The I Index

Character: The History of a Cultural Obsession

Bottom of the pile

8

/100

I Index Overall Rating

Readers

N/A

Critics

15/100

Scholars

N/A

Author:

Marjorie Garber

Publisher:

Farrar, Straus and Giroux

Date:

July 14, 2020

The acclaimed literary scholar considers the shifting significance of the term "character."

What The Reviewers Say

Nina M. Foster,
The Harvard Crimson
With a heavy focus on the role of character in American politics and literature, Garber’s book sheds a necessary light on the often unrecognized influence of character in society. Although this work is not one to turn to for light-hearted pleasure or an easy read, it is a valuable addition to anyone’s reading list.
Brendan Driscoll,
Booklist
This panoramic look at the concept of character reveals cultural shifts, unexploded fallacies, and more than a little bad behavior, rhetorical and otherwise.
Joseph Epstein,
The Wall Street Journal
Can an examination of the single word 'character' sustain a book of 383 pages and another 40-odd pages of endnotes? Turns out it can, and does so brilliantly in Marjorie Garber’s magisterial book on the word, its etymology, its altered meanings, its social ramifications. Best known for her work on Shakespeare, Ms. Garber from time to time departs her field to take on other, dare one say unlikely, subjects, among them sex and real estate, bisexuality, the love of dogs, and cross-dressing. Scholarly by training and savvy by instinct, she writes without any of the dampening jargon now common in academic prose and with an impressive respect for the complexity of her subject.
Brian Dillon,
Harper's
Character names at once an ideal or aspiration and an ineradicable mark; a state to be arrived at by will; and a condition requiring education, leadership, and propitious circumstance. 'Is character innate, learned, taught, or instilled? Are character traits fixed or changeable? Do they depend on heredity, on environment, on parents, teachers, mentors, or life experiences?' Garber asks versions of these questions throughout, but she considers them chiefly literary—that is, 'questions about the way something means, rather than what it means,'.