The Books We Read in High School (Part 2)

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Speaker 3 This is Radio Atlantic.

Speaker 4 I'm Hannah Rosen.

Speaker 3 Last week, we talked about how college students struggle to read whole books these days. One issue, it turned out, was that they weren't reading whole books in high school.

Speaker 3 So this week, we continue to make the case for why reading books in high school is great for your life outside of school.

Speaker 3 You'll hear more from our Atlantic colleagues and from listeners who sent in their contributions.

Speaker 3 All of them recall the books they read in high school that stuck with them the longest, and how those books changed for them over the years as they got older and understood them differently.

Speaker 3 Mostly, this is an episode about happy memories.

Speaker 5 Enjoy and happy holidays.

Speaker 6 The book that probably most impacted me in high school was William Faulkner's As I Lay Dying. I think I read it junior or senior year in AP literature.

Speaker 6 And I remember being blown away by how weird it was, how tangled the sentences were, how kind of inscrutable the characters were.

Speaker 6 I think Faulkner's kind of run on sentences and tangling rhythms and sort of weird use of words that all kind of like excited me and got in my head and inspired me to try to double major in English and journalism.

Speaker 6 in college where I took a Faulkner seminar my freshman year and then got totally overwhelmed and dropped dropped my English major.

Speaker 6 What stuck with me about the book beyond the writing is just this window into another part of America, another time in America that I really have and had no connection to, the 1930s South, Poor South.

Speaker 6 It's about a poor family

Speaker 6 transporting their dead mother in a coffin and she's rotting in the coffin and they're carrying her across rivers and, you know, getting taken advantage of in all these different ways.

Speaker 6 And you learn about about the family dynamics. And it just,

Speaker 6 it almost makes the South seem like a supernatural place. You know, that idea of Southern Gothic where everything is,

Speaker 6 there's always a story beneath the story that was very alluring. And

Speaker 6 it's still, I just remember reading it for the first time and feeling transported to this. version of America that was very far away from suburban Southern California in the early 2000s.

Speaker 6 The rhythms of the way Faulkner wrote got into my head. And, you know, I hope that they sort of still shape what I do, even though what I do is very far away from writing southern gothic novels.

Speaker 6 But, you know, people are always saying that my Taylor Swift reviews are deeply Faulknerian.

Speaker 6 No, I'm kidding, but there are times when you just want to write a really long and strange sentence and hope the reader goes along with you.

Speaker 6 And I think that Faulkner is one of the writers who kind of inspired me to think about writing that way early on.

Speaker 6 My name is Spencer Kornhaber, and I'm a staff writer at The Atlantic, and I write about culture.

Speaker 7 The book that I read in high school that stuck with me the most is a separate piece. More specifically, the character Gene Forrester, who is an extremely flawed person.

Speaker 7 He's a teenager at this prep school in New England, and he admires and hates his best friend Finney so much that he sabotages him so that Finney can't compete in these like great games.

Speaker 7 I think it was the Olympics. And it resonated with me so much because in high school, I was such a loser.
And all my friends were so much prettier, smarter, more popular than me.

Speaker 7 And I just wanted to be them so bad that inside I thought, what if I sabotaged them? Would it make me

Speaker 7 better?

Speaker 7 And obviously it doesn't make him any better.

Speaker 7 Sabotaging his friend doesn't do anything to help his social standing.

Speaker 7 And I think it's something that a lot of people deal with as they grow up and especially as they go through like college or their 20s where success is seen as a zero-sum game.

Speaker 7 And Jean kind of realizes that these things are not zero-sum games. Happiness is not a zero-sum game.

Speaker 7 Just because one person is happy and successful doesn't mean that you can't be happy and successful.

Speaker 7 And that's something that I have to keep within myself as we get older and there's, you know, people that compare themselves to others, especially with social media and the constant barrage of people putting their highlight reels of their life on display.

Speaker 7 I think it's a really great book. It was a short book, but I think it was a really powerful book for me.

Speaker 11 I'm going to pick Terry Pratchett's Mort, which is the fourth book in his Discworld series, but it happened to be the one that I read first.

Speaker 11 And it is a story basically about a young guy who becomes the apprentice to death, who starts off as this very austere skeleton.

Speaker 11 But over the course of the books, essentially, falls in love with humanity. He begins to kind of, you know, respect them and understand what they're doing, even though he's always outside them.

Speaker 11 The books started off as pretty straightforward fantasy, what used to be called the kind of swords and sandals, and they have these very cartoony covers.

Speaker 11 But over the course of, you know, there's dozens of them, they develop into this really rich humanistic philosophy, which is basically that everybody is kind of flawed, but you know, some people try and surpass that, some people try and overcome their flaws.

Speaker 11 Even now, when I'm trying to stop myself from doom scrolling, I often permit myself to read either, you know, a detective novel or something like the Peter Whimsey series by Dorothy L.

Speaker 11 Sayers, or I go back and reread Terry Pratchett's books. Because whatever you do when you read fiction is commit a small act of empathy.

Speaker 11 You know, you think about situations that are not like your own. You think about people whose lives are not like like your own.
And that, I think, is an incredibly useful exercise.

Speaker 11 It's a useful exercise for a journalist, particularly, but for anybody really who wants to be a person in the world. And Terry Pratchett's books are very, very funny.

Speaker 11 And the situations in them are comic. But the underlying themes are things like who gets treated as the other? You know, how do you have a multicultural city? How do wars start and how do they end?

Speaker 11 He deals with these incredibly big political and philosophical subjects.

Speaker 11 And because he puts in, you know, some dirty jokes and some silly ideas, that all kind of just goes down like a spoonful of sugar.

Speaker 11 I'm Helen Lewis, and I'm a staff writer at The Atlantic.

Speaker 12 The book that changed my life in high school was Chips Off the Old Benchley by Robert Benchley. What the book did is it introduced me to literary humor, something that was not at all

Speaker 12 made available to us in high school. Everything that we read was dour and serious and had a reputation of being something we had to know as opposed to something that we would actually enjoy.

Speaker 12 The book led me to reading other literary humorists, Woody Allen especially, but Joseph Heller, Kurt Vonnegut.

Speaker 12 It led me to writing my own humor column in high school and then again in college and eventually to become a writer for children as an adult.

Speaker 12 What Benjley did is he introduced to me the opportunity to create my own identity as a funny person in words. And I maintain that to this day.

Speaker 9 I was very, very much impacted by Moby Dick, which I have not read since high school, actually.

Speaker 9 I read it in ninth grade, and I remember my English teacher had turned it into a sort of big anticipated event that we would be reading this book and we would all finish. Finishing was the goal.

Speaker 9 And I remember almost every chapter to this day because of the way we read it. It kind of taught me that

Speaker 9 some parts of a book could be boring or slow or as buildup for other parts of a book. So I remember a whole chapter about ambergris, which I think is just whale poop.

Speaker 9 And I remember a chapter about zootology, a chapter about harpoons, and all of that taught me that If you read slowly and if you sort of savor, if you don't rush, the later chapters can can be more of a reward.

Speaker 9 It's also that I used to feel that if something was boring to me, that two options were possible: the book was boring, or I was bad at reading.

Speaker 9 And I think this book unlocked for me other possibilities of reading and relating to books. My name is Shan Wang, and I'm a programming director at The Atlantic.

Speaker 13 Hello, I am Sophia Canauti, and in high high school I read Ipsicaminos, which is Greek for blast furnace.

Speaker 13 And it is a collection of poems by Andreas Embiricos, a Greek poet.

Speaker 13 And this magical, heavenly and hellish world that he was creating was amazing to see because it was free, it was sexual, it was absolutely beyond the norm of a stagnant society and it freed freed my thought, my life, and most importantly, it freed my language, which meant actually that I could create more life.

Speaker 13 It was amazing and I'm eternally grateful.

Speaker 14 I remember a novella by Henry James called The Pupil, which I read in a sort of summer program for bookish high schoolers.

Speaker 14 It sort of changed the way I read in that I was always sort of looking for the secrets that this omniscient narrator who seemed to be just telling you a story was actually slipping in about a particular character that that character didn't necessarily know himself or herself.

Speaker 14 And that as a reader, I really had to pay very, very close attention to figure out myself.

Speaker 14 And it just sort of added a whole new dimension to reading and kind of made it a quest in a a way that I think it hadn't so much been before.

Speaker 14 It's about an anxious young tutor and an ailing, precocious boy, and they're both trapped in this American family that is debt-ridden, self-deluding, sort of exploitative.

Speaker 14 And

Speaker 14 what you read at first as a kind of social satire in a wonderfully Jamesian way actually turns out to be this really heartbreaking story of a relationship between them at its core, all in, you know, 18,000 words.

Speaker 14 It does all sort of point to not just this insight into narrative technique, but kind of into a whole realm of curious dynamics between children and adults and who really knows more, the children or the adults, that I've been interested in ever since.

Speaker 14 I just spent a lot of time in worlds that I found in books, and

Speaker 14 I feel very nostalgic for that even now. And I'm sure I romanticized the degree to which it was sort of easy to do that.

Speaker 14 That's my memory: is that, you know, I just, you know, had a phase in which I just wanted to read all the fattest books in the library, and so ended up just reading a jumble of things that I was really glad to have encountered.

Speaker 14 And

Speaker 14 I can't imagine having lived through adolescence

Speaker 14 without that as part of my life.

Speaker 14 I can't imagine life without having had these different worlds in which I could lose myself and feel like I was learning all about how human beings work, how society works, and

Speaker 14 what's possible to do with words, which in the end proved really important to me.

Speaker 14 I am Ann Hulbert, and I'm the literary editor at The Atlantic.

Speaker 5 After the break, more good memories.

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Speaker 8 The book that really hit me as a high school student was Franny and Zoe by J.D. Salinger, which I read the summer of my junior year.

Speaker 8 I was at this kind of like nerd camp where you go and live on a college campus for six weeks and take classes because that was something that overachievers thought was a fun thing to do with their summer.

Speaker 8 And

Speaker 8 it was in a course on post-modernism, and we read Franny and Zoe.

Speaker 8 It did sort of like open my eyes to a whole different way of thinking about spirituality that was not, at least it seemed to me when I read it, was not rooted in the kind of faith traditions that I grew up in, like church and, you know, especially growing up in the South, that really I did not take to, that felt kind of almost alien to me, even though the communities that I lived in, people, you know, practice those religions.

Speaker 8 There was something almost like it was saying, this is a doorway onto something that people might call spirituality without it having to be religion.

Speaker 8 And I think I was really interested in that as a proposition when I was that age. And the story kind of

Speaker 8 launched my inquiry into that. I was very intrigued by the ideas of Eastern philosophy and particularly Zen Buddhism that come through in that story.

Speaker 8 And also the character of Franny as this person who is sort of like on the verge of and going through a breakdown.

Speaker 8 There was something that seemed kind of like literarily romantic about that and compelling as a character.

Speaker 8 But it was more the themes about Eastern philosophy and religion, but not in the context of faith, more in the context of sort of

Speaker 8 practice.

Speaker 8 Like there's this, there's a scene, it was like kind of the dominant scene in Franny, because Franny and Zoe is really two stories, where she's reciting this prayer and it's almost like in the way of kind of like a mantra that she keeps reciting it over and over and over again.

Speaker 8 And I'd never been exposed to anything like that. Being a teenager, it's an especially great time to read books, but also to sort of discover them on their own.

Speaker 8 I mean, Salinger is kind of this perfect example of,

Speaker 8 you know, generations of high schoolers read Catcher in the Rye. And I actually came to Catcher in the Rye later in my reading through Salinger.

Speaker 8 I started with Franny and Zoe, then went to nine stories.

Speaker 8 By the time I got to Catcher in the Rye, it actually felt a little juvenile compared to some of the other stories, which are about people who are, you know, older than holding Caulfield.

Speaker 8 But like, it's the perfect teenager book, right? I mean, it's like everybody's classic experience of reading a book when they're teenagers that really turned them on to reading.

Speaker 8 It's kind of like Catcher in the Rye is one of those books. And being 14 to 17, 18 is the perfect time to be.
You're impressionable. You know, you're just starting to play around with

Speaker 8 ideas that you might want to try to apply to your life, right? Your curiosity has gone from things that are merely novel to things that are more meaningful. I'm Shane Harris.

Speaker 8 I'm a staff writer at The Atlantic. I write about intelligence and national security.

Speaker 17 Hello, everyone. My name is Catherine Abraham, and I'm a legal journalist from India.
My late father presented me with a copy of Khalil Gibran's lesser-known work, Sand and Foam.

Speaker 17 Gibran writes, We shall never understand one another until we reduce the language to seven words.

Speaker 17 In another space, he writes, faith is an oasis in the heart which will never be reached by the caravan of thinking.

Speaker 17 The simplicity, purity, and depth of his thoughts was manifested beautifully in those brief quotes which still continue to hold a special place in my life.

Speaker 17 I highly recommend it because Gibran's work is second to none. Thank you.

Speaker 10 In sophomore year, we read The Age of Innocence by Edith Wharton in English class.

Speaker 10 I grew up in New York, it's set in New York, and it's very interested in the different social levels and social expectations of life in New York.

Speaker 10 And it was striking to me and I remember to my classmates too that you could see a lot of similarities in the world that she was describing describing and the world that we were living in even though those worlds were you know over a hundred years apart from each other.

Speaker 10 The central tension in the book is this love triangle between Newland Archer, who is a sort of upstanding member of New York Society, and Mae Welland, the woman that he's engaged to be married to, also a member of upstanding New York Society, and then Ellen Olenska, who is part of this world, but she has gone off and married a man man in Europe and has come back to New York seeking a divorce.

Speaker 10 And the question is:

Speaker 10 will Newland stay with his wife, do what is expected of him, even though he feels not quite as passionately about his wife as he does for Ellen? Or will he turn away from

Speaker 10 his family and his community and obviously his marriage to go off and be with Ellen?

Speaker 10 As teenagers, we were really rooting for Newland and Ellen and the whole idea that you should pursue your passion and pursue what feels right to you as an individual.

Speaker 10 And I think as I've gotten older, I have come to maybe root a little bit more for Newland and May and the idea that happiness and contentedness in life is not just about pursuing your individual interests, but also thinking about, you know, how do I stay connected with my family?

Speaker 10 How do I stay connected with the society that I was born into? And I wonder, you know, if Newland did follow his passions, would he be happy?

Speaker 10 Or would he be happier staying in the world that he knows and living out the life that's expected of him there?

Speaker 10 dilemma that Newland is presented with is pretty universal.

Speaker 10 I think we all have situations where we have to weigh, you know, do we want to do something entirely motivated by our own desires and our own goals and hopes and ambitions?

Speaker 10 Or do we want to consider how our actions would impact a broader set of people?

Speaker 10 I really love the way the book takes that dilemma seriously, doesn't think that it's frivolous, but that, you know, a man's decision, is he going to stay with his wife, is he going to go off with another woman, takes that decision seriously and unpacks all the different factors that went into it.

Speaker 10 My name is Eleanor Barkhorn, and I'm a senior editor.

Speaker 18 In junior high school, my parents gave me the Encyclopædia Britannica to shut me up. And it led me to my first real read in high school, which was the origin of species by Mr.
Darwin. Mr.

Speaker 18 Darwin changed everything in my head to a scientific discovery

Speaker 18 kind of theme which never, ever, ever stopped. Thank you, Charles, and thank you guys.

Speaker 3 Thank you to my colleagues who shared their books from high school and to the listeners who sent theirs in.

Speaker 3 Those listeners were Jessica Salamanca, David Goetz, Sophia Kanauti, Catherine Abraham, and Robert Seidler.

Speaker 3 This episode was produced by Kevin Townsend and edited by Claudina Bade, Rob Smersiak engineered, and Will Gordon fact-checked.

Speaker 3 Claudina Bade is the executive producer of Atlantic Audio, and Andrea Valdez is our managing editor. I'm Hannah Rosen.
Thank you for listening.

Speaker 3 We hope you've had a lovely holiday and we'll see you in the new year.

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