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[This is the -Revised and Updated- edition]
[Read by Edward Holland]
How to Read a Book, first published in 1940, is the best and most successful guide to reading comprehension for the general reader. Now it has been completely rewritten and updated.
Learn about the various levels of reading and how to achieve them, from elementary reading through systematic skimming and inspectional reading to speed reading. Learn how to pigeonhole a book, X-ray it, extract the author's message, criticize. The authors offer different reading techniques for various types of books, and finally, a recommended reading list and reading tests for measuring your own progress in reading skills, comprehension, and speed.
- Sales Rank: #1416411 in Books
- Brand: Brand: Blackstone Audio, Inc.
- Published on: 2012-07-01
- Formats: Audiobook, Unabridged
- Original language: English
- Number of items: 13
- Dimensions: 5.75" h x 5.25" w x 1.50" l, .60 pounds
- Running time: 55800 seconds
- Binding: Audio CD
- 13 pages
- Used Book in Good Condition
Review
''It shows concretely how the serious work of proper reading may be accomplished and how much it may yield in the way of instruction and delight.'' --New Yorker
''This newly revised classic guide to reading comprehension for the general reader offers various techniques for improving and measuring your progress in reading skill, comprehension, and speed.'' --New Yorker
''Packed full of high matters which no one solicitous of the future of American culture can afford to over-look.'' --Jacques Barzun, scholar and historian
''This newly revised classic guide to reading comprehension for the general reader offers various techniques for improving and measuring your progress in reading skill, comprehension, and speed.'' --New Yorker
''Packed full of high matters which no one solicitous of the future of American culture can afford to over-look.'' --Jacques Barzun, scholar and historian
''This newly revised classic guide to reading comprehension for the general reader offers various techniques for improving and measuring your progress in reading skill, comprehension, and speed.'' --New Yorker
''Packed full of high matters which no one solicitous of the future of American culture can afford to over-look.'' --Jacques Barzun, scholar and historian
About the Author
MORTIMER J. ADLER (1902-2001), an American philosopher, educator, and popular author, served as the chairman of Encyclopaedia Britannica's board of editors, was the founder and director of the Institute for Philosophical Research, and was an honorary trustee and founder of the Aspen Institute for Humanistic Studies. He authored the well-known How to Read a Book and the intellectual autobiography Philosopher at Large and was coeditor, with Charles Van Doren, of Great Treasury of Western Thought, declared the Reference Book of 1977 by the American Library Association.
CHARLES VAN DOREN is an American intellectual, writer, and editor. He earned a bachelor's degree from St. John's College in Annapolis, Maryland, and went on to earn a master's in astrophysics and a doctorate in English from Columbia University, where he later taught English. He is also the author of A History of Knowledge.
Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
THE ACTIVITY AND ART OF READING
This is a book for readers and for those who wish to become readers. Particularly, it is for readers of books. Even more particularly, it is for those whose main purpose in reading books is to gain increased understanding.
By "readers" we mean people who are still accustomed, as almost every literate and intelligent person used to be, to gain a large share of their information about and their understanding of the world from the written word. Not all of it, of course; even in the days before radio and television, a certain amount of information and understanding was acquired through spoken words and through observation. But for intelligent and curious people that was never enough. They knew that they had to read too, and they did read.
There is some feeling nowadays that reading is not as necessary as it once was. Radio and especially television have taken over many of the functions once served by print, just as photography has taken over functions once served by painting and other graphic arts. Admittedly, television serves some of these functions extremely well; the visual communication of news events, for example, has enormous impact. The ability of radio to give us information while we are engaged in doing other things -- for instance, driving a caris remarkable, and a great saving of time. But it may be seriously questioned whether the advent of modern communications media has much enhanced our understanding of the world in which we live.
Perhaps we know more about the world than we used to, and insofar as knowledge is prerequisite to understanding, that is all to the good. But knowledge is not as much a prerequisite to understanding as is commonly supposed. We do not have to know everything about something in order to understand it; too many facts are often as much of an obstacle to understanding as too few. There is a sense in which we moderns are inundated with facts to the detriment of understanding.
One of the reasons for this situation is that the very media we have mentioned are so designed as to make thinking seem unnecessary (though this is only an appearance). The packaging of intellectual positions and views is one of the most active enterprises of some of the best minds of our day. The viewer of television, the listener to radio, the reader of magazines, is presented with a whole complex of elements -- all the way from ingenious rhetoric to carefully selected data and statistics -- to make it easy for him to "make up his own mind" with the minimum of difficulty and effort. But the packaging is often done so effectively that the viewer, listener, or reader does not make up his own mind at all. Instead, he inserts a packaged opinion into his mind, somewhat like inserting a cassette into a cassette player. He then pushes a button and "plays back" the opinion whenever it seems appropriate to do so. He has performed acceptably without having had to think.
Active Reading
As we said at the beginning, we will be principally concerned in these pages with the development of skill in reading books; but the rules of reading that, if followed and practiced, develop such skill can be applied also to printed material in general, to any type of reading matter -- to newspapers, magazines, pamphlets, articles, tracts, even advertisements.
Since reading of any sort is an activity, all reading must to some degree be active. Completely passive reading is impossible; we cannot read with our eyes immobilized and our minds asleep. Hence when we contrast active with passive reading, our purpose is, first, to call attention to the fact that reading can be more or less active, and second, to point out that the more active the reading the better. One reader is better than another in proportion as he is capable of a greater range of activity in reading and exerts more effort. He is better if he demands more of himself and of the text before him.
Though, strictly speaking, there can be no absolutely passive reading, many people think that, as compared with writing and speaking, which are obviously active undertakings, reading and listening are entirely passive. The writer or speaker must put out some effort, but no work need be done by the reader or listener. Reading and listening are thought of as receiving communication from someone who is actively engaged in giving or sending it. The mistake here is to suppose that receiving communication is like receiving a blow or a legacy or a judgment from the court. On the contrary, the reader or listener is much more like the catcher in a game of baseball.
Catching the ball is just as much an activity as pitching or hitting it. The pitcher or batter is the sender in the sense that his activity initiates the motion of the ball. The catcher or fielder is the receiver in the sense that his activity terminates it. Both are active, though the activities are different. If anything is passive, it is the ball. It is the inert thing that is put in motion or stopped, whereas the players are active, moving to pitch, hit, or catch. The analogy with writing and reading is almost perfect. The thing that is written and read, like the ball, is the passive object common to the two activities that begin and terminate the process.
We can take this analogy a step further. The art of catching is the skill of catching every kind of pitch -- fast bails and curves, changeups and knucklers. Similarly, the art of reading is the skill of catching every sort of communication as well as possible.
It is noteworthy that the pitcher and catcher are successful only to the extent that they cooperate. The relation of writer and reader is similar. The writer isn't trying not to be caught, although it sometimes seems so. Successful communication occurs in any case where what the writer wanted to have received finds its way into the reader's possession. The writer's skill and the reader's skill converge upon a common end.
Admittedly, writers vary, just as pitchers do. Some writers have excellent "control"; they know exactly what they want to convey, and they convey it precisely and accurately. Other things being equal, they are easier to "catch" than a "wild" writer without "control."
There is one respect in which the analogy breaks down. The ball is a simple unit. It is either completely caught or not. A piece of writing, however, is a complex object. It can be received more or less completely, all the way from very little of what the writer intended to the whole of it. The amount the reader "catches" will usually depend on the amount of activity he puts into the process, as well as upon the skill with which he executes the different mental acts involved.
What does active reading entail? We will return to this question many times in this book. For the moment, it suffices to say that, given the same thing to read, one person reads it better than another, first, by reading it more actively, and second, by performing each of the acts involved more skillfully. These two things are related. Reading is a complex activity, just as writing is. It consists of a large number of separate acts, all of which must be performed in a good reading. The person who can perform more of them is better able to read.
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The Goals of Reading:
Reading for Information and Reading for Understanding
You have a mind. Now let us suppose that you also have a book that you want to read. The book consists of language written by someone for the sake of communicating something to you. Your success in reading it is determined by the extent to which you receive everything the writer intended to communicate.
That, of course, is too simple. The reason is that there are two possible relations between your mind and the book, not just one. These two relations are exemplified by two different experiences that you can have in reading your book.
There is the book; and here is your mind. As you go through the pages, either you understand perfectly everything the author has to say or you do not. If you do, you may have gained information, but you could not have increased your understanding. If the book is completely intelligible to you from start to finish, then the author and you are as two minds in the same mold. The symbols on the page merely express the common understanding you had before you met.
Let us take our second alternative. You do not understand the book perfectly. Let us even assume -- what unhappily is not always true -- that you understand enough to know that you do not understand it all. You know the book has more to say than you understand and hence that it contains something that can increase your understanding.
What do you do then? You can take the book to someone else who, you think, can read better than you, and have him explain the parts that trouble you. ("He" may be a living person or another book -- a commentary or textbook. ) Or you may decide that what is over your head is not worth bothering about, that you understand enough. In either case, you are not doing the job of reading that the book requires.
That is done in only one way. Without external help of any sort, you go to work on the book. With nothing but the power of your own mind, you operate on the symbols before you in such a way that you gradually lift yourself from a state of understanding less to one of understanding more. Such elevation, accomplished by the mind working on a book, is highly skilled reading, the kind of reading that a book which challenges your understanding deserves.
Thus we can roughly define what we mean by the art of reading as follows: the process whereby a mind, with nothing to operate on but the symbols of the readable matter, and with no help from outside, elevates itself by the power of its own operations. The mind passes from understanding less to understanding more. The skilled operations that cause this to happen are the various acts that constitute the art of reading.
To pass from understanding less to understanding more by your own intellectual effort in reading is something like pulling yourself up by your bootstraps. It certainly feels that way. It is a major exertion. Obviously, it is a more active kind of reading than you have done before, entailing not only more varied activity but also much more skill in the performance of the various acts required. Obviously, too, the things that are usually regarded as more difficult to read, and hence as only for the better reader, are those that are more likely to deserve and demand this kind of reading.
The distinction between reading for information and reading for understanding is deeper than this. Let us try to say more about it. We will have to consider both goals of reading because the line between what is readable in one way and what must be read in the other is often hazy. To the extent that we can keep these two goals of reading distinct, we can employ the word "reading" in two distinct senses.
The first sense is the one in which we speak of ourselves as reading newspapers, magazines, or anything else that, according to our skill and talents, is at once thoroughly intelligible to us. Such things may increase our store of information, but they cannot improve our understanding, for our understanding was equal to them before we started. Otherwise, we would have felt the shock of puzzlement and perplexity that comes from getting in over our depth - that is, if we were both alert and honest.
The second sense is the one in which a person tries to read something that at first he does not completely understand. Here the thing to be read is initially better or higher than the reader. The writer is communicating something that can increase the reader's understanding. Such communication between unequals must be possible, or else one person could never learn from another, either through speech or writing. Here by "learning" is meant understanding more, not remembering more information that has the same degree of intelligibility as other information you already possess.
There is clearly no difficulty of an intellectual sort about gaining new information in the course of reading if the new facts are of the same sort as those you already know. A person who knows some of the facts of American history and understands them in a certain light can readily acquire by reading, in the first sense, more such facts and understand them in the same light. But suppose he is reading a history that seeks not merely to give him some more facts but also to throw a new and perhaps more revealing light on all the facts he knows. Suppose there is greater understanding available here than he possessed before he started to read. If he can manage to acquire that greater understanding, he is reading in the second sense. He has indeed elevated himself by his activity, though indirectly, of course, the elevation was made possible by the writer who had something to teach him.
What are the conditions under which this kind of reading -- reading for understanding -- takes place? There are two. First, there is initial inequality in understanding. The writer must be "superior" to the reader in understanding, and his book must convey in readable form the insights he possesses and his potential readers lack. Second, the reader must be able to overcome this inequality in some degree, seldom perhaps fully, but always approaching equality with the writer. To the extent that equality is approached, clarity of communication is achieved.
In short, we can learn only from our "betters." We must know who they are and how to learn from them. The person who has this sort of knowledge possesses the art of reading in the sense with which we are especially concerned in this book. Everyone who can read at all probably has some ability to read in this way. But all of us, without exception, can learn to read better and gradually gain more by our efforts through applying them to more rewarding materials.
We do not want to give the impression that facts, leading to increased information, and insights, leading to increased understanding, are always easy to distinguish. And we would admit that sometimes a mere recital of facts can itself lead to greater understanding. The point we want to emphasize here is that this book is about the art of reading for the sake of increased understanding. Fortunately, if you learn to do that, reading for information will usually take care of itself.
Of course, there is still another goal of reading, besides gaining information and understanding, and that is entertainment. However, this book will not be much concerned with reading for entertainment. It is the least demanding kind of reading, and it requires the least amount of effort. Furthermore, there are no rules for it. Everyone who knows how to read at all can read for entertainment if he wants to.
In fact, any book that can be read for understanding or information can probably be read for entertainment as well, just as a book that is capable of increasing our understanding can also be read purely for the information it contains. (This proposition cannot be reversed: it is not true that every book that can be read for entertainment can also be read for understanding. ) Nor do we wish to urge you never to read a good book for entertainment. The point is, if you wish to read a good book for understanding, we believe we can help you. Our subject, then, is the art of reading good books when understanding is the aim you have in view.
Reading as Learning:
The Difference Between Learning by Instruction and Learning by Discovery
Getting more information is learning, and so is coming to understand what you did not understand before. But there is an important difference between these two kinds of learning.
To be informed is to know simply that something is the case. To be enlightened is to know, in addition, what it is all about: why it is the case, what its connections are with other facts, in what respects it is the same, in what respects it is different, and so forth.
This distinction is familiar in terms of the differences between being able to remember something and being able to explain it. if you remember what an author says, you have learned something from reading him. If what he says is true, you have even learned something about the world. But whether it is a fact about the book or a fact about the world that you have learned, you have gained nothing but information if you have exercised only your memory. You have not been enlightened. Enlightenment is achieved only when, in addition to knowing what an author says, you know what he means and why he says it.
It is true, of course, that you should be able to remember what the author said as well as know what he meant. Being informed is prerequisite to being enlightened. The point, however, is not to stop at being informed.
Montaigne speaks of "an abecedarian ignorance that precedes knowledge, and a doctoral ignorance that comes after it." The first is the ignorance of those who, not knowing their ABC's, cannot read at all. The second is the ignorance of those who have misread many books. They are, as Alexander Pope rightly calls them, bookful blockheads, ignorantly read. There have always been literate ignoramuses who have read too widely and not well. The Greeks had a name for such a mixture of learning and folly which might be applied to the bookish but poorly read of all ages. They are all sophomores.
To avoid this error -- the error of assuming that to be widely read and to be well-read are the same thing -- we must consider a certain distinction in types of learning. This distinction has a significant bearing on the whole business of reading and its relation to education generally.
In the history of education, men have often distinguished between learning by instruction and learning by discovery. Instruction occurs when one person teaches another through speech or writing. We can, however, gain knowledge without being taught. If this were not the case, and every teacher had to be taught what he in turn teaches others, there would be no beginning in the acquisition of knowledge. Hence, there must be discovery -- the process of learning something by research, by investigation, or by reflection, without being taught.
Discovery stands to instruction as learning without a teacher stands to learning through the help of one. In both cases, the activity of learning goes on in the one who learns. It would be a mistake to suppose that discovery is active learning and instruction passive. There is no inactive learning, just as there is no inactive reading.
This is so true, in fact, that a better way to make the distinction clear is to call instruction "aided discovery." Without going into learning theory as psychologists conceive it, it is obvious that teaching is a very special art, sharing with only two other arts -- agriculture and medicine -- an exceptionally important characteristic. A doctor may do many things for his patient, but in the final analysis it is the patient himself who must get well -- grow in health. The farmer does many things for his plants or animals, but in the final analysis it is they that must grow in size and excellence. Similarly, although the teacher may help his student in many ways, it is the student himself who must do the learning. Knowledge must grow in his mind if learning is to take place.
The difference between learning by instruction and learning by discovery -- or, as we would prefer to say, between aided and unaided discovery -- is primarily a difference in the materials on which the learner works. When he is being instructed -- discovering with the help of a teacher -- the learner acts on something communicated to him. He performs operations on discourse, written or oral. He learns by acts of reading or listening. Note here the close relation between reading and listening. If we ignore the minor differences between these two ways of receiving communication, we can say that reading and listening are the same art -- the art of being taught. When, however, the learner proceeds without the help of any sort of teacher, the operations of learning are performed on nature or the world rather than on discourse. The rules of such learning constitute the art of unaided discovery. If we use the word "reading" loosely, we can say that discovery -- strictly, unaided discovery -- is the art of reading nature or the world, as instruction (being taught, or aided discovery) is the art of reading books or, to include listening, of learning from discourse.
What about thinking? If by "thinking" we mean the use of our minds to gain knowledge or understanding, and if learning by discovery and learning by instruction exhaust the ways of gaining knowledge, then thinking must take place during both of these two activities. We must think in the course of reading and listening, just as we must think in the course of research. Naturally, the kinds of thinking are different -- as different as the two ways of learning are.
The reason why many people regard thinking as more closely associated with research and unaided discovery than with being taught is that they suppose reading and listening to be relatively effortless. It is probably true that one does less thinking when one reads for information or entertainment than when one is undertaking to discover something. Those are the less active sorts of reading. But it is not true of the more active reading -- the effort to understand. No one who has done this sort of reading would say it can be done thoughtlessly.
Thinking is only one part of the activity of learning. One must also use one's senses and imagination. One must observe, and remember, and construct imaginatively what cannot be observed. There is, again, a tendency to stress the role of these activities in the process of unaided discovery and to forget or minimize their place in the process of being taught through reading or listening. For example, many people assume that though a poet must use his imagination in writing a poem, they do not have to use their imagination in reading it. The art of reading, in short, includes all of the same skills that are involved in the art of unaided discovery: keenness of observation, readily available memory, range of imagination, and, of course, an intellect trained in analysis and reflection. The reason for this is that reading in this sense is discovery, too -- although with help instead of without it.
Present and Absent Teachers
We have been proceeding as if reading and listening could both be treated as learning from teachers. To some extent that is true. Both are ways of being instructed, and for both one must be skilled in the art of being taught. Listening to a course of lectures, for example, is in many respects like reading a book; and listening to a poem is like reading it. Many of the rules to be formulated in this book apply to such experiences. Yet there is good reason to place primary emphasis on reading, and let listening become a secondary concern. The reason is that listening is learning from a teacher who is present -- a living teacher -- while reading is learning from one who is absent.
If you ask a living teacher a question, he will probably answer you. If you are puzzled by what he says, you can save yourself the trouble of thinking by asking him what he means. If, however, you ask a book a question, you must answer it yourself. In this respect a book is like nature or the world. When you question it, it answers you only to the extent that you do the work of thinking and analysis yourself.
This does not mean, of course, that if the living teacher answers your question, you have no further work. That is so only if the question is simply one of fact. But if you are seeking an explanation, you have to understand it or nothing has been explained to you. Nevertheless, with the living teacher available to you, you are given a lift in the direction of understanding him, as you are not when the teacher's words in a book are all you have to go by.
Students in school often read difficult books with the help and guidance of teachers. But for those of us who are not in school, and indeed also for those of us who are when we try to read books that are not required or assigned, our continuing education depends mainly on books alone, read without a teacher's help. Therefore if we are disposed to go on learning and discovering, we must know how to make books teach us well. That, indeed, is the primary goal of this book.
Copyright © 1972 by Mortimer J. Adler and Charles Van Doren
Most helpful customer reviews
43 of 43 people found the following review helpful.
On Rereading this Classic 50 Years Later
By John Mccarthy
I first read this book 50 years ago and then took from it one basic idea that has guided my reading ever since...That one idea was that every good non-fiction book deserves 3 readings. The purpose of the first rapid read is to get an overview of the general thrust or central thesis of the book. The second reading involves digging in, an attempt to understand and analyze the author's central argument or thesis, and the third reading is for the purpose of argument, i.e., of reflecting on where we agree with the book and where we disagree, and why...
50 years after that first reading, i still try to follow the advice (above), and find it as helpful and true today as it was back then.
So, what in particular did I gain in from my current reading of this fine book, this gem? Three or four things, all of which are, at least to me, important.
First, re the value of reading the intro or the preface in which the author often says specifically and explicitly what his central thesis is.
Second, re the value of reading the last chapter or even the very last 8 to 10 paragraphs in which the author may, once again, summarize the whole central purpose and argument of the book, which gives you a key to understanding the work in its entirety.
And, third, don't begin arguing with a book until you are certain that you have understood it as well as you possibly can.
Bottom-line, I'm happy that I went back to reread this fine book.
30 of 31 people found the following review helpful.
Learning How and What to read from great absent teachers
By Mnemoriam
I have always had a nagging feeling that I didn’t know how to read well. This book showed me that I was right. But it also showed me that I wasn’t expected to know how to read well (not with the kind of education most of us receive) and that I wasn’t alone in my ignorance. Reading well involves hard work and precise skills. This book provides the latter — the former is up to us.
We take reading for granted because we are supposed to be fully alphabetised at around tenth grade. We are not told that this is just the first level of reading — Elementary Reading (Part 1, Ch. 3) — when you learn to recognise the written symbols and to convey meaning from them. You learn how to grow your vocabulary on your own and to transfer and compare concepts from different reading materials. But most of us stop there. And from there we live the rest of our lives treating books in undeserving ways, wasting too much time on the bad ones and granting so little time to the good ones. The great ones, we hardly read, because they scare us.
The problem of wasting time can be drastically diminished by applying the second level of reading — Inspectional Reading (Part 1, Ch. 4). This level means “skimming systematically” to grasp as much as you can from a book in a limited time-frame (possibly just a few minutes). That was an important skill on Adler and Doren’s time when libraries were the norm, but it is even more important now when you have digital previews of a plethora of books in services such as Amazon. If “Customer’s Review” sections existed during their time, I am sure they would also have devoted a portion of Chapter 4 to provide insights on how to better profit from them.
The problem of spending little time on the good (or great) books can only be solved by the third level of reading — Analytical reading (Part 2). Without it, you either refrain from reading a good book altogether (specially a great one) or you read it badly. “Reading badly”, the book explains, is to read passively. Reading analytically is very active and it is hard work. To help us in this endeavour, the book provides extensive advice on how to physically mark the books we read (Part 1, Ch. 5). These note-taking techniques are indispensable to read well and the reader is advised to experiment with them and adapt them to his own style of understanding and to the new types of media now available.
To read analytically you have to ask yourself a number of questions while reading and you must make your best to answer them yourself. The authors present these questions in sequence, but they are quick to explain that in practice (and with experience) we should try to answer them mostly simultaneously.
First, you need to know what the book is about as a whole (Ch. 6 and Ch. 7). This means first categorising the book, then expressing its unity in as few words as possible. You should then proceed to outline its main parts, each of which should be treated as a subordinate whole and have its unity also expressed. This process could continue ad aeternum, but “the degree of approximation varies with the character of the book and your purpose in reading it”. At the end, you should have identified what questions the author wants to answer himself.
After this more “descriptive” stage, you should now try to grasp the author’s message (Ch. 8 and Ch. 9). This means first reconciling the grammatical and the logical aspects of what he writes by matching his chosen words with the terms they express. Only then you can identify the important sentences and paragraphs (the grammatical units) in order to establish the author’s leading propositions and arguments (the units of thought and knowledge — the logical units). Once you have reached actual understanding by identifying and interpreting the author’s terms, propositions and arguments, you can now evaluate if the author has answered the questions (the problems) you identified earlier.
You and the author are now peers and the best thing you can do now is to praise him by criticising his book (Ch. 10 and Ch. 11). However, in order to do so, there are rules, just like there are rules to reach understanding — there is an intellectual etiquette grounded on rhetorical skills the reader must possess. You should understand first and only then criticise, but not contentiously or disputatiously. You may disagree based on the author’s lack of information, misinformation or reasoning fallacies. You may also judge the author’s completeness as faulty. But the most important maxim is to do so with the sole intention of conveying and discussing knowledge, not opinions. “Knowledge consists in those opinions that can be defended” and “opinion is unsupported judgement.” You must be sure to distinguish between both.
So you have described the book, you have understood it and you have criticised it — now what? This is the last (and possibly most important) question you should make. If the book has enlightened you, even if just a little, you must go further — you might even have to act upon it. I like what the authors say about this question applied to historical books: “The answer to the question lies in the direction of practical, political action.” History shows what has been done, so it is a lesson of what we can do or avoid doing. In the same way, whatever the kind of enlightenment you had by reading the book, you have had a glimpse of truth — you can’t ignore it now that you know it.
Part 3 is useful in that it provides some interesting aspects of specific types of reading material, namely practical books, history (including biographies and current events), imaginative literature (including plays and poems), science and mathematics, philosophy and the social sciences. While a pleasure to read, it is not imperative that you do so if you have fully grasped the analytical reading process. There is, however, a lot of value in this part of the book, specially in the later chapters, and the reader is strongly advised to read it. One thing I should say is that, while they detail interesting aspects of reading imaginative literature, their techniques mostly apply to expository works. I think their best advice with respect to the former is “don’t try to resist the effect that a work of imaginative literature has on you”. This means allowing the work to show you “a deeper, or greater reality”. And this reality is “the reality of our inner life”. We don’t need any more rules than this one.
The last part of the book presents the fourth (and highest) level of reading — Syntopical reading — or reading two or more books on the same subject. By reading syntopically you are not concerned with understanding each book in all its details — in fact, you won’t read any of the individual books analytically (not at the present syntopical reading effort, at least). Here you are reading each book for what it may contribute to your own problem, not for the book’s own sake. Furthermore, you are not reading to find the truth or to establish your own voice — you would be only one more voice in the conversation. You are simply trying to understand the controversy itself, to establish the many voices you hear in a pure exercise of dialectical objectivity. This is a fantastic topic, which the authors have materialised in their greatest contribution to mankind, in my opinion — the Syntopicon, volumes II and III of the Great Books of the Western World. The reader is very much advised to check it out.
The book ends with two appendices. The first one provides a fascinating list of great books — the “endlessly readable” books. The list may seem overwhelming at first glance (and it is!), but the authors are prompt to address the reader and explain that the list does not have any time frame attached to it. I say it should just be begun — even an ignorant reader like me will be so flabbergasted by what he will learn that he will never stop reading it. This is a project for your life as a whole — to never stop reading these books. For a much more restrictive (but also magnificent) reading list, the reader is referred to the 10-year-reading plan provided in Adler’s Great Books.
The second appendix provides exercises and tests on all four levels of reading. I must admit that I hadn’t read them until I got this far in my review. I then decided to do it and now I tell you this: just read it. If you have had literature classes as an undergraduate or graduate student, you might find it slightly commonplace. But if you haven’t, like me, you will be glad you read it. Like they state at the beginning of the appendix, the selected texts are "themselves worth reading", so you can’t lose much by doing so. It is a delightful taste of what awaits you in your future exploits of the Great Books — if you do well and accept the challenge, of course.
On my part, simply put, this book has changed my life. It not only showed me "how" to read a book, but it also showed me "what" to read. I’ll be forever in debt with two of the greatest absent teachers I’ve had, Dr. Mortimer J. Adler and Dr. Charles Van Doren.
6 of 6 people found the following review helpful.
Excellent For Those Who Wish to Further Their Reading Abilities
By David K. Wilder
Reading is something many people find valuable, whether it be for recreation or education—most people in today's world know how to read. Loads of people are likely satisfied with their current reading abilities, and perhaps even more do not have any intention to increase the amount of reading nor the intensify the difficulty of the books that they choose to read. In fact, many people have the ability to read but simply choose to not exercise it. However, for those of us who enjoy reading and wish to improve our reading skills, I cannot recommend How to Read a Book: The Classic Guide to Intelligent Reading highly enough.
The book was originally published in 1940, and the most recent edition was published (with updated and timely content) in 1972. It aims to provide a guide for comprehensive reading for the general reader—"from elementary reading, through systematic skimming and inspectional reading, to speed reading. You learn how to pigeonhole a book, X-ray it, extract the author's message, criticize. You are taught the different reading techniques for reading practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science." (From the publisher's blurb.)
The authors, Mortimer J. Adler and Charles Van Doren, introduce the concept of four levels of reading: elementary reading, inspectional reading, analytical reading, and syntopical reading. The levels are cumulative, which means that each gradation includes the techniques and skills of the lower levels.
Elementary reading is essentially the baseline ability to read that is taught at the pre-school/kindergarten, elementary and junior high school levels. These reading skills include reading readiness, word mastery, vocabulary growth and the utilization of context, and the ability to read almost anything (albeit in a relatively unsophisticated manner). This is the level of reading that perhaps the majority of the population has achieved. What is truly outstanding about reading is that once one has developed the elementary reading skills, she can teach herself to learn the skills involved with the higher levels of reading.
Inspectional reading involves two main concepts: systematic skimming or pre-reading, and superficial reading. Skimming or pre-reading involves looking at a book's title page, preface, table of contents, index, publisher's blurb, apparently-pivotal chapters, and true skimming of its content. Superficial reading is comprised of trudging through a book's content in its entirety for the first time, without ever stopping to look up or ponder the things that one does not understand right away. At this point in reading a book, one should start asking herself the four basic questions of reading:
What is the book about as a whole?
What is being said in detail, and how?
Is the book true, in whole or part?
What of it?
These questions are thoroughly fleshed out in the book, and I do not wish to focus too much on them in this review. It would be much better for you to check out this book for yourself, although I must warn you that to read it honestly is more like working through a workbook than an easy read. It takes a fair amount of effort on the part of the reader, but she is handsomely rewarded at the end of her journey.
Moving on, the book discusses note-taking techniques, which were very lacking in my own personal wheelhouse—it had been since my days at university that I regularly took notes in books, and even then, I didn't have an efficient education that demonstrated how to mark a book so that I would increase my level of understanding and retention. However, How to Read a Book certainly fills in where my formal education was lacking in this department. Even this brief section alone was worth reading the entire book, for me.
The next section of the book—the main bulk of it, in fact—covers the third level of reading: analytical reading. This part is incredibly valuable for readers wishing to improve their overall skill set, including full chapters on the following topics: pigeonholing a book, X-raying a book, coming to terms with an author, determining an author's message, criticizing a book fairly, agreeing or disagreeing with an author, and aids to reading. Again, I do not intend this review to fully explore the book's contents, and will leave it at that.
Following the section covering analytical reading, the authors explore another tangent: the various ways to approach different types of reading matter. From practical books to imaginative literature, history to science and mathematics, and a few more, this section adapts the four questions that must be asked when reading anything so that they are more applicable to specific types of reading. It was quite interesting for me to consider various types of books and reflect on my reading history and consider what I would truly like to spend my time reading in the future. The final chapter in this section discussed the reading of social science, which often requires reading multiple books about a topic. Because that is essentially the concept behind syntopical reading, it serves as a perfect segue into the next section of the book.
The final section of the book, "The Ultimate Goals of Reading", focuses on syntopical reading and the concept of reading and the growth of the mind. Syntopical reading is truly an interesting concept for me. It involves creating a tentative bibliography (generally including hundreds of books) of a central subject, quickly inspecting each book, re-inspecting all of the books that are specifically pertinent to the topic to identify the relevant passages within, creating a neutral terminology that can be used to discuss the opinions of multiple authors, establishing a set of neutral propositions by framing a set of questions to ask each author, defining the major and minor issues and assigning authors to the various sides of each issue, and providing an analysis of the discussion of the topic. This is a highly-advanced level of reading that one would embark on to do true work in a field, with the hope of providing an unheard analysis of a topic's discussion that many authors have participated in over time. It is possible that one's syntopical reading of a topic could culminate in a book that would push the discussion of a topic even further—in fact, this is indeed often the ultimate goal. The final chapter of the book offers a recap of the previous sections and discusses what good books can do for us, the various classes of books (with regard to what one can get out of reading and re-reading them), and the growth of the mind.
There are two appendices included, the first being an extremely valuable "Recommended Reading List". I must admit that this list makes my mouth salivate in anticipation of many more years of reading excellent books and the possibility of furthering my personal reading ability. The second appendix includes exercises and tests at the various four levels of reading. This is the one section of the book that I have yet to read—I may choose to explore these exercises in the future, although it will involve reading several other books from the aforementioned reading list, so it is likely to be a longterm project.
Overall, this is one of the best books I have read in the past several years. I am confident that the advice contained within it will help me improve my reading skills while simultaneously increasing the level of enjoyment that I get out of my reading practice. I must admit that when I first started reading the book, I was a bit disappointed that it is heavily biased toward non-fiction reading, when in the past I have reaped so much enjoyment from reading fiction. However, the skills that I have learned from How to Read a Book will only serve to improve my relation to non-fiction books, something that has been somewhat lacking for me previously. This is one book that I do plan on working with further in the future, whether it is simply picking it up from time to time to skim through the notes I took on its pages, choosing my next book from its impressive reading list, or working through the second appendix's reading exercises and tests.
5/5 stars. 424 pages.
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