoying it. Nothing about how Shakespeare is voiced has ever registered as sounding particularly pleasant to me. The word choice, sure, but not the meter or stressing.
They taught that Shakespeare used iambic pentameter, and how you're "supposed" to stress it, but it came off to me as "technical curiosity you're supposed to memorize" not "universal experience of enjoyment" that I apparently don't share.
My lighting talk about this: https://www.instagram.com/p/DZUcvP8CWhB/
Non-social media link: https://drive.google.com/file/d/1G58CMUDf-M4loe3MeEus-9gNA5T...
Yeah, Shakespeare is not going to land if iambic pentameter doesn't sound like anything special to you. It's a big part of why many Shakespearean quotes stick so hard in people's brains, like 'To be or not to be', 'But soft, what light through yonder window breaks?' and 'If music be the food of love, play on'. If all of these have to carry their weight with only their literal words on the page, and not how they're actually said and stressed, they're going to be a lot less memorable.
Meter is a very basic part of English poetry that is usually taught. Almost all popular music and poetry has meter.
Again, it was taught[1]. The fact that (speaking it with) one meter sounds particularly pleasant (to some people), and that this is a big part of its appeal (to those who like it) was not taught.
IOW, it's the difference between "these words in this poem rhyme" vs "this poem sounds nice because these words rhyme". Which, incidentally, is an analogy I make in the lightning talk to explain why this part would be glossed over: people assume that appreciation of rhyming/iambic pentameter is universal.
[1] "They taught that Shakespeare used iambic pentameter..." https://news.ycombinator.com/item?id=49378069
If not for Luhrmann's Romeo + Juliet, I'd probably had just completely bounced off Shakespeare's works in high school.
Another really good and interesting film adaptation of Shakespeare is "Scotland, PA" - Macbeth, set against the backdrop of a 1970s fast food restaurant featuring a soundtrack that consists entirely of Bad Company songs (apparently the library was shockingly inexpensive?) and Christopher Walken as an inspired Detective Macduff.
I think there's a lot of value in going back to examine the original text in school, but adaptations can do a lot to help students connect the idea that this story has characters and motivations that are human and resonate even outside the context of whatever the setting of the original play is.
> Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such?
We did talk about these things in English class in high school. The teachers would lay out the historical/social/cultural context of each book we read. Did your school not do that?
It still feels academic though. Suppose your response to that is, "Well, suck it up, its formalized".
I'd argue that it'd be worse if you could teach your book, and a 50 year old who both has rich lived experience and grew up in the time period the book was talking about has the exact same understanding of said book as a bored edgy 16 year old.
Either you're a godly teacher, or chances are the book doesn't have much depth. And maybe you are a really good teacher, I certainly wouldn't want to teach public school teenagers for a job. But while I'm charitable to teachers, I'm also charitable to the depth of novels.
I read Dostoevsky when I was 16 and I'm still learning more things about him and myself a decade later.
There are books that I read every decade or so, and there is always new insight. Sometimes I will identify with an older character and see the entire story through their eyes.
Often times an interesting novel will prompt me to study the cultural context independently.
There was still tremendous value in exposing myself to Dostoyevsky as a teenager. I have observed myself make the same mistakes as his characters, blinded in the moment by emotion. He had so much insight into human nature - but even if forewarning doesn't prevent us from folly, it can highlight a path to acceptance, repentance or redemption that otherwise may take a lifetime of self-reflection.
I don't mean that in a religious context, if that matters.
This was my thought as well. They were teaching us not to just read the words for their face value, to imagine the time and place the events occurred within.
Honestly, this is why at the conclusion of many books we would watch the movie (when available). Many movie adaptations are period pieces in terms of fashion and depicting struggles/victories that contemporary readers may not be able intuitively grasp.
Several of our English and History classes were paired on purpose for just this reason. We'd be reading Dickens while study that era, or Catch-22 when studying WWII and the immediate post-War era, etc.
That said, I'm also frequently amazed at the stuff some people didn't learn that I clearly remember being covered in school...
In my case I didn't understand the context of the context. Also, having no life experience at the time didn't help.
Most of my time was spent on grinding stem subjects
I'm not sure I would necessarily agree with "strange torture" more like "sore muscles from exercising mental muscles". Yes I remember hating The Great Gatsby when I was 14 and having to read it critically in school, I sure didn't have a lot context, but I remember having to do it, and I can look back after years of secondary and post secondary schooling and appreciate the exercise.
I think we should be much denser and more rigorous with school material in the middle/high schoolers, at least relative to what my experience in public school USA was, but that's sort of a separate discussion.
Context is everything for art and literature! It's not to say they can't be enjoyed out of context, but a lot can be lost without it, especially for a teenager.
I'm tempted to say that history and literature classes should just be combined, gradually working in books from (or about) the period and place being taught!
Yeah, I feel you on that.
It took about 20 years for my philosophy and literature degrees pay off.
I know more now, but I had to start -somewhere- even if it was hard to get the whole context.
Much of that time between putting in all that work and feeling like it was worth it was spent reading a lot of other things and amassing life experience, raising my kids, and working in unrelated professions.
However, having that context for the experiences I was getting is probably why it feels useful in retrospect.
Even though I didn't really understand Sartre or Kirkegaard or whoever (and I suspect that they don't have the best ideas all the time), having them available to me was helpful.
To me, even if I didn't totally get the context of "Pride and Prejudice" or "The Mayor of Casterbridge" or "Ulysses" or "Pamela" or "Borderlands/La Frontera" or "The Sun Also Rises":
a) knowing that these were things people do deeply explore was helpful and
b) the little bits that did resonate have stayed with me.
Further, it's been very useful to re-visit these texts as I've gotten older has been supremely interesting.
So yeah, education is wasted on the young and all but it set me up well.
As a not-super-old 48-year-old with adult children, I'm quite pleased that I can review the texts from my 20s and will be able to do the same if I get to be in my 70s or 80s.
> But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
I think you just had bad teachers. Historical context was always part of the English language/literature curricula at my high school, and it definitely made a difference. I didn’t even go to a good school. Our district was the worst funded in our state with a 40% dropout rate.
It’s certainly true that an adult would tend to have more additional knowledge and be better able to understand a lot of writing, but if you avoid exposing kids to anything they don’t have total understanding of the context of, you won’t really be able to teach them anything. Discussing books can help provide some of that context they’re missing. It’s probably fine to teach arithmetic before algebraic number theory too.
I'm honestly of the opinion that teaching children arithmetic (as in, having them perform arithmetic algorithms) is not just a complete waste of time, but actually detrimental as it sours them to the idea of anything labeled "mathematics".
At their young age, it typically takes children the ritual of performing arithmetic algorithms at least several dozens of times if not a hundred times to get them to understand and internalize the algorithm itself. You can't actually teach the algorithm itself because they haven't studied basic algebra yet, so the only approximation is using the algorithm on multiple numbers. Then afterwards just give them a calculator.
In contrast, in high school, when a student has sufficient mental maturity to understand algorithms abstractly, it suffices to have the student do a few integrations by hand (say using the integration by parts technique) and then hand them a computer algebra system.
>Then afterwards just give them a calculator.
If problems were properly designed the students shouldn't even need calculators. In math the specific numerical value of a result is far less important than how it relates to the inputs. Raw calculation doesn't develop the intuition of when one operation is more appropriate than another.
You’re saying people shouldn’t be taught how to add and subtract?
The real value isn't in getting it at the time, it's having those seeds planted, among a population who will likely read very little after graduation, to find fertile ground later.
There's all manner of things I'd Studied in School (primary, secondary, uni) which only became clear to me many, many decades later.
I'm helping an older friend with their one remaining pastime, audiobooks, many of which are re-readings of works they'd first encountered as a teen or young adult (now in their 10th decade). As TFA notes, there's a thickness to many of these works, and even having read them several times already, there's a reward in hearing them again, 60 or 70 years after first encountering them.
I listen in on some of the books. They've covered over 2,000 titles, which is impressive for anyone. One aspect that stands out to me is that I now catch the references to many of them: Herman Hesse commenting on Dante Gabriel Rosetti's "Beata Beatrix" (at the Tate), several references to Erewhon, and numerous places, people, and historical events of which I now have far more context.
I second this. As a teenager, you don't have the life experience to appreciate most classic literature. I don't even think you have it in college, although this is less true.
That being said, there is important literature, both fiction and non-fiction, that should be introduced early, even if they won't really grasp it for decades. Most would be early philosophy and mythology, along with their best refutations. Learning how to read, think, and discuss them is the skill you're really looking to impart on the students to prepare them for real reading as adults.
Unfortunately, the education system is designed to train children to the minimum requirements of their predestined jobs and no further. It's no surprise that schools have made reading and thinking so unpleasant that most people are too traumatized to do it on their own.
> You need context to really understand a book or a work of art. You want to know what kind of environment produced it, what it's talking to.
I agree with this premise - but the arts and humanities are a big part of how we learn these things in the first place!
In other words, you have to start somewhere. Context builds on context.
> So you end up doing a bunch of weird commentary on say a book where you as a teenager have no idea where to place it. Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
Well, you probably had some history classes, maybe watched a movie or two, heard something, maybe asked your parents or the teacher, etc. Also the books usually do set the scene by describing the environments, so you can infer from them.
It also works the other way, after reading that book it gives you some foundation for when you consume other media related to that period/place.
> Like if you read Dickens, will you know enough about the industrial revolution, the condition of cities at the time, and such? Will you know what kind of thing the characters would care about?
I think this depends on who is reading it, but not the "obviously" type of depends. I'd imagine a teenager from America reading it would have a different take than someone from the UK (possibly Europe at large as well). A lot of that understanding will come from the context of living in the same area. A lot of history is learned/absorbed without formal teaching. Kids just ask questions about various buildings and the why? type of questions that start forming that kind of context.
But fiction is the best way to learn about those past times.
You could read in a history book - in the few sentences your locality's curriculum can spare for Victorian England - that there was a lot of urban poverty in London after the industrial revolution. Or in a geography book, that that area is prone to smog if you build coal-burning factories in it.
But are you really going to get it in the same way as someone who reads and imagines young Oliver Twist asking for "more", or about the smoke and the mud and the fog crawling down over rooftops in Bleak House?
100% agree. The best literature class I ever had was in college. In class our professor spent very little time discussing the book and spent most of the time discussing the author's life and historical context. I understood those books way more than I had ever understood classical literature before.
So that’s what I thought - but if I hadn’t been exposed to it early I don’t think I’d have gone back to it as an adult.
So I think it’s useful.
I've always thought about that with history - it should be taught to people with enough life experience to realize the subtleties.
On the other hand, art class can teach personal creation to young folks, before it gets optimized away as you grow older in favor of consumption.
School in general is terrible at teaching the "everything is connected to everything else" of history.
Depends on your teachers and your school. I've been lucky to have really good teachers despite attending public schools from K-12 (except Spanish - my Spanish teachers sucked. Turns out being fluent Spanish first speakers doesn't make someone a good teacher).
The best class I had in high school was American Dream: a mixture of literature and history/social studies. You'd learn about a time and then read a book for that time, like Grapes of Wrath or The Jungle or All Quiet on the Western Front. It was a double period, had two dynamic teachers (one old hippie and one young fun guy), and most of the grades were from papers about how the book and history related. More schools should have something like that.
The point of school is to expose you briefly to many things in hopes that one catches your fancy.
This is a message that should be conveyed to kids. It's one that I didn't get. I wore blinders and prejudged that basically all the humanities was a waste of time. The guidance counselor would sign me up for history classes and I literally didn't even show up beyond the first day when I told the teacher that I have better things to do. I regret doing that.
My daughter, fortunately, did not make that mistake and got exposed to a great deal of art and history and literature that I had denied myself. Now I love history and I'm trying to make up for the gap.
It’s not only the historical context is missing but you yourself haven’t experienced life to be interested in the topic. If you haven’t had a child or a marriage, or even a friend who had one. Why would you understand that relationship. How can you possibly think about government structures when you’ve never led anything.
One might consider this an argument for an integrated curriculum. Teach Les Misérables during a unit on the French revolution. Teach Huckleberry Finn or Roots when discussing the history of slavery in the US. Teach The Great Gatsby as part of a unit on the roaring 20s and Prohibition or alternately on the second world war.
>there isn't time for that
If there is one thing I miss about my adolescence, it is the vast amount of free time. I have never again been able to devote hours upon hours to reading. I used to be able to finish entire books in a couple of days, or a week at most.
I learned not to like literatures, and arts learning them in school. There were some kids who did great, and did not like it. Some liked it.
Giving as much experience to students provides a way to decide their own life.
I still am not fond of arts, and literatures, started digging it a bit.
It's this, and also a lot of required readings were just girl books even in hindsight. I wasn't part of the intended audience. It's like if some day Twilight becomes an American classic.
I think books in education often serve as an means to putting yourself in those scenarios and attempting to learn more about different times and cultures.
I think the Joni Mitchell song Both Sides Now applies, life is a conversation with experience.. you are not the same person you were in your teens, in your twenties.. and once you go through life some more life you perspectives shift even more drastically. Doesn't mean younger perspectives are useless.. you were more engaged with the world when you younger and more innocent.. you really can't get back to that
I don't know any 50+ year who really looks as young people as anything other than filtered reflections of themselves who will learn on their own..
is innocence unwise and experience embittered? Perhaps but that is a Judgemental and cynical perspective - we need more perspective in this world..and we must expose our best art early so that conversation can begin...The young will get there.
I think my favorite part of this song is that there are excellent versions of this song from her in her 20s, 70s and 90s
??? She’s 82.
> You need context to really understand a book or a work of art. You want to know what kind of environment produced it, what it's talking to. But when you're in school, there isn't time for that. You aren't going to know a bunch of things about history to put things into context, because there simply isn't enough time for it.
That suggests a need for better cooperation across subjects. In college I learned calculus at the same time as physics and the two reinforced each other. We should be aligning English reading requirements with what's being taught in history class.
This. I am late bloomer in humanity subjects. I was a typical stem students that didn't really understand any of those classes.
It was not until working after finishing Universities, I started to get back to understand those topics. It also became much more enjoyable once I had the contexts. And learning the contexts is a actually a bigger part of the fun
School is about wide exposure to concepts that wouldn’t be encountered elsewhere. The goal is to teach students how to think, not what to think. The actual subject matter is irrelevant.
I don’t remember if the area of a triangle in my geometry homework was 5 or 7 and it genuinely doesn’t matter. What I do remember is that formulas are generalized way to solve problems.
Nobody needs to remember the content of fictional literature. But malleable brains do need to examine it critically so they can examine anything critically.
A book report is simply a demonstration that you can ingest and comprehend non-trivial information. That’s it. The content is irrelevant.
A book report on Timothy Zahn’s Star Wars novels serves the same purpose. But your instructors need to be familiar in order to assess your competency so they stick with the classics.
Having completed book reports on any topic at all better prepares you to study history (or any topic) later in life because it is literally just “how to internalize information”.
Wow. So I'm a college instructor (in IT) and you're nailing what I'm trying to defeat to the best of my ability. I do an intro class, and I think most everyone around me believes that my job is to "go over the technologies that are important to students."
And it's kind of like that, but overwhelmingly what I'm really doing is "I find technology to be endlessly fascinating and exciting and important, and here is both how and why, let me see if I can transfer this excitement to you."
If that's there, the learning just happens, that's the easy part.
There is no vampire in all of literature able to suck blood from victims as well as high school English classes are able to suck all the joy from reading.
Here's a seminal work of literature. Instead of taking your time and reading it, write an essay about something you don't give a shit about that's tangentially related to the book.
I feel like it depends on how the classics are introduced.
Being forced to read classics in their original form, while illuminating is unneccesary at the K-12 level where classics, humanities, and arts are meant to spark curiosity and an openness to synthesis.
Using abridged adaptations (eg. Illustrated abridged classics, wishbone) aren't a bad way to impart much of the ethos of those works.
Yes, imagine classical physics were taught by studying the original works from Newton.
It would never work!
A couple of my buddies and I tried that in HS - it didn't go well. Halliday Resnick and Mir publishers was the way to go for USAPhO.
The best thing about gaining an appreciation of this aspect of life is it opens up so many extra pleasures. I can spend an entire day at the (free entry!) V&A in London and never be bored. Likewise with a great book (when my 11-year-old isn't around!)
If you enjoyed this you will probably enjoy Against Interpretation by Susan Sontag[0]. Great piece that discusses why and how art moves us and pushes back a bit against the idea that is presented in this post that real art is art you can ask questions about and get answers from. I think most people including the author can recognize impactful art is more than just being able to get your 'why' questions answered (some might claim modern art is about challenging these assumptions), but it is even more difficult to talk about that concept without sounding extremely snobby, and Sontag has the credentials / writing skills to discuss it well.
https://en.wikipedia.org/wiki/Against_Interpretation
> Sontag has the credentials / writing skills to discuss it well.
100%, and just to give an example, she finds good art is excreted (her words - perfectly chosen) rather than created, and I think her example was how the immaculate constructions of somebody like Flaubert lose a certain impact and potency, precisely because they betrays some sort of methodological process. And this cannot yield Truth.
To me, reading this now, that sort of analysis struck me rather as very much dated, and an example of that flippant iconoclasm of modern literary criticism, basically, of the hippies.
Because, really, who is she to throw Flaubert so casually under the bus? (im joking) Mme bovary is perfect, in a way a classical music composition is perfect, it is the oppressive knowledge that perfection can be willed into the world and it's the artist who has the task to will it in the world, no matter the devotion and commitment required. Causally dismissing this, is at its base adolescent posturing (like the hippies). But more importantly, and this is why I say "dated", is that we now, after 60-80 years very much have witnessed what sort of art we get when creating art should be more akin to some physiological evacuation. It's just no good, and it's being rejected more and more.
> But those works were much more like dark, winding caves with treasure stashed inside of them. My teachers were like, “Right, well, into the cave you go!” and I was like “But there’s nothing in there” and they were like “Entering the cave is 30% of your grade” and so I took a few steps into the darkness and I was like “Just as I suspected: an empty cave” and then I came trudging back out and pretended that I saw something.
This was a nice metaphor, and made me smile :)
That part made me feel seen. I took a handful of literature classes, all to satisfy some requirement. I don't think I ever once generated a genuine appreciation of any of it. Sometimes a resentment (particularly for Shakespeare) but most often just an indifference. Like maybe there's something there, but if so, it must be for other people who are just better at understanding this stuff. It's not for me. I just need to come up with some plausible ideas to get through this class with a passing grade.
> I was presented with art and literature as if it was self-explanatory, and that everything wonderful about it was plainly visible from the outside. But those works were much more like dark, winding caves with treasure stashed inside of them. My teachers were like, “Right, well, into the cave you go!” and I was like “But there’s nothing in there” and they were like “Entering the cave is 30% of your grade” and so I took a few steps into the darkness and I was like “Just as I suspected: an empty cave” and then I came trudging back out and pretended that I saw something.
Doesn't particularly sound like their English teachers are owed an apology.
How conditioned am I? I thought the title was a play on "em dashes" and when I got into the second paragraph and saw em dashes I immediately flipped to assuming I was reading a story from some never-lived life manifest by a diffusion model. I don't think it is. But that is irrelevant. The point is if our content cannot avoid or ultimately pass the sniff test it won't have the impact we hope.
Well, it's actually an essay against the thinness of AI slop.
> Erasing the line between the thick and the thin has left us defenseless against slop at the exact moment of its onslaught. Everyone can sense there’s something amiss with the prose that comes out of the machines, but we lack the language to talk about it, and so we’ve converged on the idea that slop simply means using too many em dashes, bullet points, and line breaks.
I have to say, this guy should teach English to high-schoolers.
I genuinely think that the vast majority of English teachers have had experiences like this. It's what made them become English teachers.
Then, with all the best intent in the world, they try to explain to their students "Look, you don't get this, this fat book is transcendent if you can just sit with it and understand it! I, too, used to think that English class was just stupid words that they force you to read, but let me help you get this! You've got to..."
But all their students hear is Charlie Brown's adults going "Waa waa waa..." because they're genuinely not mature and experienced enough to "get" the book the way the English teacher understood it.
Ten years later a student will re-read one of their literature books, have this same epiphany, and talk excitedly about deep literature is, and someone will tell them they ought to be an English teacher. And the cycle continues.
Ok, so some English teachers are of course better than others, and some will convey their excitement a little better, and some students will be mature enough to understand it better than others.
But I will definitely maintain that all (close to all) English teachers have this same love of books, and want desperately to pass it on.
I think this is one of the more important points in this thread.
The problem is that too many pieces require experiences that the majority of the classroom just doesn't have.
It's not that students don't venture far enough into the cave to find the treasure, it's that the treasure literally isn't treasure to them yet.
The venturing that needs to happen for them to find the treasure isn't time spent in the material, it's time spent gaining life experiences.
Ex - there was nothing you could have done to make a book like "The Great Gatsby" good for me as a 15 year old. It's filled with themes that I had no experiences to connect with - no lost romances, no wealth (or even really a sense of wealth and money), no major life regrets, nothing at all to make this book hit. It's a dreary book about miserable, unlikable people when read from the perspective of a 15 year old student.
So why are we asking 15 year old students to read this book?
And that doesn't mean we can't throw students in over their heads every now and then (ex - exposure to the unfamiliar is fine). But if that's all you give them... they decide reading is pointless. You have to strike a middle ground with material that hits home.
And there's a range of teacher quality here as well - some are genuinely good at pushing students towards understanding the value in material, even if they lack experiences. But most aren't (at least in the US educational system I went through, which was a mix of decent public schools and expensive private schools)... they're passionate and well intentioned, but fail to empathize with the emotional maturity and world view of their young students.
> The Met Cloisters has these wooden altarpieces from the 1400s that draw your attention immediately, I think because the mind can subconsciously calculate the time it must have taken to carve them, and it sends a signal back to the eyes: important. You know that you are not just seeing a work of art, but the expenditure of a life.
Reminds me of one part of Vernor Vinge's "A Deepness in the Sky".
The lake?
No, the very first meeting with the Emergents, where ... I forget the character's name (Trixia?), but she's a linguist and she figures out that there's something odd about the painting-carvings in the Emergent habitat. She can't put her finger on it until she spends more time studying their language, and figures out that they... well, we're getting into spoiler territory, so rot13: Fur svtherf bhg gung gurl gnyx nobhg crbcyr nf bowrpgf gb or bjarq.
Well that's a new experience, I naively googled for "Fur svtherf bhg gung gurl gnyx nobhg crbcyr nf bowrpgf gb or bjarq" and gemini responded to the text without rot13ing it, so I had no idea why it was telling me what it told me, I had to decode it to make sense of it's answer
TIL Gemini can respond to rot13
I pasted it into Kagi and the smart response just showed the clear text. Usually the smart responses are much more verbose.
Just read "a deepness in the sky" last month, surprised to see a reference here.
I had forgotten that section. Time to reread, I guess!
I’ve long held the opinion that humans ‘over’-value complexity. It’s why we can spend so much time tasting, analyzing, and enjoying fancy coffee or whisky - despite the fact that almost everyone is repulsed by them the first time they try them. Literature might be the same?
To be clear, I enjoy all three!
Good writing isn't complex for complexity's sake though. Mistaking complexity for quality is the most common mistake when it comes to writing — and I allege one central reason why many people like and trust LLM output.
I'd argue that complexity is not even the right word to describe what the author describes. Thickness or depth is more accurate.
The simpler pleasures and pains of life are easier to speak to and we have a lot more (proportionally) media that reflects those experiences. Particular media does it better and worse and so there's a hierarchy, but if you are looking to have your enjoyment of good food and drink reflected in a story that's pretty easy to find.
But life is often more complex than that and it requires great skill to accurately reflect that complexity in creative works. When you're struggling with an experience that is difficult to talk about and understand, a creative work that seems to "get it" can be really valuable in sorting out how to think about that experience. I rarely need help in describing how much I like coffee, but I welcome good writing on the subject of "how should one understand the mixed experience of being very close to someone who you often disagree with."
To add on - complexity itself is a perceptual feature introduced by language - we treat and describe things as though they are made of an unimaginable number of tiny parts. So this also increases the fun of the wordy wine/coffee/whisky descriptions!
Don't forget software engineering
I get your idea but I wonder about the construction of this argument:
Is it the complexity itself people value, or the rewards of things that are complex? IME, the most valuable things are complex. Maybe that's because there is not enough capacity in simplicity to contain exceptional value (speaking very generally and loosely - we really need to define terms).
Also, I certainly think people value complex things, but I strongly disagree that they are over-valued. All the best things in my life seem complex.
I could imagine that complexity stimulates the brain in a different way and that adds to reward.
Great piece. Seeing that depth and context is one of the best parts of gaining intellectual maturity.
Edit: fixing quotes.
I've thought something similar but never put it into words. It's nice when someone else puts your thoughts into words so clearly that you go, "That's exactly how I see this topic!"
> I was presented with art and literature as if it was self-explanatory, and that everything wonderful about it was plainly visible from the outside. But those works were much more like dark, winding caves with treasure stashed inside of them.
> But if someone had outfitted me appropriately, if they warned me that you have to bring one of those crank-up flashlights and you might have to shimmy through some narrow antechambers and spelunk through some flooded passageways, but that eventually you would reach a room full of untold riches—well, maybe I would have actually tried.
As they say, when the student is ready the teacher will appear. I think thick works though are not necessarily works with a lot of detail, but works where when you revisit them, you get something more from them. This does not have to be a detail, but more subtle, as if coming to contact with it the first time changed you as a person, and allowed you to see it with different eyes the second time.
This was very good to read. I would like to add "form/structure" to attributes of "thick"ness. It is possible for good art to adhere strictly to a form and yet be universal and transcend the confines imposed by form. E.g. meters in poems. When I write a poem, the imposed constraints make me weigh and choose from multiple words in a way that free-verse doesn't. Now whether that makes for better reading or not is something a reader should say :)
About the benches: seems like an oxymoron. New Yorkers love busy places! Of course; they live in New York. Plenty of people on the benches in my midwest city park. Because we by and large are uncomfortable with crowds and noise. Why we don't live in New York.
The point isn’t so much that the writing is definitely correct as that the writing is interesting and compelling.
This is one of the better written things I have read online in a long time. The quality of the prose almost makes the subject irrelevant.
But when I see something incomprehensible, is it thick, or is it just stupid?
Surely the literary field has its cranks that believe they have made something deep, but have just made something nonsensical? What's the literary equivalent of TimeCube or chemtrails?
Probably Finnegan's Wake
I have a visceral hatred for Joyce so, even if I were a literary expert (which I'm not), I doubt I could judge it in an unbiased manner.
I wonder whether people who use open source software in the way I do are merely providing the egg (in the context of tfa). Most people, that I know, rarely modify the code in any way and merely build and use. Do not even read it most times. But, it somehow conveys a sense of _doing_ something that the mere install of a binary does not.
I also feel like I was let down by my English teachers. Even in high school I would complain that they would suck all the enjoyment out of a reading a book. Every book felt like a chore and I was an avid reader, a get-in-trouble-because-I-stayed-up-too-late-reading kid. I was the "reading at an N+1/N+2/N+3 grade" student, but I hated English/reading classes with a passion.
I've gone back to re-read some of the books I read in school and disliked and I find myself wondering constantly "why didn't the teacher point that out?" or "why didn't they give me the context to understand that?". I feel cheated in a way. And I had good teachers (I think), I'm not sure if I just wasn't in the right mind-space to understand or appreciate it or what.
Oh sure, they'd talk about symbolism and all of that but it always felt a little like BS to me as a kid. Like they were deriving meaning from thin air. I unfortunately cannot remember specific examples or I'd love to go back and re-read the book in question to see if I could understand/see it now. It felt like they never "grounded" the book in the context I needed to "get" the joke or understand the reference/metaphor/etc. I'm sure there were countless clever passages that went right over my head and instead of it being explained I was just supposed to understand that this was a metaphor for XYZ (something I'd not experienced yet, was well before my time, etc). It felt more like I just needed to memorize what they said and parrot it back since I wasn't getting that from what I had read.
I have (and continue to) re-read books from school and find myself amazed to find myself enjoying books that I remembered disliking or merely tolerating. Did I need more life experience? Was I just too focused on "more important" things? I don't know. I look back on most of my education and wish I could re-do it with my current eyes/mindset, I feel like I'd get way more out of it.
I remember hearing once that a core element of collegiate humanities education involves teaching that a great work can only be understood and appreciated when the reader first understands the work's context. Only then should the reader attempt to summit the great work.
Of course, this is also true in engineering disciplines as well. Perhaps the greatest software engineering work is the Linux kernel. Open the repo, and navigate to a random line in a random file. The odds that you will understand exactly--and I mean exactly--what occurs on that particular line on your first read without an explanatory comment is relatively low. If, however, you consider header files, libraries, how the file fits into the broader kernel, language features, and additional contextual information, your ability to understand that line of code increases significantly.
This writing is so delicious. Just became a paid sub
"I know exactly the feeling that these slop-trepeneurs are preying on, because I feel it all the time: I’ve got these thoughts in my head, and boy oh boy they’re good ones, all-timers, really, and it’s so annoying that I have to spend all this time making the words sound good, when the ideas behind the words are already so good!
But this is an illusion. The ideas are not already good. They need to be thickened. I understand why it’s tempting to force a machine do the hard part for you, but it can’t, and the hard part is the only part worth doing anyway. Making something thick—that’s a lot of pressure! But remember: you were built to perform under pressure, and that’s just what you’ll do."
This is so true. I should re-read this weekly and not feel like some ultra-philosopher trapped by his own laziness... I can just... not feel guilty, the ideas are not that good... yet.
‽ interrobang i like this one. I’ve got it to auto correct whenever i put a question and exclamation mark together.
This is also true in science; some things reward depth of study in a way that just isn't apparent from the outside.
https://xkcd.com/877/
A Chinese example of this for me is Jin Yong, probably the most influential wuxia (Chinese martial-arts fiction) novelist in the Chinese-speaking world. His books are popular fiction in the most literal sense: enormously entertaining, widely read, and for many people first encountered simply as page turners.
As a kid, that was how I read them too.
Only after I started working did I realize how perceptive some of the character writing was. Murong Fu, for example, is genuinely capable, but his ambition is even greater. Everyone around him, friends, followers, even people who love him, is ultimately someone he is willing to sacrifice for his goal. I have met people who seem to reproduce almost the whole arc: the ambition, the triumphs, the disappointments, the pain, the struggle, and sometimes even the madness. Suddenly Murong Fu no longer feels like an exaggerated fictional character.
The book never changes. I had finally acquired the experience to see what was already there. That feels like thickness to me.
There's a lot of truth to this, but....... fuck they did a great job disincentivizing it.
In high school we had to read and annotate this 900p Greek mythology book during our summer break. Our grade reflected how well we annotated it. I didn't do any of it (thanks Ultima Online).
The very first in-class assignment we had that year took about an hour and had about a 25% bigger impact on our grade than annotating did.
Not saying that grades are the end goal but it felt like a slap in the face that the exploration of such a deep topic just.. didn't matter.
What kind of abusive high school gives a 900-page summer assignment?
One that wants to teach Greek mythology but can't because no child left behind forced teachers to teach the standardized tests over all else.
I think teachers did tell us exactly this. But we were 15 and we didn't believe them or didn't listen.
> I’m sorry, but if you’re building or using a tool like this, then you’ve got slop for brains.
unfortunately a lot of people in tech tend to think in terms of technology - looking at this from one solution - not looking at the problem holistically. turning their brains into slop brains.
There's a lot of great things about this piece, but I'm kind of stuck on the "Hieronymus Bosch Butt Music". Listened to it a bunch of times now. https://www.youtube.com/watch?v=OnrICy3Bc2U
Maybe that's the point?
Something I learned recently and which this article sort of hints at - look at the three drafts of Under The Wave Off Kanagawa. The composition is different, but also the colours are much more muted. In the first draft, the only colours highlighted are the people in the corner; in the second, the cliffs. The third draft finally colours the wave, but it's a sedate grey-blue. It's not until the fourth draft that everybody recognizes that we get this brilliant dark blue wave rising up over the the boat, dwarfing the mountain in the background.
And that's because when Hokusai sat down to print that fourth draft, people had recently started exporting prussian blue dye to Japan; prior to that point, he just straight up didn't have access to that striking blue colour that dominates the print.
Really enjoyed how thick this essay was.
> The slop-acalypse that so many of us fear, when people will stop looking at anything made by humans and only look at things made by machines—why hasn’t that happened yet?
Unfortunately, I'm pessimistic here. I don't think the slop-acalypse is held back by taste or an appreciation for "thickness". I think there's already very successful slop media in the world (e.g. see microdramas). In other words, it is happening, but like anything else, it's happening in a non-evenly distributed way.
Do you not think those teachers all failed Lockhart's Lament?
Sure you were too young to appreciate great literature natively. That is simply a function of the human condition. You were not failing at anything, no matter how great the great things actually were that you did not appreciate.
There should be like one of the responsibilities of adults is to show kids what's actually so great about greatness. There can even maybe be a profession where the, let's call them "teachers" are specially trained to be aware of the limitations and stages of development of children such that they know how not to drop a heavy advanced things on a hyper 10 year old like a bag of sand, but show them one example concept or facet that they can appreciate, and also in the process show them that there are such things as great things that you don't yet grasp but they are there and when you get there you will find them great.
That sounds like the entire purpose of a teacher to me. So if none of them did that, then I don't think it is you who owes any of them an apology.
https://archive.org/details/AMathematiciansLament/
Are you an artist? A woodworker? Metalsmith? ... start recording your work and post it to youtube. I guarantee people will be willing to pay extra for the thing you built (I certainly would).
(edit: formatting)
I really enjoyed reading this and I've been thinking along similar lines when I imagine viable careers of the future. No one will care if code is "thick" but why would anyone buy a novel written by AI? What does the reader get out of it? It seems like the humanities might be the most stable career path available.
Haha and suddenly we'll have the pivot where all the software engineers try their hand at being writers. I can already see glimpses of it here wirh articles like this.
Code can be thick, but it's really the value and conscientiousness of the thing being created that will be judged as "thick".
One hope I have when the wave of AI acceleration comes smashing down to reality is that it will force people into being deliberate, measured, and "thick" with their designs, approaches, attitudes, etc.
i’m working on a little ios widget display currently. even a tiny little one view box has hundreds of nuanced design and structure decisions behind it.
That reasoning is the thickness not the amount of code that powers it though they are somewhat interrelated.
I really like this, in the world burning, slaughter of the young all around and the economy unbalanced and tettering on the brink...
Art.
I have a quibble, that does not detract: This is about consuming art, and the appreciation of great art. Part of the pleasure of art, is making art.
In a community we appreciate each other's art in an altogether different way. We cheer on our comrades and they cheer on us, and we make (not very thick) art
Bless. Thick art is truly awesome, and makes the world a better place.
Remember the core of Punk: DIY
Omg. this is the best word ever: poptimism
It comes from a big struggle in the world of music criticism and appreciation, specifically as a reaction to "rockism".
https://en.wikipedia.org/wiki/Rockism_and_poptimism
There were issues with rockism, but I still think the wrong side won that fight.
Verbose docs and over-engineered specs always crash and burn. Clear, concise writing is just clean code with fewer bugs.
Complexity should be relative to the material covered.
Verbosity without substance is tiresome. But so is hand-waving and vagueness over complex topics (the hallmark of conspiracy theorists and absolutist fundamentalists).
Providing a rich exposition of a rich topic is indeed a divine sort of thickness.
Spot on. Verbosity for the sake of it sucks, but vague docs on complex systems are even worse. Balance is everything—depth where it actually matters.
> Guys who work in bike shops like to joke about bicycle-shaped objects—sure, that mass-produced hunk of metal and plastic has a seat, pedals, wheels, and handlebars, but that doesn’t mean it’s a bike. When the materials are so cheap and the construction is so slapdash, it deserves another name entirely.
> This terminology comes in handy, because it turns out there are also movie-shaped objects and book-shaped objects, art-shaped objects and thought-shaped objects. Just because a series of pictures flickered across the screen and the credits followed, that doesn’t mean it was a movie. Just because it’s printed out and bound in cardboard, that doesn’t mean it’s a book. There is an additional essence that is necessary to turn something from the shape of a thing into the actual thing, and the difference between having and lacking that essence is the difference between a corpse and a person.
There's nothing more to be said. This right here is what slop enthusiasts will never get, because they equate thought with a thought-shaped object.
By rejecting postmodernism and even the Enlightenment (due to the overwhelming reactionary messaging) most people have unilaterally disarmed themselves, or so I hypothesize. It's hard to talk about these things in any specific, evidence-based way, but here is the idea:
Without the ultimate postmodern truth that there is none, that deep skepticism of power especially and always of oneself, how do people decide what to embrace? Whatever is effectively sold to them, no questions asked. There isn't an instinctive worry about but an almost survival-level embrace of mass messaging - the way is to be safe in the crowd, not to doubt it or to worry about its power in society and its effect on you.
And without believing in the Enlightenment vision of the transformative power of our minds to make a better humanity, expressed especially in art as the pinnacle of human expression and acheivement, art is ruled out and actually threatens your worldview (and that reactionary messaging) of powerlessness and survival.
Although I appreciate the article, what's the deal with calling depth thickness? Is it because it looks like the meme word 'thicc'?
> If you allow for the existence of secret treasures that can only be accessed with effort and analysis, then you empower the elitists and the snobs. “Buddy, don’t even talk to me until you’ve been in the cave!”
I don't agree with this statement. Being a snob and/or elitist means looking down upon others. If you appreciate these 'secret treasures' without being a dick about it, everybody wins.
I imagine the word thickness represents the great number of (metaphorical) layers of a painting, since paintings are the reoccurring symbol to talk about art in this essay.
I don't think the author is claiming you HAVE to be a dick about it. But that the pursuit of "thickness" does in reality give ammunition to a lot of people who are inevitably dicks about it seems observably true to me.
> what's the deal with calling depth thickness
It's almost as though the author thought about and cared about the content and exact words he chose. "Thick or Treat" and "Thickening agents" and "Slim pickings" even immediately evoking imagery of a thin slop gruel in my own head.
By using an unexpected word I think I thought more critically about it, in fact. Had the author used depth I would've immediately had more superficial imagery in my own head.
I think the fact that "thick" can mean "dim-witted" is proof that the author did not in fact choose their words carefully.
I think it's made obvious that "thick" can mean many different things. Personally, I've never heard "thick" to mean "dimwitted" or it ever used as such.
"Thick" already has a meaning of "dimwitted" so it's a particularly strange choice of word in this context. Is this something this new use of "thick" as a synonym for "deep" something this author is trying to coin, or is this already an established meaning among younger generations?
As thick as the paint on the Lexus LS400. ;)
> Although I appreciate the article, what's the deal with calling depth thickness?
Possibly riffing on https://en.wikipedia.org/wiki/Thick_description?
Given the butt-emphasis, there's also a certain allusion to Sir Mix-a-Lot.
I think I like the term "thickness" over "depth" here because thickness implies a sort of solidity, an ability to stand up to being held and examined, turned over and and handled. Depth can feel unapproachable (the ocean is pretty deep and it is famously challenging to explore) while something which has thickness intuitively feels like you can walk right up to it and try to learn something.
This doesn't hold for all things - I would, for example, describe a wine as having "depth" but probably not "thickness" because in the case of potables "thickness" also implies a particular sort of textural feel, but I do like the idea of a piece of art as being thick with meaning as opposed to deep. A book which is deep can be reread multiple times, but a book which has thickness just sounds like a book that can live on your bookshelf and be paged through year after year for decades, with not only the content to support it but also the sturdiness to hold up to the use.
Also, depth does not necessarily mean substance. Holes in the ground have depth. I think thickness works well here.
I disagree with many of the points.
First, as a point of style it makes no sense for the author to have chosen “thick” rather than the more common adjective “deep”. They describe the same thing, and “deep” even works much better for the cave analogy which is central to the author’s argument.
Deep also has ties to game theory, where increasing depth introduces exponential complexity. The deeper you calculate in chess for example, the more likely you are to find emergent ideas and refutations. Thick is simply an odd choice.
Now to the analogy of literature to caves. It’s highly flawed: unfalsifiable, and its actual supporting evidence is easily refuted by existence of tradition. If you haven’t found the treasure in the cave, you just have to keep looking. It’s definitely there, right?
Further, I am not persuaded by the actual examples the author gave of “thick” art. The nonsense music written on the butt of a subject of a painting is an Easter egg. Ok, the painter doesn’t like secular music, but is there any deeper consideration of why a chromatic scale is fundamentally more sacred than a 13 note scale or a 120 note scale? It’s an anachronistic detail.
The example with Hamlet and ears is even worse. The author says “thin art has no answers, thick art does” then in the very next paragraph concludes no one knows if the recurring theme of ears in Hamlet means something or it’s just something Shakespeare felt like adding.
And this was my entire problem with finding “themes” in books. This exercise was often an exercise in finding patterns where there are none:
https://en.wikipedia.org/wiki/Apophenia
Ok, Shakespeare had a thing with ears, so what? I’m sure you can find countless patterns, intentional and unintentional in all sorts of books. Who cares if they mean anything. Now please find three of these “themes” (the more obscure and irrelevant the better, because your teacher has probably already found the real ones) and sandwich them between an opening and a concluding paragraph for your five paragraph essay.
> This kind of quality can only be proven by longevity. Which answers another question I had when I was scowling in the back of English class: why do we have to spend so much time reading old stuff? And the answer is: this is the only stuff that we can be sure is any good. Great works of art, like successful genes, convince humans to keep passing them on. If something has survived for centuries, then there’s probably something to it. We’re not still brewing Bronze Age beer and we’re not still sailing Bronze Age ships, but we are still telling Bronze Age stories, and this warrants our attention.
The fact that the books on the library shelves this year are mostly the same as last year isn’t a statement about the quality of old books. It is a statement about library budgets. Same thing with museum inventories and English literature curriculums. Jane Eyre is going to feature prominently in AP Lit essays this year not because it is a good book (it was one of the worst things I have experienced) but because teachers know it, the library has it, and the curriculum is written already.
This comment is just truly bleak and I hope you find something artistic that you can enjoy the depth of.
The fact that some things are considered classics is not a mercenary logistical concern. Some movies are considered classics and this has nothing to do with library budgets. Standing the test of time indicates that it’s not just a product of the cultural trends of the time and speaks more universally.
> I always assumed that so-called “great” literature was a hoax, a punishment inflicted upon adolescents for the crime of being young.
It's mixed. It's both true and false.
There are a great many books out there, but there's also countless pointless turds.
Then something has to be said about your teacher forcing you to read a great book in a language that is not the author's native language. Some do translate well (Dostoevsky for example) but for many others it simply doesn't make any sense. A great book is not just a story: the writing itself is an art form and that cannot be translated.
Then many books are just bland, naive, with a ridiculously laughable "message" they try to pass.
The problem is a teacher shall force you to read either indistinctly. At least mine was.
I could be forced to read great literature just as I was forced to read the latest fart from whatever author was fancy in the city atm for his parents owned a bookstore.
Another way to see it is this: how many books (novel books) are there out there? Like, literally, how many? The number is gigantic. How many great novels are there?
If you were to pick one at random, which probability that you'd end up on a great one?
What's the probability your teacher will pick great ones?
In my case, the odds were basically as you'd expect: I remember very few of them because most didn't warrant being remembered.
>For most of my life, I treated art museums like celebrity scavenger hunts. [...] This ended when I encountered The Garden of Earthly Delights
closed tab.
> ... and I was like ...
And you'll need to add an apology for using that phrase too.
I'm confused; why is this hitting #2 on HN? I don't see the H or the N in this.
It's always funny to me how often comments like yours show up, despite a long history on here of diverse thoughts and intellectual curiosities, technological or otherwise.
But especially funny and bewildering in this case is that you have this in your About section of your HN user account:
I find it slightly creepy that people are reading my past thoughts. Time to look into privacy settings.
I just felt like the article wasn't particularly well written.
Just because AI can produce slop, doesn't mean humans don't either.
> Time to look into privacy settings.
Here is a privacy setting: leave the "about:" field blank in your profile, if you don't want anyone reading it?
It's one click away from every one of your comments; no digging required.
You say you felt like the article wasn't well-written (which I disagree with, btw, it was clear and with many nice turns of phrase), but your comment complained about it not being very hackery or newsy. Maybe your comment was thick cause we were supposed to figure out what you actually mean.
Hacker news comments aren't private, and they shouldn't be private. I find it interesting that you think your own public soapbox declarations should not be discoverable.
<https://news.ycombinator.com/item?id=15360228>
Diving deep into something is a core aspect of hacking.
Because it's about AI
Because it's thick.
As you delve further into the article, and (ironically, based on the topic) consider the ideas presented, it becomes more clear. Or skip to near the end to see.
TLDR: AI and generic pop culture artifacts have something in common - a lack of a certain type of depth that makes art great.
I think that's not the author's point; he's mostly talking that time solidifies ideas as shown by the evolution of points of view. At the same time, his picture of the wave shows that over time the painting feels more distilled and simplified. So is his point actually that simple ideas persist and are appealing? It isn't clear? That an art improves?
I think slop-pocalypse misses one thing. AI's time of thinking is very different than ours.
A "thick" argument that could take a lifetime in human terms could happen in minutes of AI.
So it seems in summary you do see the "H" and "N" of it, you just disagree with some parts of the article.
In my understanding of literature, I went through the same arc as the poster, but then I made it to the next realization- "thickness" is just your willingness to give authors credit for things they didn't write, and it can be done just as well for works that are considered "schlock" as it can for the canon of works that are considered "great".
You can read "Moby Dick" as a story about a fish, and you can read "50 shades of grey" as a treatise on existentialism and the human spirit- it's all up to you!
Your point of view seems to imply that the author's skill and intent don't matter, which I can't agree with. The reason that a reader's effort gets more out of a great work is because the author put it there, not because it exists as a function of the work in itself.
I'm sure this aesthetic relativism holds up under argument, but this is an 'anti realization' that:
-Reduces explanatory power (if Moby-Dick and 50 Shades are the same, why has one been lauded for 100 years, minted the careers of countless academics, etc.?)
-Makes the world less interesting
One of them has existed for more than 100 years. One of them has been granted credibility by a small number of academics before becoming a safe conservative choice for subsequent ones.
I don't know, but those sounds like some plausible answers.
On the first point, explanation is inherently subjective. It reduces explanatory power purely because you're forced to acknowledge it was never universally appropriate, which tracks. The variety of explanation you're referring to in this context is one that I always found to be unsatisfactory. It's inherently stripping context (IE every component of what makes something the right place, the right time) out of the equation, which makes comparative analysis absurd.
On the second point, I vehemently disagree, and I'm curious how you think a larger, more complicated world can be argued to be less interesting? Does the fact that your hallucinations and delusions are vacuous, and that they don't sit alone in a dark void, paralyze you with fear?
I don't think it's about giving credit at all.
This just means that you don't percieve any difference, not that there is no difference.
I don’t think that’s true. True masters will create works that enable additional interpretations, perhaps beyond or even contradictory to those intended by the original authors. I doubt 50 Shades of Grey enables such a multitude of additional interpretations.
I strongly disagree. Sure, I can say story X is about Y, for any arbitrary Y.
But take Hamlet, for example. You can say that it's about revenge destroying the one who takes it. Or you could say it's about failing to seize the moment ultimately making you pay a much higher price. Or you could say it's about insanity, and whether sane people are insane and insane people are sane. And none of those is wrong!
You could even say it's about how tedious it is to have to listen to pompous old windbags, and you'd be at least partially right.
But if you said it was about body thetans, then no, you are objectively wrong. There is no honest reading of Hamlet that reaches that conclusion.
"Thickness" is giving authors credit for things they didn't write, but they did leave breadcrumbs for. That's different from "they didn't write it at all", and it's also different from "I didn't look for breadcrumbs, so I didn't see them".
Here's an example: The song "Welcome to the Future", by Brad Paisley, the third verse says:
That verse is thick. There are breadcrumbs all over the place, trails leading to things that the author did not say. And yet he did say them, through the breadcrumbs.