Bibliophilia: literature anthologies

OR, “I’M STILL WORKING ON MY COLLEGE READING ASSIGNMENTS!”

College literature texts resemble the reading equivalent of eating at an upscale buffet restaurant. You know the food will possess decent quality, but you don’t expect one of those “oh, wow, go get the chef!” moments. On the other hand, you know it isn’t Golden Corral, there won’t be questionable entrees and a lack of things which resemble lovingly prepared food. It’s therefore a safe, pleasurable experience you look forward to, but not too much. So too the literature anthology, usually targeted to college freshman and sophomores, aims higher than 50 Romance Stories For The Modern Lover but the reader doesn’t usually expect anything challenging or inclusive. There can be exceptions which prove pleasant. Sometimes, particularly in those early college years, one experiences surprises less pleasant: “But I thought that was a great story, professor!” ran through my mind a few times when my instructor somewhat condescendingly told us a piece we’d just read “was at best, B literature…good, but not great.” No matter. Turn the page. There’s something potentially better at the next station of this literary buffet.

As I’ve ditched books along the way, including texts which seemed useless for the future me, I’ve clung to nearly every anthology I’ve come across. In fact, as a teacher of English for 8th graders from 1983-1992, I accompanied my then-wife to garage sales specifically buying the college texts of other people to flesh out a reference library. In the days before e-books and a true Internet, I either had to seek these texts out from various bookstores and mail order outlets (at full price) or pounce on jewels sitting in the dross of some middle-ager who realized, “why am I carting this book around anymore?” I’m not sure, but I think I’ve only cut the ties with one, The Sagas of Icelanders, and technically it’s still in my house so have I really let it go? It’s categorically called “Purged” and fair game for donating/selling.

Let’s discuss what’s on the shelf above:

• Quality Paperback Book Club rescued me when I found myself in Colville, WA, in 1983, a city of 10,000 souls 75 miles from any true city of note, and yet the largest city to the east or west for hundreds of miles. One of the final books I purchased from them before bowing to the Power of the Internet was the QPB Book of Irish Literature (copyright 1999). Beginning with Edmund Spenser and Jonathan Swift, it runs through “The Sheridans,” “The Wildes” (yes, including Oscar), and “The O’Faolains” while picking up George Bernard Shaw, W. B. Yeats, and James Joyce along the way. The latter is represented by the full inclusion of “A Portrait of the Artist as a Young Man.” Samuel Beckett has three entries including a slice of the play Waiting for Godot. A nice touch for a modern anthology was the inclusion of Nobel Prize-winning poet Seamus Heaney. I’ve selectively read throughout the 900+ pages.
• The Norton Anthology of English Literature remains one of the classics for this genre, and I had to have it when I found it. My college text is two books more to the right, The Norton Anthology of American Literature. The condescension of a country with about 2000 years of literary achievement can be seen here: I have only Volume 2 of the English literature, but the shorter work, American Literature, represents all of what the Norton editors consider representative and worthy.
• Between the two Norton collections lies a silly conceit, fifty great short stories, a humble paperback which I’ve never read. So sue me.
• Another book I’ve never read, but have consulted, is Adventures in American Literature which appears to be volume 2.
• A Handbook to Literature caught my eye because it isn’t an anthology, but an alphabetical listing of literary criticism terms and themes, genres, theaters, and poetry scansion terms. Unfortunately for this book, I now realize it’s as useful as Benet’s Readers Guide which is “not at all” in this day of AI and the Internet. This book will not be rejoining the shelf. Sad.
• The observant person in looking at the above photo will have noticed there are two books with the same title and author: Literature: Structure, Sound, And Sense by Laurence Perrine and in the case of one, Thomas R. Arp. The white-spined edition, the third, guided me through more than one course at Eastern Washington University which seemed to have taken pity on the budgets of its students and used it for both prose and poetry courses…or maybe my memory is faulty. I find it difficult to believe I’ve lost track of the text we used for the poetry class. The wine-colored is Perrine’s 6th edition, this time in collaboration with Arp. Not only does it have a significant number of different selections, but the best part for me? It was bound upside down! One looks with a slight smile at the cover, proud to have purchased one of the first texts ever in what will, of course, be a glorious college career, and then opens the book. Okay, we knew we purchased a used book, so Marc’s name inside the cover is okay. Wait, what’s this? The final page of the index? Upside down? Oh yeah, I would’ve bought the book even if I had no other interest in it.
• The two black-colored spines toward the right end of this display belong to The Oxford Anthology of English Literature. In my world, both then and now, if it says “Oxford” it’s an immediate buy. Ironically, I’ve read not a word of either. I took a course in Medieval English literature at the University of Washington which had us buy individual copies of those significant works; reading the Oxford would be redundant. Plus, I’ve recently purchased J. R. R. Tolkien’s translation of Beowulf (and other works) which will take precedence in my hierarchy of reading. Perhaps I will one day compare the works in The Restoration and the Eighteenth Century to The Norton Anthology of English Literature to see what differs. Or not. There are hundreds of books to read, after all.
• Which brings us to our final volume, The Treasure of American Short Stories. I’ve read selectively from this book, but it’s mostly redundant to the Norton one on American literature.

Part of our satisfaction for holding onto these types of books—and I know some of you didn’t even question that statement—lies in the combined meaning of memory and potential. We look at these books and they evoke our time so long ago when we sat in uncomfortable chair-desks, taking notes (or not), and experiencing aspects of literature for the first time. Decades later, discarding those memory-tokens seems almost sacrilegious. We turn then to the argument of potential: “I think I might still want to read some of these.” Hence their place still on my shelves, 40-50 years after I purchased them.