Rating: 
Summary: I Don't See a Classic Here
Review: Mr. Wolff's writing is superb. By far it is the best part of this book. Unfortunately, what plot there was was thin as well as the character/narrator. There were passages that made reference to narrator's supposed awakenings and new awareness of his self, but I frankly did not see much progress in him.Parts of the book read as if essays had been patched together. There is an interesting portion of the book devoted to a dean of the school that did not move the plot forward nor give any greater understanding of the narrator. It was probably the best part of the book and the only character delved into with any depth. However, it seemed unrelated to the story line - such as it was - and did not lead to any greater understanding of the narrator. Another portion of the book related to plagiarism. It suddenly happened, was explored very little and seemed to be passed over as a minor incident in the narrator's life. Again, it seemed like an essay patched into the book. As can be seen by the book descriptions, much of the book centers around authors who would visit the school. Students competed to write the winning story or poem. Much of the descriptions and excerpts from these young authors were cleverly done and amusing - not in a comedic sense but in how they related to the celebrity author's works. One aspect of the book I found to be extremely presumptuous. Three authors were came, or were to come to the school: Frost, Rand and Hemingway. Mr. Wolff gives them pages of monologue (especially Frost and Rand) in which they espouse their personal philosophies - some of which were not flattering. I find there is a slippery slope when using real figures in fiction and I thought Mr. Wolff had slid down that slope at his peril. What experience does he have with these people to paint such pictures of them and put those words in their mouths? Especially such unflattering words and pictures? What did not disappoint, however, as noted, was the writing. Mr. Wolff writes a fine clear, concise prose that is enjoyable to read. Although I can not strongly recommend this book, I will read his other works based upon the promise of that writing.
Rating: 
Summary: "..the nature of literature to behave like the fallen world"
Review: In the world of Old School, literature matters. Collectively, the students of this high strung, Eastern prep school, write with intensity, compete through writing and reveal, discover and in some cases even diminish themselves in plot, character, voice, words. For the characters in this compact gem of a novel, no task presents more difficult or leads to greater disapointment than that of distinguishing truth from falsehood, representation from reality, understanding from intent. If the world of literature presents no bright lines to them it is because even literature is unable to reflect that which is not there to be seen: "It is the nature of literature to behave like the fallen world it contemplat[es]." Between the covers of this novel, Wolff offers us superb insights on Robert Frost, Ayn Rand, Ernest Hemmingway, Nathaniel Hawthorne and others. That's as it should be, since Old School does indeed concern itself with the great dialogue within the cannon of American lit. If America had a literary czar whose job was to bestow on books deemed worthy the status of a classic, even though newly published, I am certain such a czar would make that proclammation of Wolff's Old School.
Rating: 
Summary: "Artiste"
Review: I picked up this book, figuring it was the inspiration for Will Farrell's movie. What a disappointment. Just kidding.
I actually picked it up because having enjoyed reading "A Separate Peace" as a teenager, and having enjoyed seeing "Dead Poets Society" as a young adult, I was in the mood for another good boys' boarding school story set "back in the day," especially one about young aspiring writers (like myself). Unfortunately, this was not it. Why? Nothing really happens. And not in a good way...like on Seinfeld. I was waiting to be interested in the characters and it never happened. The only time I was interested was when Ann Rynd came to visit the boys' school. She was a developed "character." Two of my favorite writers -- Robert Frost and Ernest Hemingway -- were also in the story but did not interest me in much. Ann was portrayed as a bitch, but at least she was interesting.
Tobias Wolfe touched on a possibly interesting storyline with the minor character of George and how secretive he was...but then never followed through. That's the story I would have liked to have read. I guess Wolfe wanted to be secretive, too.
As for Wolfe's style of writing, I think it was good and could be enjoyable...if there was any substance (story) to it. One distraction was the lack of quotation marks when using dialogue. That's one thing that bothers me about writers. If you're a writer, please use grammar the way it was meant to be used. Don't try to be "cute" or "individualistic." It's just annoying and portrays you as pretentious. In one section, Wolfe writes, "Because he's a two-fisted, bigger-than-life, award-winning author and not one of your local 'artistes' who give themselves an orgasm by forswearing capital letters and boring the living sh-- out of everybody." Hey, Wolfe -- stop giving yourself orgasms by forswearing quotation marks!
As you can tell, I was not thrilled by this book. It is my first by Wolfe...and based on this experience, most likely my last. I'll stick to new authors who at least tell a story. The only thing I got out of the book was the interest to pick up "Atlas Shrugged" or "The Fountainhead" by Rynd. So thanks for introducing me to Rynd, Wolfe. I guess that's something good that may have come out of reading "Old School."
Rating:
Summary: Good writing, tepid plot, puzzling motivation
Review: I enjoyed reading "Old School" probably more than I expected I would. I am a journalist myself, and I get bored very quickly with self-indulgent "writer's life" memoirs. In "Old School," Tobias Wolff escapes that literary ghetto by building some interesting characters, asking compelling questions and developing an amusing frame tale. Further he does it all with lively style, rich use of imagery and metaphor, and an overall sense of honesty and vitality in the narrative.
However, Wolff completely drops the ball when he inexplicably transforms the main character from a brilliant-but-conflicted youth into a perhaps-talented-but-amazingly-boneheaded twit. Defenders of Wolff might argue that he plants the seeds that supposedly justify this twist of character, but the actual twist itself is jarring and nonsensical. (I won't ruin it by telling, but it occurs between the second and third sections, on Ayn Rand and Papa Hemingway).
Unfortunately that's not the only problem with "Old School." The plot is thin at best; it's really a frame tale, allowing the narrator to examine his angst. And the characters other than the narrator are not particularly well developed. Wolff hints at deeper waters there, but never dives into them.
This, combined with the main character's baffling behavior in the last third of the novel and the sudden switch to a completely different narrator at the end leaves the reader wondering, "What was that all about?" The writer's honest and realistic style dissolves into hackwork in the last third of the book.
Upon finishing "Old School," one might guess there's more complexity here than can be grasped on first read. But upon reflection, "Old School" becomes more a mishmash of ideas, albeit a nicely packaged mishmash delivered through compelling prose.
Thus my main comment would be to warn readers against expecting too much from this book. "Old School" does _not_, in my opinion, merit the accolades that have been heaped on it. It is, however, an enjoyable read.
Rating:
Summary: A brilliant work of fiction
Review: The author is a veteran writer - and now a professor at Stanford University - who has produced a brilliant first work of fiction. This compact story takes the shape of a memoir about a young man and his experiences at an elite preparatory school in New England. His obsession, and that of his colleagues, is writing and literature.
The year is 1960; the action picks up just after John F. Kennedy's electoral victory. The school is so steeped in literary tradition that a famous writer pays a visit every year. The guest in the first year of the story is none other than the new president's inaugural poet and speaker, Robert Frost. The students traditionally submit an essay to be judged by the incoming writer, who then grants the winning student a private audience. Needless to say, the competition for this meeting is steep.
Wolff writes with such a great knowledge about his subjects (Frost, Ayn Rand, and others) that he doesn't need to try to impress us with his literary prowess; he does this naturally over the course of the story without making it unnecessarily long. The accounts of Frost and Rand addressing the students are particularly enjoyable and convincing.
The strict rules of the institution include a ban on smoking - anywhere on the school property - and reading at the supper table, except on those days when the school newspaper is released. One poor boy is caught with one of the charges of a nearby academy for girls. I was reminded of the movie Dead Poets Society, in which several of the characters struggle against the rigid mores of prep school. Highly recommended.
Rating: 
Summary: Old School
Review: Not unlike the general public, the protagonist of Tobias Wolff's novel Old School is embarrassed of his life. Since beginning as a first year student at an elite prep school for boys, he has purposefully played himself as a laid-back, no worries, wealthy boy who is absolutely accustomed to the illustrious university in which he studies. He never outright lies about his life, which is the opposite of who he creates himself to be, but simply plays the part of someone else, allowing his comrades to assume the rest.
As does every boy at the school, the protagonist holds great writers in high esteem and is powerfully influenced by their works. By tradition, the school periodically invites famous authors to visit the school and to choose one story or poem written by a student. The chosen boy has his work published in the school paper and is granted a private meeting with the visiting author. This is the highest honor for which each boy desperately strives. Following the visit of Robert Frost, it is announced that Ayn Rand is to be the next visiting author. In anticipation of Ayn Rand's arrival and in the hope of winning with her the private audience, the protagonist begins reading her work. His thought processes are dramatically influenced, and he begins to think as she does. He views self-sacrifice as a denial of will and therefore a weakness of character. In the same way, moderation and conventional morality lead only to the death of respectability. These ideas flourish from the written pages of Ayn Rand and further feed the disgust the protagonist feels towards his own conventional, mundane, secret family of which he never speaks. Not until the protagonist hears Ayn Rand speak in person does he begin to see the absurdity from which her ideas are produced, and it is as a result of her unabashed deride of Earnest Hemingway, a particular hero of the protagonist, that his vision of truth begins to clear. It is the first step in his no longer being ashamed to love the drab family he has been so cautious to conceal and which Ayn Rand would readily condemn.
The visiting author scheduled to follow Ayn Rand is Earnest Hemingway, the legendary, idealized Earnest Hemingway. In light of his Ayn Rand experience, and in view of the stark, vulnerable truth of Hemingway's novels, the protagonist feels the weight of the falsehood of his life and his stories for the previous four years and comes to understand that to write something great, he must write something true. The protagonist's revelation results in a striking and surprising rotation of plot and time sequence, bringing the slow and thoughtful prose to a violent halt and then catapulting the reader through time at an alarming new rate. His time at the boy's school is then written as a look at the past, and an example of his would-be life is presented through the life of a different character had he remained in disguise.
The importance of truth in life and writing and the immeasurable power an author has over his reader is prominent and clearly portrayed throughout Tobias Wolff's work as a whole. These ideas are made evident in the intertwined plot which holds a slight storybook quality yet presents themes and stories which can realistically be applied to any reader. The majority of the book's plot is openly displayed in the descriptive mind of the protagonist as he observes himself and his fellow classmates, each fascinating and likable, although as a whole, fitting the perfect stereotype of an elite boy's prep school. The detail of the characters and the story, however, are developed deeply and slowly, requiring the reader not to rush but to pace himself and to ponder each character and the character's story. The setting of the story is somewhat surrealistic, particularly in the closing third of the novel as the protagonist recalls his four years at the school but, once again, can easily be applied to the reader's own life. As a whole, the novel is intriguing and beautifully written both in content and form. It deserves a second read.
Rating:
Summary: simply put
Review: Simply put, without much thought toward shaping a simple truth, this book is awesome. The story is lean, muscular, and wise. Wise, in fact, beyond the evident wisdom of its characters. It is the brilliant story of a boy trying to fit in and to be accepted, of understanding that such a need never actually dies. The story is truthful and undeniably resonant.
Rating:
Summary: Beach Reading
Review: Tobias Wolff's coming-of-age/love affair with books novel is a decent read. However, its writing quality is patchy, themes only half-heartedly tackled, and its characters are on the wrong side of compelling and likeable. It's good, just not disciplined enough, not tightly woven enough. One could say that the writing reflects that blue-blooded insouciance with which the protagantist is so enamored. There are ample passages that demonstrate Wolff's skill at writing, but its uneven quality leads me to believe he wrote this between cocktial parties and book signings.
I enjoyed reading this book, and finished it rather quickly. Wolff hits on some pretty solid themes of self-awareness and its connection to good literature. However, there was a certain je ne sais qois about it that left me unfulfilled at the end. Perhaps it was the lack of genuine drama, or the lack of any serious resolution. The book meanders melancholicly and then suddenly dissipates, unable to leave much of an imprint due to its insubstantiality.
Many will enjoy this book. I did myself. I suspect however that it will collect a lot of dust on the bookshelf after you're finished. It will on mine.
Rating:
Summary: "Old School" will appeal to English majors, few others
Review: Heralded as a sensitive homage to the struggles of a conflicted teen aspiring to become a writer, Tobias Wolff's "Old School" actually reads as little more than an account of a poor little rich boy who slogs his way through standard teen angst. Wolff's determination to idealize the seemingly insurmountable difficulties a writer must confront and overcome cannot hide the fact that his protagonist doesn't live in the same world as most of us. Ashamed of his semi-pariah status at an isolated, elitist, eastern prep school, ambivalent over his quasi-Jewish identity and alarmed at the level he will stoop to win a literary contest, Wolff's protagonist will appeal to a very limited audience. Both the protagonist and the novel lack authenticity, the real sweat and mess of daily life. Consequently, "Old School" is itself elitist and aloof, appealing only to those who swoon to the oh-so-awful quandaries "real" artists alone understand.
There is no disgrace for young men (and make no mistake about it, "Old School" from front cover to last page is a book solely about men) to love literature. Nor is there anything wrong for aspiring writers to compete for a private audience with the leading literary lights of the early 1960s. To speak with Robert Frost, Ayn Rand or Ernest Hemingway is no small prize. However, the button-downed characters who flit their way through the novel lack depth and genuine character. Even the scholarship students are a cut above everyone else; their problems, as serious as they seem to themselves, are, in the large scope of things, frivolous.
By the time the protagonist fritters his time away, invariably postponing writing and agonizing about theme, form and worth of each submission, "Old School" loses steam. Wolff could have selected any number of issues to develop: an assimilated Jew's ambivalence over identity, what competition does to decent people, how a small, self-contained culture can both exalt and degrade personality. Instead, just as Shakespeare's Romeo loved being in love more than love itself, Wolff rhapsodizes over what the life of the writer is rather than writing itself. The result is a desiccated sentimentalism, an arid mawkishness.
"Old School" does contain several moments of light. Wolff's depiction of Robert Frost humanizes the poet and convinces even the most hard-hearted that poetic form matters. The protagonist's introduction to the complicated nature of adult sexuality and ambition gives wholeness to his teachers. His friend's capitulation to attending chapel instead of holding true to principle reminds us that even the best of the quiet rebels of the early 1960s had feet of clay.
Several strong moments do not rescue the novel. Women are either way over the top (Ayn Rand is more caricature than character) or foils to the protagonist's moral evolution. Wolff's nostalgia over prep school life cannot disguise an arrogant elitism and a frightening presumptiveness that this type of education is superior to public education. Above all, "Old School" is a smug book, certain that a writer's sensitivities far transcend all others. This haughty old-school assuredness vitiates all the lessons Tobias Wolff hoped to teach.
Rating:
Summary: A Literary Treat
Review: At the risk of making it sound dull (which it isn't), 'Old School' is a primer on the philosophy of literature. As with a good education, good literature doesn't just feed you information and stories, it helps you to think for and about yourself and who you are. Wolff's book is a rare treat. It posed questions about the lives and thoughts of great writers and of each of us as well. What makes a story 'great'? Was Robert Frost's writing more `real' than Allen Ginsberg's? What makes a truer hero: Ayn Rand's Ubermench or Hemingway's wounded soul? And finally, what does any of this have to do with us and our lives?
Wolff's answer is simple. Only when we strip away the masks and are honest with ourselves about whom we are can we be great, or for that matter happy or even comfortable with ourselves.
`Old School' is one of those rare opportunity to learn something while enjoying yourself. Don't miss it.
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