Product 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.

Product Details

• Amazon Sales Rank: #1833 in Books
• Published on: 2004-08-31
• Released on: 2004-08-31
• Original language: English
• Number of items: 1
• Binding: Paperback
• 208 pages

Amazon.com Review
Tobias Wolff's Old School is at once a celebration of literature and delicate hymn to a lost innocence of American life and art. Set in a New England prep school in the early 1960s, the novel imagines a final, pastoral moment before the explosion of the Civil Rights movement, the Vietnam War, the assassination of John F. Kennedy, and the suicide of Ernest Hemingway.

The unnamed narrator is one of several boys whose life revolves around the school's English teachers, those polymaths who seemed to know "exactly what was most worth knowing." For the boys, literature is the center of life, and their obsession culminates in a series of literary competitions during their final year. The prize in each is a private audience with a visiting writer who serves as judge for the entries.

At first, the narrator is entirely taken with the battle. As he fails in his effort to catch Robert Frost's attention and then is unable--due to illness--to even compete for his moment with Ayn Rand, he devotes his energies to a masterpiece for his hero, Hemingway. But, confronting the blank page, the narrator discovers his cowardice, his duplicity. He has withheld himself, he realizes, even from his roommate. He has used his fiction to create a patrician gentility, a mask for his middle class home and his Jewish ancestry. Through the competition for Hemingway, fittingly, all of his illusions about literature dissolve.

Old School is a small, neatly made book, spare and clear in its prose. Each chapter is self-contained and free of anything extraneous to the essentials of plot, mood, and character. Near the end of the novel, the narrator, now a respected writer, imagines that he might one day write about his school days. But he is daunted. "Memory," he says, "is a dream to begin with, and what I had was a dream of memory, not to be put to the test." Old School enters this interplay between dreams and the adult interrogation of memory. Risking sentimentality, Wolff confronts a golden age that never was. From the confrontation, he distills a powerful novel of failed expectations and, ultimately, redemptive self-awareness. --Patrick O'Kelley

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.

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.

Customer Reviews

"Book-drunk boys" and serious writers.
As a literature student at Arizona State University nearly twenty-five years ago, I was like one the "book-drunk boys" of Wolff's first novel, OLD SCHOOL, and "Toby" Wolff was my writing instructor. As a teacher, Wolff not only encouraged us to read important writers--Checkhov, Faulkner, Hemingway, Joyce, Fitzgerald--to improve our writing, but he also inspired us with his notion that "one could not live in a world without stories" (p. 131). Fiction, he said, takes us out of ourselves and into other lives. In OLD SCHOOL, Wolff demonstrates his talent for practicing what he teaches.

OLD SCHOOL is written in the form of a fictionalized memoir. Set in the 1960s, Wolff's novel is about a single academic year at an all-male East Coast prep school, in which the narrator and his book-obsessed classmates compete for a private audience with visiting writers, Robert Frost, Ayn Rand, and Ernest Hemingway by writing poetry and stories. Not surprisingly, Wolff's narrator tries to improve his odds by immersing himself in Ayn Rand's FOUNTAINHEAD (which he reads four times) and Hemingway's short stories. In their shameless attempts to win the writing competition, the boys adopt their literary heroes' writing styles. The results reveal that phoney writing can be quite funny.

OLD SCHOOL is not only about immersing oneself in important literature, but it is also about the honesty and self-awareness required to write important literature. In his novel, Wolff employs Frost, Rand, and Hemingway as characters to illustrate his point: although each of these writers is something of a phony in person, each is nevertheless capable of creating something authentic in their writing. OLD SCHOOL may be read as a study of this paradox, and what it means to be a serious writer like Tobias Wolff.

G. Merritt

"I'd seen my own life laid bare on the page."
In this homage to literature, the literary life, and the power of literature to influence a reader's life, Tobias Wolff focuses his attention on a small New England prep school in 1960, a school in which students live and breathe "the writing life." The headmaster has studied with Robert Frost, and the Dean is thought to have been a friend of Ernest Hemingway during World War I. To the boys, the English Department is "a kind of chivalric order," where they practice the "ritual swordplay of their speech."

For these students, the highlights of the school year are the three-times-a-year appearances of literary luminaries. When a writer visits, one boy has the opportunity to have a private audience with him, an honor for which the boys contend in vigorously competitive writing contests. The speaker/narrator, a scholarship student, is desperate to win an audience: "My aspirations were mystical," he says. "I wanted to receive the laying on of hands that had written living stories and poems." As various writers--Robert Frost, Ayn Rand, and finally, everyone's idol, Ernest Hemingway--are scheduled to appear at the school, the reader observes the growth of the boys, especially the speaker, as they are influenced by and react to the contest, to each other, to the visiting writers, and to the writers' speeches. In the contest to meet Hemingway, the novel reaches its peak, and in a shocking way, the speaker's life changes forever.

Wolff's novel is most remarkable for its point of view and for its conciseness. We never know what the speaker looks like or even his name, since it is through his eyes that the entire novel is filtered. He is interested in poems and short stories and philosophy and writing, all of which he talks about in detail, not in the observation of his surroundings. The limited setting of a New England prep school expands as the speaker ages and moves from school to the crueler outside world, and in later chapters, in which we see him as a mature writer, we also see how he uses some of his school experiences in his fiction, some of which appears within this novel.

Old School is a novel which students of writing will treasure--for its revelations of what it means to be a writer, its insights into the thinking of a perceptive teenager who is both idealistic and pragmatic, its irony, and its remarkable narrative voice. The themes are beautifully realized, and not one word is wasted or rings false. Though Wolff says that "No true account can be given of how or why you become a writer," he comes as close here to illustrating that process as in any other novel I've ever read about the writing life. Mary Whipple

An entertaining and smart novel
Tobias Wolff's Old School is a remarkable book. It is smart about literature and reading and what those two things mean to us when we are young. Anyone who ever loved a book or a writer will find this novel/memoir dead on right. And this is the thing that will draw people initially to this fine book.

But this book offers so much more. It is also an excellent lens on a world where reading mattered. The 60's were probably the last great age of reading and writing in the US. First class writers like Frost and Hemingway were important. People felt that in order to understand what was happening in the world, they had to read the latest from Saul Bellow or Katherine Anne Porter, from Sylvia Plath or Robert Lowell. Wolff captures that feeling and also the gray regret that that world of books and writers is gone, and gone forever. It is the thing that is beating ceaselessly back into the past at the end of Old School.

Finally, Old School is a moving study of honesty and deception, truth and lies, and the consequences of both. I don't think anyone can finish this novel/memoir without a profound realization that often we will give up the truths that mean the most to us because we fear standing alone with those truths.