基本信息
书名：How to Read and Why 如何读，为什么读
作者：Harold Bloom哈罗德·布鲁姆
出版社名称：Touchstone
出版时间：2001
语种：英文
ISBN：9780684859071
商品尺寸：14 x 1.8 x 21.3 cm
包装：平装
页数：286

编辑推荐
如何善于读书，没有单一的途径，不过，为什么应当读书，却有一个主要的理由。我们可获取的资讯是无穷的；哪里可以找到智慧？如果你幸运，你会碰到某个老师，他可以帮助你，然而你终究是孤单的，独自继续下去而没有更多中介。善于读书是孤独可以提供给你的极大乐趣之一。
How to Read and Why《如何读，为什么读》是布鲁姆在年近古稀时出版的一本个人化的导读著作，这位阅读大师、智慧老人、经典的经典读者为我们正本清源，梳理西方不朽作品，谈论他从童年到晚年喜爱的诗、小说、戏剧。《如何读，为什么读》可以说是《西方正典》的互补版，已读过《西方正典》的读者，可在这里再探索和再发现西方正典，以及再接受布鲁姆的批评能量；初次接触布鲁姆的读者，则可从这里开始，踏上寻访和分享西方正典的旅程。
本书是英文原版，文字通俗，术语相对少。在这个网络当道、文学式微的年代，布鲁姆针对新世纪的读者，提出了要读好的一流作品的文学理念，说明了这些作品妙在哪里，为何要读这些作品、要如何读才能得其精髓。本书适合英美文学学习者、研究者和爱好者阅读。 
媒体评论：
“他是批评界的巨人……他对文学的热忱是一种令人陶醉的麻醉剂。”——《纽约时报杂志》
“读哈罗德·布鲁姆的评论……就好像在读石火电闪般的经典。”——M.H.艾布拉姆斯
“哈罗德·布鲁姆是我们时代文学批评界的领军人物……他激活了他的文学批评，将自己的满腔热情倾注其中。”——《卫报》

“Information is endlessly available to us; where shall wisdom be found?” is the crucial question with which renowned literary critic Harold Bloom begins this impassioned book on the pleasures and benefits of reading well. For more than forty years, Bloom has transformed college students into lifelong readers with his unrivaled love for literature. Now, at a time when faster and easier electronic media threatens to eclipse the practice of reading, Bloom draws on his experience as critic, teacher, and prolific reader to plumb the great books for their sustaining wisdom. 
Shedding all polemic, Bloom addresses the solitary reader, who, he urges, should read for the purest of all reasons: to discover and augment the self. His ultimate faith in the restorative power of literature resonates on every page of this infinitely rewarding and important book.
Review：
“Superb... A wonderful, entertaining book...extraordinarily wise, nourishing, and beautiful. ” — Michael Pakenham, The Baltimore Sun 
“Harold Bloom is one of the great literary critics of his time...How to Read and Why is... the testament of a veteran. ” — John Sutherland, The Washington Post Book World 
“Bloom is one of the last... of his kind... one of the greatest educators of our time...Wonderful... Bloom writes with passion of those writers whom he loves, and whose work for him affirms life. ” — John Banville, The Irish Times

内容简介
How to Read and Why《如何读，为什么读》教你如何读和为什么读，书中用众多的样本和例子来示范：短诗或长诗；短篇小说、长篇小说和戏剧。
Harold Bloom’s urgency in How to Read and Why may have much to do with his age. He brackets his combative, inspiring manual with the news that he is nearing 70 and hasn’t time for the mediocre. (One doubts that he ever did.) Nor will he countenance such fashionable notions as the death of the author or abide “the vagaries of our current counter-Puritanism” let alone “ideological cheerleading.” Successively exploring the short story, poetry, the novel, and drama, Bloom illuminates both the how and why of his title and points us in all the right directions: toward the Romantics because they “startle us out of our sleep-of-death into a more capacious sense of life”; toward Austen, James, Proust; toward Thomas Mann, Toni Morrison, and Cormac McCarthy; toward Cervantes and Shakespeare (but of course!), Ibsen and Oscar Wilde. 
How should we read? Slowly, with love, openness, and with our inner ear cocked. Then we should reread, reread, reread, and do so aloud as often as possible. “As a boy of eight,” he tells us, “I would walk about chanting Housman’s and William Blake’s lyrics to myself, and I still do, less frequently yet with undiminished fervor.” And why should we engage in this apparently solitary activity? To increase our wit and imagination, our sense of intimacy—in short, our entire consciousness—and also to heal our pain. “Until you become yourself,” Bloom avers, “what benefit can you be to others.” So much for reading as an escape from the self! 
Still, many of this volume’s pleasures may indeed be selfish. The author is at his best when he is thinking aloud and anew, and his material offers him—and therefore us—endless opportunities for discovery. Bloom cherishes poetry because it is “a prophetic mode” and fiction for its wisdom. Intriguingly, he fears more for the fate of the latter: “Novels require more readers than poems do, a statement so odd that it puzzles me, even as I agree with it.” We must, he adjures, crusade against its possible extinction and read novels “in the coming years of the third millennium, as they were read in the eighteenth and nineteenth century: for aesthetic pleasure and for spiritual insight.” 
Bloom is never heavy, since his vision quest contains a healthy love of irony--Jedediah Purdy, take note: “Strip irony away from reading, and it loses at once all discipline and all surprise.” And this supreme critic makes us want to equal his reading prowess because he writes as well as he reads; his epigrams are equal to his opinions. He is also a master allusionist and quoter. His section on Hedda Gabler is preceded by three extraordinary statements, two from Ibsen, who insists, “There must be a troll in what I write.” Who would not want to proceed? Of course, Bloom can also accomplish his goal by sheer obstinacy. As far as he is concerned, Don Quixote may have been the first novel but it remains to this day the best one. Is he perhaps tweaking us into reading this gigantic masterwork by such bald overstatement? Bloom knows full well that a prophet should stop at nothing to get his belief and love across, and throughout How to Read and Why he is as unstinting as the visionary company he adores. 

作者简介
哈罗德·布鲁姆（1930-），当代美国知名文学教授、“耶鲁学派”批评家、文学理论家。曾执教于耶鲁大学、纽约大学和哈佛大学等知名高校。主要研究领域包括诗歌批评、理论批评和宗教批评三大方面，代表作有《影响的焦虑》（1973）、《误读之图》（1975）、《西方正典》（1994）、《莎士比亚：人的发明》（1998）等，以其独特的理论建构和批评实践被誉为“西方传统中极有天赋、有原创性和有煽动性的一位文学批评家”。
Harold Bloom is Sterling Professor of Humanities at Yale University, Berg Professor of English at New York University, and a former Charles Eliot Norton Professor at Harvard. His more than twenty books include Shakespeare: The Invention of the Human, The Western Canon, The Book of J, and his most recent work, Stories and Poems for Extremely Intelligent Children of All Ages. He is a MacArthur Prize fellow; a member of the American Academy of Arts and Letters; the recipient of many awards, including the Academy’s Gold Medal for Criticism; and he holds honorary degrees from the universities of Rome and Bologna. 

目录
Preface
Prologue: Why Read?

I.  Short Stories
Introduction 
Ivan Turgenev
    “Bezhin Lea”
    “Kasyan from the Beautiful Lands”
Anton Chekhov
    “The Kiss”
    “The Student”
    “The Lady with the Dog”
Guy de Maupassant
    “Madame Tellier’s Establishment”
    “The Horla”
Ernest Hemingway
    “Hills Like White Elephants”
    “Good Rest You Merry, Gentlemen”
    “The Snows of Kilimanjaro”
    “A Sea Change”
Flannery O’Connor
    “A Good Man Is Hard to Find”
    “Good Country People”
    “A View of the Woods”
Vladimir Nabokov
    “The Vane Sisters”
Jorge Luis Borges
    “Tlon, Ugbar, Orbis Tertius”
Tommaso Landolfi
    “Gogol’s Wife”
Italo Calvino
    “Invisible Cities”
Summary Observations

II.  Poems
Introduction
Housman, Blake, Landor, and Tennyson  
  A. E. Housman
    “Into My Heart an Air That Kills”
  William Blake
    “The Sick Rose”
  Walter Savage Landor
    “On His Seventy-fifth Birthday”
  Alfred Lord Tennyson
    “The Eagle”
    “Ulysses”
  Robert Browning
    “Childe Roland to the Dark Tower Came”
  Walt Whitman
    Song of Myself
Dickinson, Bronte, Popular Ballads, and “Tom O’Bedlam”
  Emily Dickinson
    Poem 1260, “Because That You Are Going”
  Emily Bronte
    “Stanzas: Often Rebuked, Yet Always Back Returning”
  Popular Ballads
    “Sir Patrick Spence”
    “The Unquiet Grave”
  Anonymous
    “Tom O’Bedlam”
William Shakespeare
    Sonnet 121, “'Tis Better to Be Vile Than Vile Esteemed”
    Sonnet 129, “Th’ Expense of Spirit in a Waste of Shame”
    Sonnet 121, “Two Loves I Have, of Comfort and Despair”
John Milton
    Paradise Lost
William Wordsworth
    “A Slumber Did my Spirit Seal”
    “My Heart Leaps Up When I Behold”
Samuel Taylor Coleridge
    The Rime of the Ancient Mariner
Shelly and Keats
  Percy Bysshe Shelley
    The Triumph of Life
  John Keats
    “La Belle Dame Sans Merci”
Summary Observations

III.  Novels, Part I
Introduction
Miguel de Cervantes: Don Quixote
Stendhal: The Charterhouse of Parma
Jane Austen: Emma
Charles Dickens: Great Expectations
Fyodor Dostoevsky: Crime and Punishment
Henry James: The Portrait of a Lady 
Marcel Proust: In Search of Lost Time
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