An Experiment in Criticism;

In this essay I propose to try an experiment. Literary criticism is traditionally employed in judging books. Any judgement it implies about men’s reading of books is a corollary from its judgement on the books themselves. Bad taste is, as it were by definition, a taste for bad books. I want to find out what sort of picture we shall get by reversing the process. Let us make our distinction between readers or types of reading the basis, and our distinction between books the corollary. Let us try to discover how far it might be plausible to define a good book as a book which is read in one way, and a bad book as a book which is read in another.

I think this worth trying because the normal procedure seems to me to involve almost continually a false implication. If we say that A likes (or has a taste for) the women’s magazines and B likes (or has a taste for) Dante, this sounds as if likes and taste have the same meaning when applied to both; as if there were a single activity, though the objects to which it is directed are different. But observation convinces me that this, at least usually, is untrue.

[2]
Already in our schooldays some of us were making our first responses to good literature. Others, and these the majority, were reading, at school, The Captain, and, at home, short-lived novels from the circulating library. But it was apparent then that the majority did not ‘like’ their fare in the way we ‘liked’ ours. It is apparent still. The differences leap to the eye.

In the first place, the majority never read anything twice. The sure mark of an unliterary man is that he considers ‘I’ve read it already’ to be a conclusive argument against reading a work. We have all known women who remembered a novel so dimly that they had to stand for half an hour in the library skimming through it before they were certain they had once read it. But the moment they became certain, they rejected it immediately. It was for them dead, like a burnt-out match, an old railway ticket, or yesterday’s paper; they had already used it. Those who read great works, on the other hand, will read the same work ten, twenty or thirty times during the course of their life.

Secondly, the majority, though they are sometimes frequent readers, do not set much store by reading. They turn to it as a last resource. They abandon it with alacrity as soon as any alternative pastime turns up. It is kept for railway journeys, illnesses, odd moments of enforced solitude, or for the process called ‘reading oneself to sleep’. They sometimes combine it with desultory conversation; often, with listening to the radio. But literary people are always looking for leisure and silence in which to [3] read and do so with their whole attention. When they are denied such attentive and undisturbed reading even for a few days they feel impoverished.