From Publishers Weekly
A scholarship boy at a New England prep school grapples with literary ambition and insecurity in this lucid, deceptively sedate novel, set in the early 1960s and narrated by the unnamed protagonist from the vantage point of adulthood. Each year, the school hosts a number of visiting writers, and the boys in the top form are allowed to compete for a private audience by composing a poem or story. The narrator judges the skills of his competitors, avidly exposing his classmates' weaknesses and calculating their potential ("I knew better than to write George off.... He could win.... Bill was a contender"). His own chances are hurt by his inability to be honest with himself and examine his ambivalent feelings about his Jewish roots. After failing to win audiences with Robert Frost and Ayn Rand, he is determined to be chosen by the last and best guest, legendary Ernest Hemingway. The anxiety of influence afflicts all the boys, but in crafting his final literary offering, the narrator discovers inspiration in imitation, finding his voice in someone else's. The novel's candid, retrospective narration ruefully depicts its protagonist's retreat further and further behind his public facade ("I'd been absorbed so far into my performance that nothing else came naturally"). Beneath its staid trappings, this is a sharply ironic novel, in which love of literature is counterbalanced by bitter disappointment (as one character bluntly puts it, "[Writing] just cuts you off and makes you selfish and doesn't really do any good"). Wolff, an acclaimed short story writer (The Night in Question, etc.) and author of the memoir This Boy's Life, here offers a delicate, pointed meditation on the treacherous charms of art.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From School Library Journal
Adult/High School-The unnamed narrator of this coming-of-age story set in 1960 is a scholarship student at a prestigious New England prep school that has a tradition of inviting literary stars to the campus. Prior to the visit, the seniors are requested to write a piece to be "judged" by the guest. The winner is given a private meeting with the literary luminary and the story is published in the school paper. The narrator, having missed out on an audience with Robert Frost and Ayn Rand, is determined to meet with Ernest Hemingway. Much of this quiet novel is about writing and love of the written word. Merits of The Fountainhead or "Stopping by Woods on a Snowy Evening" are discussed by their authors and the students, and readers glean some information on the writing process and the cult of personality. In his fervent desire to be chosen, the narrator "borrows" an idea and reveals a secret about his heritage that he has carefully hidden. He wins, but the results of his story's publication are disastrous and his life is forever changed. The events and ideas in this thoughtful and thought-provoking novel remain with readers after the story is over and could provide meat for discussion. Teens will identify with the protagonist and internalize ideas on creativity as well as honesty and the importance of seemingly small decisions or occurrences in life.-Susan H. Woodcock, Fairfax County Public Library, Chantilly, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Booklist
There are ways to lie without saying a word. It is 1960, and the narrator is beginning his final year at a private school of strong literary traditions. Aspiring writers edit the literary journal and compete to win private audiences with visiting luminaries of letters. This year, the guests are to be Robert Frost, Ayn Rand, and Ernest Hemingway. The narrator is a scholarship student, and though his school prides itself on class blindness, his classmates are well versed in spotting the subtle indicators of economic background. Longing to fit in, he dissembles, cultivating an "easy disregard" by which he hopes to imply his own privilege. But this doubleness leads him toward an unexpected decision with far-reaching consequences for his future. While a main theme here is a writer's growth, the work's essential component, the forming of character, gives it a universal appeal. As our storyteller grows through his identification with and understanding of important books, and learns the importance of writing honestly, he also learns that to insist too adamantly on the truth may require the individual to stand apart from even the group he loves. Wolff, acclaimed for his short stories and memoirs, has written a marvelous novel with resonance for old and young alike. His storytelling is economical, his prose is elegant, and his meditations are utterly timeless. Some readers may wish to turn from the last page to the first and begin again. Keir Graff
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
Review
"Ingenious. . . . A tour de force. . . . Achieves a real profundity. "—The Boston Globe
"A sharply drawn, acutely felt novel of moral inquiry. . . . Wolff has put his readers in the landscape tracked across by writers as different as J. M. Coetzee, Philip Roth, and, going back, Conrad and Hawthorne." —The Washington Post Book World
"The kind of deceptively quiet novel that deserves a second, slow reading. An homage to the power of story to move, to awaken and even to transform." —The Plain Dealer
"Gentle, reserved, graceful. . . . Wolff again proves himself to be a writer of the highest order: part storyteller, part philosopher, someone deeply engaged in asking hard questions." —Los Angeles Times
"A sharply drawn, acutely felt novel of moral inquiry. . . . Wolff has put his readers in the landscape tracked across by writers as different as J. M. Coetzee, Philip Roth, and, going back, Conrad and Hawthorne." —The Washington Post Book World
"The kind of deceptively quiet novel that deserves a second, slow reading. An homage to the power of story to move, to awaken and even to transform." —The Plain Dealer
"Gentle, reserved, graceful. . . . Wolff again proves himself to be a writer of the highest order: part storyteller, part philosopher, someone deeply engaged in asking hard questions." —Los Angeles Times
Book Description
The protagonist of Tobias Wolff’s shrewdly—and at times devastatingly—observed first novel is a boy at an elite prep school in 1960. He is an outsider who has learned to mimic the negligent manner of his more privileged classmates. Like many of them, he wants more than anything on earth to become a writer. But to do that he must first learn to tell the truth about himself.
The agency of revelation is the school literary contest, whose winner will be awarded an audience with the most legendary writer of his time. As the fever of competition infects the boy and his classmates, fraying alliances, exposing weaknesses, Old School explores the ensuing deceptions and betrayals with an unblinking eye and a bottomless store of empathy. The result is further evidence that Wolff is an authentic American master.
The agency of revelation is the school literary contest, whose winner will be awarded an audience with the most legendary writer of his time. As the fever of competition infects the boy and his classmates, fraying alliances, exposing weaknesses, Old School explores the ensuing deceptions and betrayals with an unblinking eye and a bottomless store of empathy. The result is further evidence that Wolff is an authentic American master.
From the Back Cover
"Ingenious. . . . A tour de force. . . . Achieves a real profundity. "—The Boston Globe
"A sharply drawn, acutely felt novel of moral inquiry. . . . Wolff has put his readers in the landscape tracked across by writers as different as J. M. Coetzee, Philip Roth, and, going back, Conrad and Hawthorne." —The Washington Post Book World
"The kind of deceptively quiet novel that deserves a second, slow reading. An homage to the power of story to move, to awaken and even to transform." —The Plain Dealer
"Gentle, reserved, graceful. . . . Wolff again proves himself to be a writer of the highest order: part storyteller, part philosopher, someone deeply engaged in asking hard questions." —Los Angeles Times
"A sharply drawn, acutely felt novel of moral inquiry. . . . Wolff has put his readers in the landscape tracked across by writers as different as J. M. Coetzee, Philip Roth, and, going back, Conrad and Hawthorne." —The Washington Post Book World
"The kind of deceptively quiet novel that deserves a second, slow reading. An homage to the power of story to move, to awaken and even to transform." —The Plain Dealer
"Gentle, reserved, graceful. . . . Wolff again proves himself to be a writer of the highest order: part storyteller, part philosopher, someone deeply engaged in asking hard questions." —Los Angeles Times
About the Author
Tobias Wolff lives in Northern California and teaches at Stanford University. He has received the Rea Award for excellence in the short story, the Los Angeles Times Book Prize, and the PEN/Faulkner Award.
From the Hardcover edition.
From the Hardcover edition.
Excerpt. © Reprinted by permission. All rights reserved.
CLASS PICTURE
Robert Frost made his visit in November of 1960, just a week after the general election. It tells you something about our school that the prospect of his arrival cooked up more interest than the contest between Nixon and Kennedy, which for most of us was no contest at all. Nixon was a straight arrow and a scold. If he’d been one of us we would have glued his shoes to the floor. Kennedy, though—here was a warrior, an ironist, terse and unhysterical. He had his clothes under control. His wife was a fox. And he read and wrote books, one of which, Why England Slept, was required reading in my honors history seminar. We recognized Kennedy; we could still see in him the boy who would have been a favorite here, roguish and literate, with that almost formal insouciance that both enacted and discounted the fact of his class.
But we wouldn’t have admitted that class played any part in our liking for Kennedy. Ours was not a snobbish school, or so it believed, and we made this as true as we could. Everyone did chores. Scholarship students could declare themselves or not, as they wished; the school itself gave no sign. It was understood that some of the boys might get a leg up from their famous names or great wealth, but if privilege immediately gave them a place, the rest of us liked to think it was a perilous place. You could never advance in it, you could only try not to lose it by talking too much about the debutante parties you went to or the Jaguar you earned by turning sixteen. And meanwhile, absent other distinctions, you were steadily giving ground to a system of honors that valued nothing you hadn’t done for yourself.
That was the idea, so deeply held it was never spoken; you breathed it in with the smell of floor wax and wool and boys living close together in overheated rooms. Never spoken, so never challenged. And the other part of the idea was that whatever you did do for yourself, the school would accept as proof of worth beyond any other consideration. The field was wide open. Like all schools, ours prized its jocks, and they gave good value, especially the wrestlers, who merrily wiped the mat with grim, grunting boys up and down the Eastern Seaboard. The school liked its wrestlers and football players but also its cutthroat debaters and brilliant scholars, its singers and chess champs, its cheerleaders and actors and musicians and wits, and, not least of all, its scribblers.
If the school had a snobbery it would confess to, this was its pride in being a literary place—quite aside from the glamorous writers who visited three times a year. The headmaster had studied with Robert Frost at Amherst and once published a collection of poetry, Sonnets Against the Storm, which it now pained him to be reminded of. Though listed in the library’s card catalogue, the book had vanished and the headmaster was rumored to have destroyed it. Perhaps with reason; but how many other heads of school had published even one poem, good or bad, let alone a whole volume? Dean Makepeace had been a friend of Hemingway’s during World War I and was said to have served as the model for Jake’s fishing buddy Bill in The Sun Also Rises. The other English masters carried themselves as if they too were intimates of Hemingway, and also of Shakespeare and Hawthorne and Donne. These men seemed to us a kind of chivalric order. Even boys without bookish hopes aped their careless style of dress and the ritual swordplay of their speech. And at the headmaster’s monthly teas I was struck by the way other masters floated at the fringe of their circle, as if warming themselves at a fire.
How did they command such deference—English teachers? Compared to the men who taught physics or biology, what did they really know of the world? It seemed to me, and not only to me, that they knew exactly what was most worth knowing. Unlike our math and science teachers, who modestly stuck to their subjects, they tended to be polymaths. Adept as they were at dissection, they would never leave a poem or a novel strewn about in pieces like some butchered frog reeking of formaldehyde. They’d stitch it back together with history and psychology, philosophy, religion, and even, on occasion, science. Without pandering to your presumed desire to identify with the hero of a story, they made you feel that what mattered to the writer had consequence for you, too.
Say you’ve just read Faulkner’s “Barn Burning.” Like the son in the story, you’ve sensed the faults in your father’s character. Thinking about them makes you uncomfortable; left alone, you’d probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal—of the self and the world outside the circle of blood.
You’ve never had this conversation before, not with anyone. And even as it’s happening you understand that just as your father’s troubles with the world—emotional frailty, self-doubt, incomplete honesty—will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father as the boy in the story does, but forsake him without regret. And as you accept that separation, it seems to happen; your father’s sad, fleshy face grows vague, and you blink it away and look up to where your master leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery.
There was a tradition at my school by which one boy was granted a private audience with each visiting writer. We contended for this honor by submitting a piece of our own work, poetry if the guest was a poet, fiction if a novelist. The writer chose the winner a week or so before arriving. The winner had his poem or story published in the school newspaper, and, later, a photograph of him walking the headmaster’s garden with the visiting writer.
By custom, only sixth formers, boys in their final year, were allowed to compete. That meant I had spent the last three years looking on helplessly as boy after boy was plucked from the crowd of suitors and invited to stroll between the headmaster’s prize roses in the blessed and blessing presence of literature itself, to speak of deep matters and receive counsel, and afterward be able to say, You liked By Love Possessed? You’re kidding. I mean, Jesus, you ought to hear Mary McCarthy on the subject of Cozzens . . .
It was hard to bear, especially when the winning manuscript came from the hand of someone you didn’t like, or, worse, from a boy who wasn’t even known to be a contender—though this had happened just once in my years of waiting in the wings, when an apparent Philistine named Hurst won an audience with Edmund Wilson for a series of satirical odes in Latin. But all the other winners came, predictably enough, from the same stockpond: boys who aced their English classes and submitted work to the school lit mag and hung around with other book-drunk boys.
The writers didn’t know us, so no one could accuse them of playing favorites, but that didn’t stop us from disputing their choices. How could Robert Penn Warren prefer Kit Morton’s plain dying-grandmother story to Lance Leavitt’s stream-of-consciousness monologue from the viewpoint of a condemned man smoking his last cigarette while pouring daringly profane contempt over the judgment of a world that punishes you for one measly murder while ignoring the murder of millions? It didn’t seem right that Lance, who defied the decorums of language and bourgeois morality, should have to look on while Robert Penn Warren walked the garden with a sentimentalist like Kit (whose story, through its vulgar nakedness of feeling, had moved me to secret tears).
I’m not exaggerating the importance to us of these trophy meetings. We cared. And I cared as much as anyone, because I not only read writers, I read about writers. I knew that Maupassant, whose stories I loved, had been taken up when young by Flaubert and Turgenev; Faulkner by Sherwood Anderson; Hemingway by Fitzgerald and Pound and Gertrude Stein. All these writers were welcomed by other writers. It seemed to follow that you needed such a welcome, yet before this could happen you somehow, anyhow, had to meet the writer who was to welcome you. My idea of how this worked wasn’t low or even practical. I never thought about making connections. My aspirations were mystical. I wanted to receive the laying on of hands that had written living stories and poems, hands that had touched the hands of other writers. I wanted to be anointed.
Frost’s visit was announced in early October. At first the news made me giddy, but that night I grew morose with the dread of defeat. I couldn’t sleep. Finally I got up and sat at my desk with two notebooks full of poetry I’d written when taking a break from stories. While my roommate muttered in his dreams I bent over the pages and read piece after piece like:
song (#8)
to the hopeless of the hopeless of the night
i sing my song and hopeless end my song
and do not pity me for i am without hope and
do not pity them for they are without hope and
There the poem ended. Beneath it I had written fragment. I’d written fragment beneath most of the poems in the notebooks, and this description was in every case accurate. Each of them had been composed in some fever of ardor or philosophy that deserted me before I could bring it to the point of significance. The few poems that I had finished seemed, in the hard circle of light thrown by the gooseneck...
Robert Frost made his visit in November of 1960, just a week after the general election. It tells you something about our school that the prospect of his arrival cooked up more interest than the contest between Nixon and Kennedy, which for most of us was no contest at all. Nixon was a straight arrow and a scold. If he’d been one of us we would have glued his shoes to the floor. Kennedy, though—here was a warrior, an ironist, terse and unhysterical. He had his clothes under control. His wife was a fox. And he read and wrote books, one of which, Why England Slept, was required reading in my honors history seminar. We recognized Kennedy; we could still see in him the boy who would have been a favorite here, roguish and literate, with that almost formal insouciance that both enacted and discounted the fact of his class.
But we wouldn’t have admitted that class played any part in our liking for Kennedy. Ours was not a snobbish school, or so it believed, and we made this as true as we could. Everyone did chores. Scholarship students could declare themselves or not, as they wished; the school itself gave no sign. It was understood that some of the boys might get a leg up from their famous names or great wealth, but if privilege immediately gave them a place, the rest of us liked to think it was a perilous place. You could never advance in it, you could only try not to lose it by talking too much about the debutante parties you went to or the Jaguar you earned by turning sixteen. And meanwhile, absent other distinctions, you were steadily giving ground to a system of honors that valued nothing you hadn’t done for yourself.
That was the idea, so deeply held it was never spoken; you breathed it in with the smell of floor wax and wool and boys living close together in overheated rooms. Never spoken, so never challenged. And the other part of the idea was that whatever you did do for yourself, the school would accept as proof of worth beyond any other consideration. The field was wide open. Like all schools, ours prized its jocks, and they gave good value, especially the wrestlers, who merrily wiped the mat with grim, grunting boys up and down the Eastern Seaboard. The school liked its wrestlers and football players but also its cutthroat debaters and brilliant scholars, its singers and chess champs, its cheerleaders and actors and musicians and wits, and, not least of all, its scribblers.
If the school had a snobbery it would confess to, this was its pride in being a literary place—quite aside from the glamorous writers who visited three times a year. The headmaster had studied with Robert Frost at Amherst and once published a collection of poetry, Sonnets Against the Storm, which it now pained him to be reminded of. Though listed in the library’s card catalogue, the book had vanished and the headmaster was rumored to have destroyed it. Perhaps with reason; but how many other heads of school had published even one poem, good or bad, let alone a whole volume? Dean Makepeace had been a friend of Hemingway’s during World War I and was said to have served as the model for Jake’s fishing buddy Bill in The Sun Also Rises. The other English masters carried themselves as if they too were intimates of Hemingway, and also of Shakespeare and Hawthorne and Donne. These men seemed to us a kind of chivalric order. Even boys without bookish hopes aped their careless style of dress and the ritual swordplay of their speech. And at the headmaster’s monthly teas I was struck by the way other masters floated at the fringe of their circle, as if warming themselves at a fire.
How did they command such deference—English teachers? Compared to the men who taught physics or biology, what did they really know of the world? It seemed to me, and not only to me, that they knew exactly what was most worth knowing. Unlike our math and science teachers, who modestly stuck to their subjects, they tended to be polymaths. Adept as they were at dissection, they would never leave a poem or a novel strewn about in pieces like some butchered frog reeking of formaldehyde. They’d stitch it back together with history and psychology, philosophy, religion, and even, on occasion, science. Without pandering to your presumed desire to identify with the hero of a story, they made you feel that what mattered to the writer had consequence for you, too.
Say you’ve just read Faulkner’s “Barn Burning.” Like the son in the story, you’ve sensed the faults in your father’s character. Thinking about them makes you uncomfortable; left alone, you’d probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal—of the self and the world outside the circle of blood.
You’ve never had this conversation before, not with anyone. And even as it’s happening you understand that just as your father’s troubles with the world—emotional frailty, self-doubt, incomplete honesty—will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father as the boy in the story does, but forsake him without regret. And as you accept that separation, it seems to happen; your father’s sad, fleshy face grows vague, and you blink it away and look up to where your master leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery.
There was a tradition at my school by which one boy was granted a private audience with each visiting writer. We contended for this honor by submitting a piece of our own work, poetry if the guest was a poet, fiction if a novelist. The writer chose the winner a week or so before arriving. The winner had his poem or story published in the school newspaper, and, later, a photograph of him walking the headmaster’s garden with the visiting writer.
By custom, only sixth formers, boys in their final year, were allowed to compete. That meant I had spent the last three years looking on helplessly as boy after boy was plucked from the crowd of suitors and invited to stroll between the headmaster’s prize roses in the blessed and blessing presence of literature itself, to speak of deep matters and receive counsel, and afterward be able to say, You liked By Love Possessed? You’re kidding. I mean, Jesus, you ought to hear Mary McCarthy on the subject of Cozzens . . .
It was hard to bear, especially when the winning manuscript came from the hand of someone you didn’t like, or, worse, from a boy who wasn’t even known to be a contender—though this had happened just once in my years of waiting in the wings, when an apparent Philistine named Hurst won an audience with Edmund Wilson for a series of satirical odes in Latin. But all the other winners came, predictably enough, from the same stockpond: boys who aced their English classes and submitted work to the school lit mag and hung around with other book-drunk boys.
The writers didn’t know us, so no one could accuse them of playing favorites, but that didn’t stop us from disputing their choices. How could Robert Penn Warren prefer Kit Morton’s plain dying-grandmother story to Lance Leavitt’s stream-of-consciousness monologue from the viewpoint of a condemned man smoking his last cigarette while pouring daringly profane contempt over the judgment of a world that punishes you for one measly murder while ignoring the murder of millions? It didn’t seem right that Lance, who defied the decorums of language and bourgeois morality, should have to look on while Robert Penn Warren walked the garden with a sentimentalist like Kit (whose story, through its vulgar nakedness of feeling, had moved me to secret tears).
I’m not exaggerating the importance to us of these trophy meetings. We cared. And I cared as much as anyone, because I not only read writers, I read about writers. I knew that Maupassant, whose stories I loved, had been taken up when young by Flaubert and Turgenev; Faulkner by Sherwood Anderson; Hemingway by Fitzgerald and Pound and Gertrude Stein. All these writers were welcomed by other writers. It seemed to follow that you needed such a welcome, yet before this could happen you somehow, anyhow, had to meet the writer who was to welcome you. My idea of how this worked wasn’t low or even practical. I never thought about making connections. My aspirations were mystical. I wanted to receive the laying on of hands that had written living stories and poems, hands that had touched the hands of other writers. I wanted to be anointed.
Frost’s visit was announced in early October. At first the news made me giddy, but that night I grew morose with the dread of defeat. I couldn’t sleep. Finally I got up and sat at my desk with two notebooks full of poetry I’d written when taking a break from stories. While my roommate muttered in his dreams I bent over the pages and read piece after piece like:
song (#8)
to the hopeless of the hopeless of the night
i sing my song and hopeless end my song
and do not pity me for i am without hope and
do not pity them for they are without hope and
There the poem ended. Beneath it I had written fragment. I’d written fragment beneath most of the poems in the notebooks, and this description was in every case accurate. Each of them had been composed in some fever of ardor or philosophy that deserted me before I could bring it to the point of significance. The few poems that I had finished seemed, in the hard circle of light thrown by the gooseneck...
