The Elite College Students Who Can’t Read Books

To read a book in college, it helps to have read a book in high school, Rose Horowitch wrote in the November 2024 issue.

I’m an English teacher at a private college-preparatory school, and much of “The Elite College Students Who Can’t Read Books” sounded familiar. My students, too, now struggle to read long texts. Unaddressed in this apt article, though, are changes to the broader high-school context in which reading for homework now occurs. Today, students with elite college aspirations have extracurricular schedules that demand as much—if not more—time than school itself. These commitments are necessary, in their eyes, to gain admission to selective institutions. As a result, teachers face considerable pressure from not only students but also parents and school administrators to limit homework time—no matter if the assignment is a calculus problem set or Pride and Prejudice. In combination with considerably slower rates of reading and diminished reading comprehension, curtailed homework time means that an English teacher might not be able to assign more than 10 to 15 pages of relatively easy prose per class meeting, a rate so excruciatingly slow, it diminishes one’s ability to actually grasp a novel’s meaning and structure. I see how anxious and drained my students are, but I think it’s important for them to experience what can grow from immersive reading and sustained written thought. If we want students to read books, we have to be willing to prioritize the time for them to do so.

Anna Clark
San Diego, Calif.

As a professor, I agree with my colleagues who have noticed the declining literacy of American students at elite universities.

However, I am not sure if the schools are entirely to blame. In American universities, selection is carried out by admissions offices with little interest in the qualities that faculty might consider desirable in a college student. If faculty members were polled—something that has never happened to me in my 20-year career—I’m sure we would rank interest and experience in reading books quite highly.

Admissions decisions in the United States are based on some qualities that, however admirable, have little or nothing to do with academic aptitude. In contrast, at Oxford and Cambridge, in the United Kingdom, undergraduate admissions are typically conducted by the same academics who will teach those students. Most personal statements primarily consist of a discussion of which books the student has read and what they learned from them. Students are then expected to discuss these books in more detail in an interview. When considered alongside the undergraduate selection process, the decline in literacy among American undergraduates is totally understandable.

Ione Fine
Psychology Professor, University of Washington
Seattle, Wash.

Having taught English in a public school for 32 years, I am not surprised that colleges and universities are discovering that incoming students lack the skill, focus, and endurance to read novels. Throughout my career, primarily teaching ninth graders, I fostered student readership not by assigning novels for the whole class to read, but rather by allowing students to select young-adult books that they would read independently in class. Thousands of lifelong readers were created as a result.

Ten years ago, however, my district administration told me that I could no longer use class time for independent student reading. Instead, I was to focus on teaching skills and content that the district believed would improve standardized-test scores. Ironically, research showed that the students who read more books scored significantly better than their classmates on standardized reading tests.

I knew that many students were unlikely to read at home. So I doubled down: I found time for students to read during the school day and repurposed class time to allow my students to share their ideas; to question, respond, and react along with their peers. The method was so successful that the district adopted my approach for seventh through ninth grade, and I published a university-level textbook preparing teachers to create similar communities of readers in their own classrooms.

Whole-class novels just aren’t working: Some students will always be uninterested in a teacher’s choice, and perceive the classics as irrelevant and difficult to comprehend. But allowing students to select their books can help them fall in love with reading.

Michael Anthony
Reading, Pa.

I am an educator of 16 years living in New Hampshire. “The Elite College Students Who Can’t Read Books” reflects a lot of what I’ve seen recently. But a large piece of the puzzle is public-school budgets. A major reason novels have been removed from curricula is money: Many districts cannot afford to purchase a book for every student, especially in the upper grades. Typically, districts will buy a “class set” of novels, about 20 to 30 books—that’s it. The books must be used during the English blocks for instruction and reading time. There are not enough books for students to take home and read; if they are reading them only in their class block, a novel will take months and months to finish. I knew of one district that would have teachers make copies of entire novels to share with their students; they’d take turns on copy duty to pull it off. I wish I could teach more complete novels, because students love it. But districts need budgets large enough to buy books for everyone.

Meaghan Kelly
Rumney, N.H.

When teaching my college history courses, I have polled my students to see how many have ever read a book cover to cover. Sometimes, only a few students would raise their hand.

I inquired because I always gave them the option to read a book instead of writing a 10-page research paper. They then would have a one-on-one, hour-long discussion with me about the book they’d selected. Students who chose that option generally had a good experience. But one student shines bright in my mind. In truth, I didn’t remember him well—but he stopped me at an alumni function to say thank you. He had taken my class the second semester of his senior year to fill an elective, and he had chosen to read David McCullough’s 1776. He’d devoured the book—and he’d loved our discussion. He told me that the assignment had changed his life: Up to that point, he had never read a whole book. Since that class, he has read two or three books a month, and now has hundreds of books in his own library. He assured me that he would be a reader for the rest of his life.

It was one of the most gratifying moments of my career. I hope more teachers, professors, and parents give their students a chance to learn what this student did—that books are one of the great joys in life.

Scott Salvato
Mooresville, N.C.

Rose Horowitch replies:

Anna Clark’s letter builds on an idea that I hoped to convey in the article: that the shift away from reading full books is about more than individual students, teachers, or schools. Much of the change can be understood as the consequence of a change in values. The professors I spoke with didn’t think their students were lazy; if anything, they said they were overscheduled and frazzled like never before, facing immense pressure to devote their time to activities that will further their career. Under these circumstances, it can be difficult to see how reading The Iliad in its entirety is a good use of time. Acknowledging this reality can be disheartening, because the solution will not be as simple as changing curricula at the college, high-school, or middle-school level. (And as several of these letters note, changing curricula isn’t all that straightforward.) But letters like Scott Salvato’s are a hopeful reminder of the power of a good—full—book to inspire a student to become a lifelong reader.

The Atlantic Behind the Cover

In this month’s cover story, “How the Ivy League Broke America,” David Brooks describes the failure of the United States’ meritocracy, created in part by James Conant, the influential president of Harvard from 1933 to 1953. Conant and like-minded reformers had hoped to overturn America’s “hereditary aristocracy of wealth”; instead, they helped create a new ruling class—the so-called cognitive elite, selected and credentialed by the nation’s top universities. For our cover image, the artist Danielle Del Plato placed the story’s headline on pennants she created for each of the eight Ivy League schools, which have been instrumental in shaping and perpetuating America’s meritocracy.

— Paul Spella, Senior Art Director

Corrections

Due to an editing error, “The Elite College Students Who Can’t Read Books” (November) misstated the year Nicholas Dames started teaching Literature Humanities. He began teaching the course in 1998, not 1988. “What Zoya Sees” (November) misstated where in Nigeria Zoya Cherkassky-Nnadi and her husband, Sunny, have a home. Their home is in Ngwo, not Igwo.

This article appears in the December 2024 print edition with the headline “The Commons.”

This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.

Welcome back to The Daily’s Sunday culture edition, in which one Atlantic writer or editor reveals what’s keeping them entertained. Today’s special guest is Jen Balderama, a Culture editor who leads the Family section and works on stories about parenting, language, sex, and politics (among other topics).

Jen grew up training as a dancer and watching classic movies with her mom, which instilled in her a love for film and its artistry. Her favorites include Doctor Zhivago, In the Mood for Love, and Pina; she will also watch anything starring Cate Blanchett, an actor whose “ability to inhabit is simply unmatched.”

The Culture Survey: Jen Balderama

My favorite blockbuster film: I’m grateful that when I was quite young, my mom started introducing me to her favorite classic movies—comedies, romances, noirs, epics—which I’m pretty sure had a lasting influence on my taste. So for a blockbuster, I have to go with a nostalgia pick: Doctor Zhivago. The hours we spent watching this movie, multiple times over the years, each viewing an afternoon-long event. (The film, novelty of novelties, had its own intermission!) My mom must have been confident that the more adult elements—the rape, the politics—would go right over my head, but that I could appreciate the movie for its aesthetics. She had a huge crush on Omar Sharif and swooned over the soft-focus close-ups of his watering eyes. I was entranced by the landscapes and costumes and sets—the bordello reds of the Sventitskys’ Christmas party, the icy majesty of the Varykino dacha in winter. But I was also taken by the film’s sheer scope, its complexity, and the fleshly and revolutionary messiness. I’m certain it helped ingrain in me, early, an enduring faith in art and artists as preservers of humanity, especially in dark, chaotic times. [Related: Russia from within: Boris Pasternak’s first novel]

My favorite art movie: May I bend the rules? Because I need to pick two: Wong Kar Wai’s In the Mood for Love and Wim Wenders’s Pina. One is fiction, the other documentary. Both are propelled by yearning and by music. Both give us otherworldly depictions of bodies in motion. And both delve into the ways people communicate when words go unspoken.

In the Mood for Love might be the dead-sexiest film I’ve ever seen, and no one takes off their clothes. Instead we get Maggie Cheung and Tony Leung in a ravishing tango of loaded phone calls and intense gazes, skin illicitly brushing skin, figures sliding past each other in close spaces: electricity.

Pina is Wenders’s ode to the German choreographer Pina Bausch, a collaboration that became an elegy after Bausch died when the film was in preproduction. Reviewing the movie for The New York Times in 2017, the critic Gia Kourlas, whom I admire, took issue with one of Wenders’s choices: In between excerpts of Bausch’s works, her dancers sit for “interviews,” but they don’t speak to camera; recordings of their voices play as they look toward the audience or off into the distance. Kourlas wrote that these moments felt “mannered, self-conscious”; they made her “wince.” But to me, a (highly self-conscious) former dancer, Wenders nailed it—I’ve long felt more comfortable expressing myself through dance than through spoken words. These scenes are a brilliantly meta distillation of that tension: Dancers with something powerful to say remain outwardly silent, their insights played as inner narrative. Struck by grief, mouths closed, they articulate how Bausch gave them the gift of language through movement—and thus offered them the gift of themselves. Not for nothing do I have one of Bausch’s mottos tattooed on my forearm: “Dance, dance, otherwise we are lost.”

An actor I would watch in anything: Cate Blanchett. Her ability to inhabit is simply unmatched: She can play woman, man, queen, elf, straight/gay/fluid, hero/antihero/villain. Here I’m sure I’ll scandalize many of our readers by saying out loud that I am not a Bob Dylan person, but I watched Todd Haynes’s I’m Not There precisely because Blanchett was in it—and her roughly 30 minutes as Dylan were all I needed. She elevates everything she appears in, whether it’s deeply serious or silly. I’m particularly captivated by her subtleties, the way she turns a wrist or tilts her head with the grace and precision of a dancer’s épaulement. (Also: She is apparently hilarious.)

An online creator I’m a fan of: Elle Cordova, a musician turned prolific writer of extremely funny, often timely, magnificently nerdy poems, sketches, and songs, performed in a winning low-key deadpan. I was tipped off to her by a friend who sent a link to a video and wrote: “I think I’m falling for this woman.” The vid was part of a series called “Famous authors asking you out”—Cordova parroting Jane Austen, Charles Bukowski, Franz Kafka, Edgar Allan Poe (“Should I come rapping at your chamber door, or do you wanna rap at mine?”), Dr. Seuss, Kurt Vonnegut, Virginia Woolf, James Joyce (“And what if we were to talk a pretty yes in the endbegin of riverflow and moon’s own glimpsing heartclass …”). She does literature. She does science. She parodies pretentious podcasters; sings to an avocado; assumes the characters of fonts, planets, ChatGPT, an election ballot. Her brain is a marvel; no way can AI keep up.

Something delightful introduced to me by a kid in my life: Lego Masters Australia. Technically, we found this one together, but I watch Lego Masters because my 10-year-old is a Lego master himself—he makes truly astonishing creations!—and this is the kind of family entertainment I can get behind: Skilled obsessives, working in pairs, turn the basic building blocks of childhood into spectacular works of architecture and engineering, in hopes of winning glory, prize money, and a big ol’ Lego trophy. They can’t churn out the episodes fast enough for us. The U.S. has a version hosted by Will Arnett, which we also watch, but our family finds him a bit … over-the-top. We much prefer the Australian edition, hosted by the comedian Hamish Blake and judged by “Brickman,” a.k.a. Lego Certified Professional Ryan McNaught, both of whom exude genuine delight and affection for the contestants. McNaught has teared up during critiques of builds, whether gobsmacked by their beauty or moved by the tremendous effort put forth by the builders. It’s a show about teamwork, ingenuity, artistry, hilarity, physics, stamina, and grit—with a side helping of male vulnerability. [Related: Solving a museum’s bug problem with Legos]

A poem that I return to: “Joint Custody,” by Ada Limón. My family is living this. Limón, recalling a childhood of being “taken /  back and forth on Sundays,” of shifting between “two different / kitchen tables, two sets of rules,” reassures me that even though this is sometimes “not easy,” my kids will be okay—more than okay—as long as they know they are “loved each place.” That beautiful wisdom guides my every step with them.

Something I recently rewatched: My mom died when my son was 2 and my daughter didn’t yet exist, and each year around this time—my mom’s birthday—I find little ways to celebrate her by sharing with my kids the things she loved. Chocolate was a big one, I Love Lucy another. So on a recent weekend, we snuggled up and watched Lucille Ball stuffing bonbons down the front of her shirt, and laughed and laughed and laughed. And then we raided a box of truffles.

Here are three Sunday reads from The Atlantic:

How the Ivy League broke America The secret to thinking your way out of anxiety How one woman became the scapegoat for America’s reading crisis

The Week Ahead

Gladiator II, an action film starring Paul Mescal as Lucius, the son of Maximus, who becomes a gladiator and seeks to save Rome from tyrannical leaders (in theaters Friday) Dune: Prophecy, a spin-off prequel series about the establishment of the Bene Gesserit (premieres today on HBO and Max) An Earthquake Is a Shaking of the Surface of the Earth, a novel by Anna Moschovakis about an unnamed protagonist who attempts to find—and eliminate—her housemate, who was lost after a major earthquake (out Tuesday)

Essay

Illustration by Raisa Álava

What the Band Eats

By Reya Hart

I grew up on the road. First on the family bus, traveling from city to city to watch my father, Mickey Hart, play drums with the Grateful Dead and Planet Drum, and then later with the various Grateful Dead offshoots. When I was old enough, I joined the crew, working for Dead & Company, doing whatever I could be trusted to handle … Then, late-night, drinking whiskey from the bottle with the techs, sitting in the emptying parking lot as the semitrucks and their load-out rumble marked the end of our day.

But this summer, for the first time in the band’s history, there would be no buses; there would be no trucks. Instead we stayed in one place, trading the rhythms of a tour for the dull ache of a long, endlessly hot Las Vegas summer.

Read the full article.

More in Culture

The exhibit that will change how you see Impressionism SNL isn’t bothering with civility anymore. Abandon the empty nest. Instead, try the open door. Richard Price’s radical, retrograde novel “Dear James”: How can I find more satisfaction in work?

Catch Up on The Atlantic

Why the Gaetz announcement is already destroying the government The sanewashing of RFK Jr. The not-so-woke Generation Z

Photo Album

People feed seagulls in the Yamuna River, engulfed in smog, in New Delhi, India. (Arun Sankar / AFP / Getty)

Check out these photos of the week, showing speed climbing in Saudi Arabia, wildfires in California and New Jersey, a blanket of smog in New Delhi, and more.

Explore all of our newsletters.

When you buy a book using a link in this newsletter, we receive a commission. Thank you for supporting The Atlantic.