Consider, for a moment, the definition of the word “classic” in the Oxford English Dictionary: “of the first class, of the highest rank or importance; constituting an acknowledged standard or model; of enduring interest and value.” The word “classic” denotes timeless quality. In the world of literature, a classic refers to a work that maintains a high standard for cultural value and appeal. 

Now you know the definition of the word, but perhaps you still wonder what makes a classic classic, worthy of all the prestige it receives. Furthermore, perhaps you wonder what makes classic literature worth reading.

Writer Italo Calvino addresses these questions in his 1991 book “Why Read the Classics?” In his book, Calvino presents 14 criteria for what he deems a classic. Selected below are three of the criteria that most accurately describe the attributes of classic literature. 

According to Calvino’s first criterion, “the classics are those books about which you usually hear people saying: ‘I’m rereading…’, never ‘I’m reading….’” 

Ordinary novels contain stories that are fairly straightforward. Their relative simplicity means that readers can fully grasp the plot upon their first read, leaving no reason to reread. 

In contrast, great novels contain stories that require a deeper level of understanding. There are subtleties in the language that readers likely missed during their first read; readers are compelled to pick up a classic a second time, a third, and maybe even a fourth, in hopes of formulating a better understanding. 

Take “The Great Gatsby” as an example: its portrayal of the “American Dream” — the hollow pursuit of wealth and status — is difficult to grasp on a surface level because F. Scott Fitzgerald’s narrative style is not straightforward. The classic’s complex language, combined with commentary from an unreliable narrator, can mislead readers into making interpretations that deviate from the author’s intended message. As stated by Fitzgerald himself, “Of all the reviews, even the most enthusiastic, not one had the slightest idea what the book was about.” When a book’s message extends beyond the literal, and readers must “read between the lines,” it’s only natural that the desire to reread manifests. 

Calvino’s sixth criterion states that “a classic is a book which has never exhausted all it has to say to its readers.” A book that always offers new, relevant insights will never become outdated. A book that never becomes outdated ought to be considered a classic. 

Take Homer’s “The Odyssey” as an example: it is one of the oldest works of literature yet it still remains popular today. What has made “The Odyssey” withstand the test of time? A common answer, albeit a misconception, would be that a classic like “The Odyssey” remains timeless because it contains universal themes. Every book, however, contains universal themes, so what ultimately becomes more important for a classic’s long-term relevance is originality. Classics like “The Odyssey” are often considered to be “the first of their kind” — the original works that set a precedent to inspire other works. And not only do classics inspire other works of literature, classics additionally make their mark on society and culture. 

The eighth and final criterion claims that “a classic is a work which constantly generates a cloud of critical discourse, but which always shakes the particles off.” 

Classics invite commentary, criticism and controversy. Under a constant source of scrutiny, they are a hot topic for debate. In recent decades, there have even been appeals to reform traditional curricula that prioritize the teaching of classics over contemporary literature. Some claim the classics are overwhelmingly Eurocentric, written by “dead, white men.” 

Furthermore, some classics are outright prejudiced, with language that is now considered pejorative and outdated. As communities diversify, there becomes a larger plea to teach and read literature that reflects the experiences of minority groups through a positive lens. ‘Classics’ that expose their author’s undeniably racist attitudes ought not to be considered classics at all, because they generate such a large “cloud of critical discourse” that they cannot simply shake off. The criticism they receive ultimately overshadows the qualities that might make them worth teaching. 

However, not all classics are problematic, nor are all classics written by white men: Toni Morrison, James Baldwin and Langston Hughes are all prolific African-American authors whose works are widely regarded as “classic.” There is an abundance of classic literature that offers valuable insights into the human experience without perpetuating prejudiced attitudes. Ultimately, these are the classics that deserve their status. 

To summarize, subtlety and originality are the most important attributes that set classics apart from other works of literature. The ongoing stream of critical discourse and discussion that surrounds the classics is what keeps them “alive,” even if their authors are dead. 

After exploring three of Calvino’s criteria for what makes a classic, there’s still one remaining question, aptly suggested by the title: why read the classics? Classics are what inspire entire literary genres. They are the trailblazers and the trendsetters. Almost every contemporary novel takes after a classic in some respect; reading the classics allows you to recognize their influence on modern works. 

As a reader, you’re like a traveler. You can only see so many places; you can only read so many things. Classics are the major landmarks within the world of literature: the Colosseum, the Parthenon, the Pyramids, the Hagia Sophia, the Taj Mahal. If there is anything worth taking the time to read, it is the classics.