基本信息
書名：How to Read and Why 如何讀，為什麼讀
作者：Harold Bloom哈羅德·布魯姆
齣版社名稱：Touchstone
齣版時間：2001
語種：英文
ISBN：9780684859071
商品尺寸：14 x 1.8 x 21.3 cm
包裝：平裝
頁數：286

編輯推薦
如何善於讀書，沒有單一的途徑，不過，為什麼應當讀書，卻有一個主要的理由。我們可獲取的資訊是無窮的；哪裏可以找到智慧？如果你幸運，你會碰到某個老師，他可以幫助你，然而你終究是孤單的，獨自繼續下去而沒有更多中介。善於讀書是孤獨可以提供給你的極大樂趣之一。
How to Read and Why《如何讀，為什麼讀》是布魯姆在年近古稀時齣版的一本個人化的導讀著作，這位閱讀大師、智慧老人、經典的經典讀者為我們正本清源，梳理西方不朽作品，談論他從童年到晚年喜愛的詩、小說、戲劇。《如何讀，為什麼讀》可以說是《西方正典》的互補版，已讀過《西方正典》的讀者，可在這裏再探索和再發現西方正典，以及再接受布魯姆的批評能量；初次接觸布魯姆的讀者，則可從這裏開始，踏上尋訪和分享西方正典的旅程。
本書是英文原版，文字通俗，術語相對少。在這個網絡當道、文學式微的年代，布魯姆針對新世紀的讀者，提齣瞭要讀好的一流作品的文學理念，說明瞭這些作品妙在哪裏，為何要讀這些作品、要如何讀纔能得其精髓。本書適閤英美文學學習者、研究者和愛好者閱讀。 
媒體評論：
“他是批評界的巨人……他對文學的熱忱是一種令人陶醉的麻醉劑。”——《紐約時報雜誌》
“讀哈羅德·布魯姆的評論……就好像在讀石火電閃般的經典。”——M.H.艾布拉姆斯
“哈羅德·布魯姆是我們時代文學批評界的領軍人物……他激活瞭他的文學批評，將自己的滿腔熱情傾注其中。”——《衛報》

“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

內容簡介
How to Read and Why《如何讀，為什麼讀》教你如何讀和為什麼讀，書中用眾多的樣本和例子來示範：短詩或長詩；短篇小說、長篇小說和戲劇。
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. 

作者簡介
哈羅德·布魯姆（1930-），當代美國知名文學教授、“耶魯學派”批評傢、文學理論傢。曾執教於耶魯大學、紐約大學和哈佛大學等知名高校。主要研究領域包括詩歌批評、理論批評和宗教批評三大方麵，代錶作有《影響的焦慮》（1973）、《誤讀之圖》（1975）、《西方正典》（1994）、《莎士比亞：人的發明》（1998）等，以其獨特的理論建構和批評實踐被譽為“西方傳統中極有天賦、有原創性和有煽動性的一位文學批評傢”。
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. 

目錄
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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