Harold Bloom

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Harold Bloom

Harold Bloom, Literary Critic
Born: July 11, 1930
New York City, USA
Occupation(s): literary and cultural critic
Literary movement: Romanticism, aestheticism
Influences: Nietzsche, Emerson, Freud, Dr. Johnson, Walter Pater, William Hazlitt, Northrup Frye

Harold Bloom (born July 11, 1930, New York) is an American professor and prominent literary and cultural critic. Bloom defended 19th-century Romantic poets at a time when their reputations stood at a low ebb, has constructed controversial theories of poetic influence, and advocates an aesthetic approach to literature against Feminist, Marxist, New Historicist, Post-modernist, and other methods of academic literary criticism. Bloom is currently a Sterling Professor of the Humanities at Yale University and Berg Professor of English and American Literature at New York University.

Contents

[edit] Early life

Harold Bloom, son of William and Paula Bloom, was born in New York City and lived in the South Bronx at 1410 Grand Concourse. He grew up in a Yiddish-speaking household and learned Yiddish and literary Hebrew before learning English.

Bloom has frequently recounted that his attachment to poetry began when, at the age of ten, he discovered Hart Crane's book White Buildings at the Fordham library at 2566 Bainbridge Avenue in the Bronx. "I saw the Oxford English Dictionary there for the first time," he said many years later. "I remember being so touched by the enormous availability of large and complex dictionaries and concordances. I remember ransacking them." He claims that he knew "by age eleven or twelve that all I really liked to do was read poetry and discuss it."

He entered Cornell University in 1947 on scholarship (as one of 65 people in the Bronx that year to win a scholarship from the State Department of Education). At Cornell he found a mentor in M. H. Abrams, a leading scholar of Romanticism and the founding and general editor of The Norton Anthology of English Literature. Abrams later recalled Bloom as a "fearsome" student, and "gifted beyond anybody I'd ever seen. He had that extraordinary ability to read a book almost as fast as you can turn the pages, not only to read it but to practically memorize it." Bloom himself has stated that he does not remember "period pieces" and that his memory of a work is tied to its canonically "strange" aspect. Bloom earned a B.A. in 1952, and spent a year at Pembroke College, Cambridge in 1953/4. He then went to Yale University for graduate study. He received his Ph.D. in 1956 and has worked as a member of the Yale faculty since that time.

In 1959 he married Jeanne Gould; they have two sons, Daniel Jacob and David Moses, one of whom is severely disabled. Bloom refuses to discuss his children in interviews. In an interview with Dima Leybman, Bloom said that "one of them isn't doing well".

[edit] Early career

Bloom credits Northrop Frye as his nearest precursor. He told Imre Salusinszky in 1986: "In terms of my own theorizations... the precursor proper has to be Northrop Frye. I purchased and read Fearful Symmetry a week or two after it had come out and reached the bookstore in Ithaca, New York. It ravished my heart away. I have tried to find an alternative father in Mr. [Kenneth] Burke, who is a charming fellow and a very powerful critic, but I don't come from Burke, I come out of Frye." However, he also admits an indebtedness, especially in his later period, to earlier critics like William Hazlitt, Ralph Waldo Emerson, Walter Pater, A.C. Bradley, and Samuel Johnson, whom he acknowledges as "unmatched by any critic in any nation before or after him".

Bloom began his career by defending the reputations of the High Romantic poets of the early nineteenth century against neo-Christian critics influenced by such writers as T.S. Eliot, who becomes a recurring intellectual foil. He had a contentious approach: his first book, Shelley's Myth-making, charged many contemporary critics with sheer carelessness in their reading of Shelley. After a personal crisis in the late sixties, Bloom became deeply interested in Emerson, Sigmund Freud, and the ancient mystic traditions of Gnosticism, Kabbalah and Hermeticism. He would later come to describe himself as a 'Jewish gnostic', explaining "I am using Gnostic in a very broad way. I am nothing if not Jewish... I really am a product of Yiddish culture. But I can't understand a Yahweh, or a God, who could be all-powerful and all knowing and would allow the Nazi death camps and schizophrenia." Influenced by his reading, he began a series of books that focused on the way in which poets struggled to create their own individual poetic visions without being overcome by the influence of the previous poets who inspired them to write. The first of these books, Yeats, a magisterial examination of the poet, challenged the conventional critical view of his poetic career. In the introduction to this volume, Bloom set out the basic principles of his new approach to criticism: "Poetic influence, as I conceive it, is a variety of melancholy or the [Freudian] anxiety-principle." A new poet becomes inspired to write because he has read and admired the poetry of previous poets; but this admiration turns into resentment when the new poet discovers that these poets whom he idolized have already said everything he wishes to say. The poet becomes disappointed because he "cannot be Adam early in the morning. There have been too many Adams, and they have named everything."

In order to evade this psychological obstacle, the new poet must convince himself that previous poets have gone wrong somewhere and failed in their vision, thus leaving open the possibility that he may have something to add to the tradition after all. The new poet's love for his heroes turns into antagonism towards them: "Initial love for the precursor's poetry is transformed rapidly enough into revisionary strife, without which individuation is not possible." (Map of Misreading p. 10) The book that followed Yeats, The Anxiety of Influence, which Bloom had started writing in 1967, drew upon the example of Walter Jackson Bate's The Burden of the Past and The English Poet and set out his new doctrine in a systematic form. Bloom attempted to trace the psychological process by which a poet broke free from his precursors to achieve his own poetic vision. He drew a sharp distinction between "strong poets" who perform "strong misreadings" of their precursors, and "weak poets" who simply repeat the ideas of their precursors as though following a kind of doctrine. He described this process in terms of a sequence of "revisionary ratios," through which each strong poet passes in the course of his career. A Map of Misreading picked up where The Anxiety of Influence left off, making several adjustments to Bloom's system of revisionary ratios. Kabbalah and Criticism attempted to invoke the esoteric interpretive system of the Lurianic kabbalah, as explicated by scholar Gershom Scholem, as an alternate system of mapping the path of poetic influence. Figures of Capable Imagination collected odd pieces Bloom had written in the process of composing his 'influence' books. He capped off this period of intense creativity with another monograph, a full-length study of Wallace Stevens, with whom, as he told an interviewer in the early 1980s, he identified more than any other poet at this stage of his career.

Bloom's fascination with the fantasy novel A Voyage to Arcturus by David Lindsay led him to take a brief break from criticism in order to compose an attempted sequel to Lindsay's novel. This novel, The Flight to Lucifer, remains Bloom's only attempt at fiction-writing. Though reviews were not entirely discouraging, he soon disowned this book. As he himself admitted, the author's self-conscious theoretical interest in the nature of fantasy literature weighed it down too heavily. He has said that he would remove every copy of the book from every library if he could.

[edit] Later career

Bloom continued to write about influence theory throughout the seventies and eighties, and he has rarely written anything since which does not invoke his ideas about influence. Acknowledging that his early output often tends toward the abtruse, his later work is characterized by a turn toward more accessible criticism aimed toward general readership, beginning with The Book of J (for which he wrote the introduction and commentary) in 1989. In The Book of J, he and co-author David Rosenberg portrayed the ancient documents that formed the basis of the first five books of the bible (see documentary hypothesis) as the work of a great literary artist who had no intention of composing a dogmatically religious work. They further envisaged this anonymous writer as a woman attached to the court of the successors of the Israelite kings David and Solomon — a piece of speculation which drew much attention. Later, he said (perhaps jokingly) that the speculations didn't go far enough, and he should have identified J with the biblical Bathsheba. In The American Religion, Bloom surveyed the major varieties of Protestant and post-Protestant religious faiths in the United States and argued that, in terms of their psychological hold on their adherents, all shared more in common with gnosticism than with historical Christianity. He has elsewhere prophesied that the Mormon and Pentecostal strains of American Christianity will overtake mainstream protestant divisions in popularity in the next few decades.

In 1994, Bloom published The Western Canon, a survey of the major literary works of post-Roman Europe. Besides analyses of the canon's various representative works, the major concern of the volume is reclaiming literature from those he refers to as the "School of resentment", the mostly academic critics who espouse a social purpose in reading. Bloom believes that the goals of reading must be solitary aesthetic pleasure and self-insight rather than the "forces of resentments'" goal: improvement of one's society, which he casts as an absurd aim, writing "The idea that you benefit the insulted and injured by reading someone of their own origins rather than reading Shakespeare is one of the oddest illusions ever promoted by or in our schools." His position, stated simply, is that politics have no place in literary criticism: a feminist or Marxist reading of Hamlet, for example, would tell us something about feminism and Marxism but nothing about Hamlet itself, it being so universal. In addition to the amount of influence one writer has had on later writers, Bloom introduces the concept of "canonical strangeness" as a benchmark of a literary work's merit. The Western Canon also included a list—which aroused more widespread interest than anything else in the volume—of all the Western works from antiquity to the present which Bloom considered either as permanent members of the canon of literary classics, or (among more recent works) as candidates for that status. The notoriety surrounding The Western Canon turned Bloom into something of a celebrity.

[edit] Shakespeare

No discussion of Bloom's work, or even Bloom, would be complete without mention of his profound and over-riding appreciation for Shakespeare — by his own account, Bardolatry. The first edition of The Anxiety of Influence almost completely avoided Shakespeare, whom Bloom considered, at the time, barely touched by the psychological drama of anxiety. The second edition, published in 1997, adds a long preface that mostly expounds on Shakespeare's agon with his contemporary Christopher Marlowe, who set the stage for him by breaking free of ecclesiastical and moralizing overtones, as well as his other influences, Ovid and Chaucer.

In his epic 1998 survey, Shakespeare: The Invention of the Human, Bloom provides an analysis of each of Shakespeare's thirty-eight plays, "twenty-four of which are masterpieces." Written as a companion to the general reader and theatergoer, Bloom declares that "bardolatry "ought to be even more a secular religion than it already is." He also contends in the work (as in the title) that Shakespeare "invented" humanity, in that he prescribed the now-common practice "overhearing" ourselves, which drives our changes. The two paragons of his theory are Sir John Falstaff of Henry IV and Hamlet, whom Bloom sees as representing, in the first case, our satisfaction with ourselves and in the second, our dissatisfaction thereof. Throughout Shakespeare, characters from disparate plays are imagined alongside and interacting with each other; this has been decried by numerous contemporary academics and critics as hearkening back to the out of fashion character criticism of A.C. Bradley and others, who happen to gather explicit praise in the book. As in The Western Canon, Bloom cheerfully attacks this "School of Resentment" for its failure to live up to the challenge of Shakespeare's universality and instead balkanizing the study of literature through various multicultural and historicist departments. Asserting his singular popularity throughout the world, Bloom proclaims that Shakespeare is the only multicultural author, and rather than the "social energies" historicists ascribe Shakespeare's authorship to, Bloom pronounces his modern academic foes--and indeed, all of society--to be "a parody of Shakespearian energies."

As one might guess from his critical posture toward Shakespeare, in his public and private life Bloom seems to consciously emulate the bard, particularly in taking on the mantle of Falstaff, "the mortal god of [his] imaginings" and whom he often credits with the "over-abundance" that is "how meaning gets started."

[edit] Bloom's influence

Bloom's theory of poetic influence regards the development of Western literature as a process of borrowing and misreading. Writers find their creative inspiration in previous writers and begin by imitating those writers; in order to develop a poetic voice of their own, however, they must make their own work different from that of their precursors. As a result, Bloom argues, authors of real power must inevitably 'misread' their precursors' works in order to make room for fresh imaginings.

Though observers often identified Bloom with deconstructionism in the past, he himself never admitted to sharing more than a few ideas with the deconstructionists. He told Robert Moynihan in 1983, "What I think I have in common with the school of deconstruction is the mode of negative thinking or negative awareness, in the technical, philosophical sense of the negative, but which comes to me through negative theology...There is no escape, there is simply the given, and there is nothing that we can do."

Bloom's association with the Western canon has provoked a substantial amount of interest in his opinion concerning the relative importance of contemporary writers. In the late 1980s, Bloom told an interviewer: "Probably the most powerful living Western writer is Samuel Beckett. He's certainly the most authentic." Beckett died in 1989, and Bloom has not suggested who he believes occupies that position now.

Concerning British writers: "Geoffrey Hill is the strongest British poet now active", and "no other contemporary British novelist seems to me to be of Iris Murdoch's eminence". Since Murdoch's death, Bloom has expressed admiration for novelists such as John Banville, Peter Ackroyd, Will Self, and A. S. Byatt. In his 2003 book, Genius: A Mosaic of One Hundred Exemplary Creative Minds, he named Portuguese writer José Saramago as "the most gifted novelist alive in the world today", and as "one of the last titans of an expiring literary genre". Of American novelists, he declared in 2003 "there are four living American novelists I know of who are still at work and who deserve our praise". Claiming "they write the Style of our Age, each has composed canonical works," he identified them as Thomas Pynchon, Philip Roth, Cormac McCarthy and Don DeLillo. He named their strongest works as Gravity's Rainbow and Mason & Dixon, American Pastoral and Sabbath's Theater, Blood Meridian, and Underworld. He has also praised fantasy writer John Crowley as these writers' equal — and especially his novel Little, Big.

In Kabbalah and Criticism (1975) Bloom identified Robert Penn Warren, James Merrill, John Ashbery and Elizabeth Bishop as the most important living American poets. By the 1990s he regularly named A.R. Ammons along with Ashbery and Merrill, and he has lately come to identify Henri Cole as the crucial American poet of the generation following those three. He has expressed great admiration for the Canadian poet Anne Carson, particularly her verse novel Autobiography of Red. Bloom also lists African-American Jay Wright as one of only a handful of major living poets.

Bloom's introduction to Modern Critical Interpretations: Thomas Pynchon (1987) features his canon of the "twentieth-century American Sublime", the greatest works of American art produced in the 20th century. Bloom singles out the following works for distinction:

Bloom's critical work has often become associated with that of his protegée at Yale in the 1970s, Camille Paglia. The playwright Tony Kushner sees Bloom as an important influence on his work, and indeed, his play Angels in America is the last work listed in the appendices of The Western Canon.

In the early 21st century Bloom has often found himself at the center of literary controversy, leveling attacks at popular writers such as Adrienne Rich, Stephen King and J.K. Rowling. In the pages of the Paris Review he criticized the populist-leaning poetry slam, saying, "It is the death of art."

[edit] References

    [edit] Bibliography

    • El futur de la imaginació (The Future of the Imagination). Barcelona: Anagrama / Empúries, 2002. ISBN 84-7596-927-5
    • Shelley's Mythmaking. New Haven: Yale University Press, 1959.
    • The Visionary Company: A Reading of English Romantic Poetry. Garden City, N.Y.: Doubleday, 1961. Rev. and enlarged ed. Ithaca: Cornell University Press, 1971.
    • Blake's Apocalypse: A Study in Poetic Argument. Anchor Books: New York: Doubleday and Co., 1963.
    • Yeats. New York: Oxford University Press, 1970. ISBN 0-19-501603-3
    • The Ringers in the Tower: Studies in Romantic Tradition. Chicago: University of Chicago Press, 1971.
    • Poetry and Repression: Revisionism from Blake to Stevens. New Haven: Yale University Press, 1976.
    • Figures of Capable Imagination. New York: Seabury Press, 1976.
    • Wallace Stevens: The Poems of our Climate. Ithaca, N.Y.: Cornell University Press, 1977.
    • Deconstruction and Criticism. New York: Seabury Press, 1980.
    • The Flight to Lucifer: Gnostic Fantasy. New York: Vintage Books, 1980. ISBN 0-394-74323-7
    • The Breaking of the Vessels. Chicago: University of Chicago Press, 1982.
    • The Book of J: Translated from the Hebrew by David Rosenberg; Interpreted by Harold Bloom. New York: Grove Press, 1990 ISBN 0-8021-4191-9
    • Ruin the Sacred Truths: Poetry and Belief from the Bible to the Present. Cambridge, Mass.: Harvard University Press, 1989.
    • The American Religion: The Emergence of the Post-Christian Nation; Touchstone Books; ISBN 0-671-86737-7 (1992; August 1993)
    • The Anxiety of Influence: A Theory of Poetry. New York: Oxford University Press, 1973; 2d ed., 1997. ISBN 0-19-511221-0
    • A Map of Misreading. New York: Oxford University Press, 1975.
    • Kabbalah and Criticism. New York : Seabury Press, 1975. ISBN 0-8264-0242-9
    • Agon: Towards a Theory of Revisionism. New York : Oxford University Press, 1982.
    • The Western Canon: The Books and School of the Ages. New York: Harcourt Brace, 1994.
    • Omens of Millennium: The Gnosis of Angels, Dreams, and Resurrection. New York: Riverhead Books, 1996.
    • Shakespeare: The Invention of the Human. New York: 1999. ISBN 1-57322-751-X
    • Stories and Poems for Extremely Intelligent Children of All Ages. New York: 2001.
    • How to Read and Why. New York: 2001. ISBN 0-684-85906-8
    • Genius: A Mosaic of One Hundred Exemplary Creative Minds. New York: 2003. ISBN 0-446-52717-3
    • Hamlet: Poem Unlimited. New York: 2003.
    • The Best Poems of the English Language: From Chaucer Through Frost. New York: 2004. ISBN 0-06-054041-9
    • Where Shall Wisdom Be Found? New York: 2004. ISBN 1-57322-284-4
    • Jesus and Yahweh: The Names Divine 2005. ISBN 1-57322-322-0
    • American Religious Poems: An Anthology By Harold Bloom 2006. ISBN 1-931082-74-X

    [edit] Miscellaneous books

    • (Editor) English Romantic Poetry, An Anthology, Doubleday, 1961, two-volume revised edition, Anchor, 1963.
    • (Editor, with John Hollander) The Wind and the Rain, Doubleday, 1961.
    • The Literary Criticism of John Ruskin, Edited and with Introduction by Harold Bloom, Anchor, 1965.
    • (Editor, with Frederick W. Hilles) From Sensibility to Romanticism: Essays Presented to Frederick A. Pottle, Oxford University Press, 1965.
    • (Editor) Percy Bysshe Shelley, Selected Poetry, New American Library (New York, NY), 1966.
    • (Editor) Walter Horatio Pater, Marius the Epicurean: His Sensations and Ideas, New American Library, 1970.
    • "The Internalization of Quest-Romance" and "The Unpastured Sea: An Introduction to Shelley," in Romanticism and Consciousness: Essays in Criticism, edited by Harold Bloom, Norton, 1970.
    • (Editor) Samuel Taylor Coleridge, Selected Poetry, New American Library, 1972.
    • (Editor) The Romantic Tradition in American Literature, 33 volumes, Arno, 1972.
    • (Editor, with Lionel Trilling) Romantic Prose and Poetry, Oxford University Press, 1973.
    • (Editor, with Trilling) Victorian Prose and Poetry, Oxford University Press, 1973.
    • (Editor, with Frank Kermode, Hollander, and others) Oxford Anthology of English Literature, two volumes, Oxford University Press, 1973.
    • (Editor and Introduction) Selected Writings of Walter Pater, Columbia University Press, New York, 1974.
    • (Introduction) Somewhere Is Such a Kingdom: Poems 1952-1971, by Geoffrey Hill, 1975.
    • (Editor, with Adrienne Munich) Robert Browning: A Collection of Critical Essays, Prentice-Hall, 1979.
    • (Editor, with David V. Erdman) The Complete Poetry and Prose by William Blake, Bantam Doubleday Dell, November 1981.
    • (Introduction) On the Bible: Eighteen Studies by Martin Buber, New York: Schocken, 1982.
    • (Foreword) Elizabeth Bishop and her art, Edited by Lloyd Schwartz and Sybil P. Estess, University of Michigan Press, 1983.
    • (Introduction) Musical Variations on Jewish Thought by Olivier Revault d'Allonnes, Translated from the French by Judith L. Greenberg, New York, Geo. Braziller, 1984.
    • (Foreword) The Romantic Sublime by Thomas Weiskel, Johns Hopkins University Press, 2nd Edition, 1986.
    • (Afterword) Selected poems of Jay Wright, Edited with an introduction by Robert B. Stepto, 1987.
    • (Foreword) Literary Outtakes, by Larry Dark, Ballantine, 1990.
    • (Editor, With Frank Kermode, Lionel Trilling, John Hollander) The Oxford Anthology of English Literature, Vol. 2, Oxford University Press, November 1990.
    • (Edited, with Lionel Trilling) Victorian Prose and Poetry, Oxford University Press, November 1990.
    • (Foreword) Freud's Dream of Interpretation, by Ken Frieden, November 1990.
    • (Introduction) Unlocking the English Language, by Robert Burchfield, New York, Hill & Wang/FSG, 1991.
    • (Commentary) The Gospel of Thomas, The Hidden Sayings of Jesus, Translation, with introduction, critical edition of the Coptic text and notes by Marvin Meyer, San Francisco: HarperSanFrancisco, 1992.
    • (Editor, With Paul Kane) Collected Poems and Translations of Ralph Waldo Emerson, by Ralph Waldo Emerson, Library of America, April 1992.
    • (Commentary) Zakhor: Jewish History and Jewish Memory, by Yosef Hayim Yerushalmi, and William Golding, University of Washington Press, March 1996.
    • (Afterword) A Dybbuk and Other Tales of the Supernatural, Translated by S. Ansky and Joachim Neugroschel, adapted by Tony Kushner, Consortium Book Sales, May 1997.
    • (Editor, With David Lehman) The Best of the Best American Poetry 1988-1997, Scribner, 1998.
    • (Introduction, with Ralph Manheim) Alone with the Alone: Creative Imagination in the Sufism of Ibn 'Arabi by Henry Corbin, Princeton University Press, April 1998.
    • (Introduction) The Collected Poems of Robert Penn Warren, Edited by John Burt, Louisiana State University Press, October 1998.
    • (Foreword) Death in Venice, Tonio Kroger, and Other Writings by Thomas Mann, Edited by Frederick A. Lubich, Continuum Intl Publishing Group, July 1999.
    • (Introduction) The Body Electric: America's best Poetry from the American poetry Review, by Stephen Berg, 2000.
    • (Introduction) On the Bible: Eighteen Studies by Martin Buber, Edited by Nahum Norbert Glatzer, Syracuse University Press, February 2000.
    • (Afterword) Frankenstein by Mary Shelley, Foreword by Walter James Miller, Signet Classic paperback: August 2000.
    • (Foreword) Anatomy of Criticism: Four Essays, With a new foreword by Harold Bloom, by Northrop Frye, August 2000.
    • (Introduction) Blood Meridian, by Cormac McCarthy, January 2001.
    • (Introduction) The Complete Poems of Hart Crane, The Centennial Edition, Edited by Marc Simon, With a new introduction by Harold Bloom, May 2001.
    • (Introduction) Absorbing Perfections: Kabbalah and Interpretation by Moshe Idel, Yale University Press, 2002.
    • (Foreword) Long Day's Journey into Night, by Eugene O'Neill, February 2002.
    • (Foreword) Côte Blanche by Martha Serpas, February 2002.
    • (Foreword) Atlantic Poets: Fernando Pessoa's turn in Anglo-American modernism, by Irene Ramalho Santos, University Press of New England, 2003.
    • (Editor) Walt Whitman, Selected Poems by Walt Whitman, February 2003.
    • (Foreword) Selected Poems by Conrad Aiken, Oxford University Press, April 2003.
    • (Foreword) The Ornament of the World: How Muslims, Jews, and Christians Created a Culture of Tolerance in Medieval Spain, by Maria Rosa Menocal, April 2003.
    • (Introduction) Don Quixote by Miguel de Cervantes, Translated by Edith Grossman, Ecco Press, November 2003.
    • (Introduction) Peripheral Light, Selected and New Poems, by John Kinsella, November 2003.
    • (Foreword) The Iceman Cometh, by Eugene O'Neill, Yale University Press, 2006.

    [edit] Selected articles

    • On Extended Wings; Wallace Stevens' Longer Poems. By Helen Hennessy Vendler, (review), New York Times, October 5, 1969.
    • Poets' meeting in the heyday of their youth; A Single Summer With Lord Byron, New York Times, February 15, 1970.
    • An angel's spirit in a decaying (and active) body, New York Times, November 22, 1970.
    • The Use of Poetry, New York Times, November 12, 1975.
    • Northrop Frye exalting the designs of romance; The Secular Scripture, New York Times, April 18, 1976.
    • On Solitude in America, New York Times, August 4, 1977.
    • The Critic/Poet, New York Times, February 5, 1978.
    • A Fusion of Traditions; Rosenberg, New York Times, July 22, 1979.
    • Straight Forth Out of Self, New York Times, June 22, 1980.
    • The Heavy Burden of the Past; Poets, New York Times, January 4, 1981.
    • The Pictures of the Poet; The Painting and Drawings of William Blake, By Martin Butlin. Vol. I, Text. Vol. II, Plates, (Review) New York Times, January 3, 1982.
    • A Novelist's Bible; The Story of the Stories, The Chosen People and Its God. By Dan Jacobson, (Review) New York Times, October 17, 1982.
    • Isaac Bashevis Singer's Jeremiad; The Penitent, By Isaac Bashevis Singer, (Review) New York Times, September 25, 1983.
    • Domestic Derangements; A Late Divorce, By A.B. Yehoshua Translated by Hillel Halkin, (Review) New York Times, February 19, 1984.
    • War Within the Walls; In the Freud Archives, By Janet Malcolm, (Review) New York Times, May 27, 1984.
    • His Long Ordeal by Laughter; Zuckerman Bound, A Trilogy and Epilogue. By Philip Roth, (Review) New York Times, May 19, 1985.
    • A Comedy of Worldly Salvation; The Good Apprentice, By Iris Murdoch, (Review) New York Times, January 12, 1986.
    • Freud, the Greatest Modern Writer (Review) New York Times, March 23, 1986.
    • Passionate Beholder of America in Trouble; Look Homeward, A Life of Thomas Wolfe. By David Herbert Donald, (Review) New York Times, February 8, 1987.
    • The Book of the Father; The Messiah of Stockholm, By Cynthia Ozick, (Review) New York Times, March 22, 1987.
    • Still Haunted by Covenant; The Penguin Book of Modern Yiddish Verse, Edited by Irving Howe, Ruth R. Wisse and Khone Shmeruk; American Yiddish Poetry, A Bilingual Anthology. Edited by Benjamin and Barbara Harshav; Selected Poems of Yankev Glatshteyn, Edited and translated by Richard J. Fein, (Reviews) New York Times, January 31, 1988.
    • New Heyday of Gnostic Heresies, New York Times, April 26, 1992.
    • A Jew Among the Cossacks; The first English translation of Isaac Babel's journal about his service with the Russian cavalry. 1920 Diary, By Isaac Babel, (Review) New York Times, June 4, 1995.
    • Kaddish; By Leon Wieseltier, (Review) New York Times, October 4, 1998.
    • View; On First Looking Into Gates's Crichton, New York Times, June 4, 2000.
    • What Ho, Malvolio!'; The election, as Shakespeare might have seen it, New York Times, December 6, 2000.
    • Macbush, (play) Vanity Fair, April, 2004.

    [edit] Books about Harold Bloom

    • Allen, Graham, Harold Bloom: Poetics of Conflict, Harvester Wheatsheaf (New York, NY), 1994.
    • Contemporary Literary Criticism, Volume 24, Gale (Detroit), 1983.
    • De Bolla, Peter, Harold Bloom: Toward Historical Rhetorics, Routledge (New York, NY), 1988.
    • Dictionary of Literary Biography, Volume 67: Modern American Critics since 1955, Gale, 1988.
    • Fite, David, Harold Bloom: The Rhetoric of Romantic Vision, University of Massachusetts Press (Amherst), 1985.
    • Moynihan, Robert, A Recent Imagining: Interviews with Harold Bloom, Geoffrey Hartman, J. Hillis Miller, Paul De Man, Archon, 1986.
    • Saurberg, Lars Ole, Versions of the Past--Visions of the Future: The Canonical in the Criticism of T. S. Eliot, F. R. Leavis, Northrop Frye, and Harold Bloom, St. Martin's Press (New York, NY), 1997.
    • Scherr, Barry J., D. H. Lawrence's Response to Plato: A Bloomian Interpretation, P. Lang (New York, NY), 1995.

    [edit] Awards

    • Fulbright Fellowship, 1955
    • John Addison Porter Prize, Yale University, 1956, for Shelley's Mythmaking
    • Guggenheim fellowship, 1962-63
    • Newton Arvin Award, 1967
    • Melville Cane Award, Poetry Society of America, 1971, for Yeats
    • National Book Awards juror, 1973
    • D.H.L., Boston College, 1973
    • D.H.L., Yeshiva University, 1975
    • Zabel Prize, American Institute of Arts and Letters, 1982
    • Sterling Professorship, Yale University, 1983
    • MacArthur Prize fellowship, 1985
    • Christian Gauss Award, 1988, for Ruin the Sacred Truths
    • Boston Book Review Rea Nonfiction Prize, 1995, for The Western Canon: The Books and School of the Ages
    • D.H.L., University of Bologna, 1997
    • D.H.L., St. Michael's College, 1998
    • National Book Award finalist, nonfiction, for Shakespeare: The Invention of the Human, 1998
    • National Book Critics Circle Award finalist, criticism, for Shakespeare: The Invention of the Human, 1998
    • New York Times Notable Book of the Year, for Shakespeare: The Invention of the Human, 1998
    • One of Publishers Weekly Best Books of the Year, for Shakespeare: The Invention of the Human, 1998
    • ALA/Booklist Editor's Choice, for Shakespeare: The Invention of the Human, 1998
    • D.H.L., University of Rome, 1999
    • 14th Catalonia International Prize, 2002
    • Hans Christian Andersen Award, Odense 2005, for his work in promoting wider awareness of Hans Christian Andersen as one of the greatest names of 19th century literature.

    [edit] See also

    [edit] External links

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