How to Read Literature like a Professor

For what group of students did Foster originally write and publish this book?

Older, mature readers who he encountered in his university classes

What is a major reason Foster decided to revise the book?

He realized that he had not included enough references to nonfiction and poetry, originally

Foster suggests that there is a “language of reading” made up of a “set of conventions, patterns, codes, and rules that we learn to employ” when analyzing literature. What answer does Foster use to tell students how they can get better at understanding the language of reading? 

“Just like you learn anything else. Study.”

Which of these is NOT one of those listed by Foster as the “three items that, more than any other, separate the professional reader from the rest of the crowd?

innovation

Chapter I: Every Trip is a Quest (Except When It’s Not): In the example story Foster uses to discuss the basic components of the quest, what does he use to represent the “holy Grail”—that is, the item being sought?

a loaf of bread

 Chapter 1: Every Trip is a Quest (Except When It’s Not). What does Foster say is always "the real reason for a quest”?

to achieve self-knowledge

Chapter 2: Nice to Eat with you: Acts of Communion: According to Foster, eating scenes in literature are generally the author’s way of…

…exploring characters and relationships between characters

Chapter 3: Nice to Eat You: Acts of Vampires: According to Foster, vampirism in literature has mostly to do with…

Exploitation

Chapter 3: Vampires Which novella does Foster spend two pages analyzing as a “vampire story”

Daisy Miller by Henry James

Chapter 4: Now, Where Have I Seen Her Before? Foster says that we can “go looking for old friends” in works of literature (noticing how a character is a lot like a historical figure or mythical figure or character from another work of art or literature) because… 

“There is no such things as a wholly original work of literature”

What do literary critics call the "dialogue between old texts and new?

intertextuality

Chapter 5: When In Doubt, It's From Shakespeare...: Obviously, Foster's point in this chapter is that Shakespeare's works are quoted, copied, and alluded to on a regular and frequent basis in Western literature. Why?

"[Shakespeare's] stories are great, the characters are compelling, the language fabulous."

Chapter 6: Or The Bible: Foster tells us that " depth is what the biblical dimension adds to the story; the story resonates with the richness of distant antecedents, with the power of accumulated myth." Specifically, what short story's Biblical allusions has Foster been discussing in detail for several pages of this chapter?

"Sonny's Blues" by James Baldwin

Chapter 7: Hanseldee and Greteldum. What is Foster's main point in this chapter?

Allusions to humble, familiar texts are as effective as those to the Bible or Shakespeare.

Chapter 8: It's Greek to Me: How does Foster define his use of the term "myth?

 "A body of story that matters"

What is the meaning of an unveiled sex scene?

About power, identity, connection

Why is sex often veiled?

Cultural taboos, censorship

Chapter 9: It's More Than Just Rain or Snow: In this chapter, Foster discusses the - implications of weather in literature. He discusses several different types of weather phenomena and their possible implications. Which does he 

spend most of this chapter discussing?

rain

Chapter 10: Never Stand Next to the Hero: Which of these is a main point of this. chapter?

Characters are not people; they are products of writers' imaginations.

 Chapter 10: Never Stand Next to the Hero: Foster spends a good portion of this chapter talking about the difference between...

flat (two-dimensional) characters v round (more fully developed) characters.

Interlude: Does He Mean That? In this 'interlude, Foster asserts that it is possible * to prove that all professional literary writers always intend, and indeed pre-plan, the connections and allusions apparent to readers in their works.

False

Chapter 11: ..More Than It's Gonna Hurt You: Concerning Violence: In this chapter, Foster tells us that "writers kill off characters for the same set of reasons-make action happen, cause plot complications, end plot complications, put other characters under stress." Which of these does he also say?

"It's nearly impossible to generalize about the meanings of violence so we ask questions."

Chapter 12: Is That a Symbol?: What is Foster's short and immediate answer to the question posed in this chapter's title?

"Of course it is."

Chapter 12: Is That a Symbol?: Which of these does Foster discuss as a literary symbol for several pages of this chapter?

a cave

Chapter 13: It's All Political: Foster says, "I hate political' writing" Which of these does he mean?

Literature whose primary intent is to influence politics

Foster says, "I love 'political" writing." Which of these does he mean? *

Writing that engages human problems, including those of the social & political realm.

Chapter 14: Yes, She's a Christ Figure, Too: Which famed literary character does Foster spend several pages discussing while attempting to define the characteristics of a "Christ figure"?

Santiago from Ernest Hemingway's The Old Man and the Sea

Chapter 15: Flights of Fancy: In this chapter, Foster asserts that when a character • flies, it is always heavily symbolic. What does he say it is symbolic of?

"flight is freedom"

Chapter 16: It's All About Sex...: Who does Foster say is to blame for sexuality issues explored in literary analysis?

Sigmund Freud

Chapter 16: It's All About Sex...: Which of these is closest to Foster's overall main * point in this chapter?

Sex and sexuality are often not overtly mentioned in literature, but symbolically instead

Chapter 17: ..Except Sex: Which of these most closely summarizes Foster's main - point in this chapter?

Sex scenes in literature are rarely about the actual sex; they are more symbolic

Chapter 18: If She Comes Up, It's Baptism: Which of these most closely summarizes Foster's main point in this chapter?

If a writer has a character get wet somehow, it probably means something symbolic.

Chapter 19: Geography Matters..: In this chapter, Foster spends a lot of time discussing the many possible meanings, roles, and implications of geography on a literary work. He gives one rule (in bold). It says, "when writers send characters south, it's

so they can run amok

Chapter 20: ...So Does Season: In this chapter, Foster spends a lot of time explaining how associations readers have with seasons can affect the meaning and impact of a piece of writing. Which season does he spend the most time (pages) discussing?

fall

Interlude: One Story: In this interlude, Foster asserts that true originality in writing is impossible because, "There's only one story." What idea from an earlier chapter does this recall?

intertextuality

Chapter 21: Marked for Greatness: Which of the following famous literary characters is NOT discussed in this chapter, since its main point can't easily be applied to him?

Huckleberry Finn

Chapter 22: He's Blind for a Reason, You Know: In making his point about blindness in this chapter, to which famed literary work does Foster repeatedly refer?

Oedipus Rex by Sophocles

Chapter 23: It's Never Just Heart Disease...And Rarely Just Iliness: According to Foster, why is the heart symbolically important in literature?

"The heart is the symbolic repository of emotion."

According to Foster, which of the following diseases showed up most frequently in literature prior to the twentieth century?

Tuberculosis (consumption).

Chapter 23: It's Never Just Heart Disease...And Rarely Just Iliness: To what modern-day illness does Foster devote a couple of pages near the end of this chapter?

HIV/AIDS

Chapter 24: Don't Read With Your Eyes: Foster's main point in this chapter is

metaphorical. He means that you should read with your mind and heart rather than with your eyes.

False

Chapter 25: It's My Symbol and I'll Cry If I Want To: This chapter acknowledges that writers sometimes create symbols that don't fall within the realm of those we recognize as common. Sometimes they are "private" symbols. What does Foster tell us we should do with such a reference?

"Figure it out."

What advice does Foster offer to help readers with less common symbols in literature?

Use what you know. & You know more than you think you do.

Chapter 26: Is He Serious? And Other Ironies: In this chapter, Foster is careful to explain what he means by "irony trumps everything." He says, "Every chapter in this book goes out the window when irony comes to the door. In other words, if a reader detects that a writer is using something ironically, the reader can no longer rely on what he or she knows about conventional symbolism. The reader will have to figure out what is meant by the ironic use, instead According to Foster, what is the difficulty/problem with this?

Not every reader "gets" irony. Irony doesn't work for everyone

Chapter 27: A Test Case: What short-short story does Foster use as the basis for the test case in this chapter?

Katherine Mansfield: "The Garden Party"

Foster's student read the short-short story in a different symbolic way than Foster, himself, did.

True

Postlude: Who's In Charge Here?: What is Foster's "final piece of advice" in this postlude?

"Own the books you read... Trust the text and your instincts."

Envoi: In his parting words to the reader, Foster admits that his discussion of symbolism in literature has not been exhaustive. In particular, he laments not getting to a discussion of the potential meanings of fire in literature. But then he concludes that the reader does not need him to explore every possible code/symbol/pattern. What is the reason he gives?

Once the reader practices looking for patterns/codes/symbols, it becomes second nature.

How is an average reader’s approach different from a professor’s?

The average reader looks only at plot; professor looks at deeper patterns.

How can students learn to read like a professor?

 By practice and looking for patterns/symbols.

What three things do professors run through their minds?

Pattern, memory, symbol.

What is the structure of a quest?

 Quester, destination, reason, trials, self-knowledge

What should you think when characters eat together?

Community, relationship, or conflict

What are the essentials of a vampire story?

Exploitation, selfishness, seduction

Why is Shakespeare so important?

 His themes are universal

How do writers use Shakespeare?

Quoting, retelling, echoing his works

Why do writers refer to the Bible?

It adds cultural depth and symbolism

How do writers use the Bible?

As imagery, parallels, and themes

What is Foster’s resonance test?

If it reminds you of another text, it likely echoes it.

What is the literary canon?

Body of work deemed essential.

What is the problem with diversification of the canon?

Some fear it weakens tradition

Advantage of children’s literature?

Shared cultural memory

What does “everything is a text” mean?

 All cultural products can be analyzed

When we read, what should we look for?

Patterns and themes

What question should we always ask?

“What does it mean?”

What does Foster mean by “myth”?

A body of story that matters

What do writers do with myths?

Rework them to explore themes

How does weather contribute to setting?

Establishes mood and atmosphere

What do we need characters to do?

Advance story and themes

 What is the relationship between character and plot?

 Plot grows from characters

How do writers and readers create characters?

Writers create, readers interpret

What should we restrict discussions to?

The text itself

What is the purpose of violence in literature?

Symbol, plot, theme

What types of violence does Foster describe?

Narrative (character vs. character) and Authorial (writer vs. character)

What is the difference between symbol and allegory?

Allegory has fixed meaning; symbol has multiple meanings

How should readers interpret symbols?

Stay open to multiple meanings

What is Foster’s stance on “all literature is political”?

Every text has political dimensions

Why is Christian knowledge important?

Many Western texts use biblical parallels

Question: To qualify as a Christ figure, a character…

Must share some traits with Christ.

What stories influence symbolic flight/fall?

Icarus, biblical ascents

What is the symbolism of flying?

Freedom, escape, spirituality

Question: What is the symbolism of falling?

Failure, loss, grounding

 In literature, geography is…

Setting with symbolic meaning

What is geography as metaphor?

Obstacles, trials