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From the Bible to Ralph Ellison, America's most prominent and bestselling literary critic takes an enlightening look at the concept of genius through the ages in a celebration of the greatest creative writers of all time. 50 photos.
- Sales Rank: #207439 in Books
- Published on: 2002-10-22
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 2.00" w x 6.50" l,
- Binding: Hardcover
- 832 pages
From Publishers Weekly
With The Western Canon, Yale-based critical eminence Bloom tapped into a strain of the cultural zeitgeist looking for authoritative takes on what to read. Bloom here follows up with 6-10 pages each on 100 "geniuses" of literature (all deceased) pointing to the major works, outlining the major achievements therein, showing us how to recognize them for ourselves. Despite the book's length, Bloom's mostly male geniuses are, as he notes "certainly not `the top one hundred' in anyone's judgement, my own included. I wanted to write about these." Bloom backs up his choices with such effortless and engaging erudition that their idiosyncrasy and casualness become strengths. While organized under the rubric of the 10 Kabalistic Sefirot, "attributes at once of God and of Adam Kadmon or Divine Man, God's Image," Bloom's chosen figures are associated by his own brilliant (and sometimes jabbingly provocative) forms of attention, from a linkage of Dr. Johnson, Goethe and Freud to one of Dickens, Celan and Ellison (with a few others in between them). A pleasant surprise is the plethora of lesser-known Latin American authors, from Luz Vaz de Camoes to Jos‚ Maria E‡a de Queiroz and Alejo Carpentier. Many familiar greats are here, too, as is a definition of genius. "This book is not a work of analysis or of close reading, but of surmise and juxtaposition," Bloom writes, and as such readers will find it appropriately enthusiastic and wild.
Copyright 2002 Cahners Business Information, Inc.
From Library Journal
Bloom, a distinguished and often controversial literary critic and best-selling author of numerous books about literature (e.g., How To Read and Why), explores the concept of literary genius through the ages by examining 100 writers. Aside from such "must includes" as Shakespeare, Dante, Cervantes, Homer, Virgil, and Plato, Bloom offers some perhaps less well known to American readers, such as Lady Murasaki and Octavio Paz, acknowledging that his selections are idiosyncratic and were chosen because he wanted to write about certain authors, not because they were necessarily in "the top one hundred." In the introduction, Bloom posits a definition of genius that is fleshed out in his discussion of each writer. Authors are clustered into Lustres, or groups of five, while a brief introduction to each section explains why the writers in the section are associated with one another. (Each of the Lustres is based on one of the common names for the Kabbalistic Sefirot, which Bloom describes as representing God's creativity or genius.) Although the book is a delight to read, its real value lies in the author's ability to provoke the reader into thinking about literature, genius, and related topics. No similar work discusses literary genius in this way or covers this many writers. Recommended for public and academic libraries.
Shana C. Fair, Ohio Univ. Lib., Zanesville
Copyright 2002 Reed Business Information, Inc.
From Booklist
Bloom's great distinction and power as a literary critic, and a best-selling one at that, is the union of his extraordinary erudition and his profound love for literature. A gifted reader, teacher, and writer, he has celebrated literature's munificence in such influential books as The Western Canon (1994) and How to Read and Why (2000), and now conducts a magnificent inquiry into that elusive quality called genius. Bloom strictly profiles "geniuses of language"--poets, dramatists, novelists, philosophers, and religious writers--and, except for a core group that includes Shakespeare, Cervantes, Dante, Milton, and Tolstoy, has selected his 100 (all deceased, including the most contemporary: Octavio Paz, Ralph Ellison, Iris Murdoch) not because they're the top geniuses, but because their quests were in some measure cosmic, their language transcendent, and their lives intriguing. Literature is a spiritual calling for Bloom and his geniuses, so he has organized this bountiful volume according to the Kabbalah's 10 divine attributes or emanations, the Sefirot, which chart "the process of creation." This makes for some wonderfully fresh and provocative juxtapositions, and for an elevating concentration on how each writer extends the path toward wisdom. Personal heroes such as Dr. Samuel Johnson and Ralph Waldo Emerson receive particularly incisive readings, as do Victor Hugo, Isaac Babel, Virginia Woolf, Wallace Stevens--well, one could go on. Bloom's mission in this stupendous yet intimate compendium of succinct yet sophisticated essays is "to activate the genius of appreciation" in his readers for one of humanity's finest callings, and that he does with ardor, art, wit, and deep knowledge. Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
42 of 45 people found the following review helpful.
Witty and erudite
By Lynn Harnett
Serious readers will imagine what fun it was for Bloom, compiling this celebration of (deceased) literary genius - reading and rereading, marveling at the passions, the artistry, and the jealousy and admiration they often felt for one another. Bloom, ("The Western Canon"), says his choices were "arbitrary." "These are certainly NOT `the top one hundred' in anyone's judgment, my own included. I wanted to write about these."
And write he does, with erudition, wit and verve. The most difficult thing about this book is the introduction, with its elaborate explanation of the book's structure, based on the Kabalistic "Sefirot," attributes of God and God's image, emanating out from an infinite center. Once embarked on the essays, Bloom's enthusiasm animates his scholarship. He begins with the "crown," five masters, "each of whom dominates his genre forever." These are Shakespeare, Cervantes, Montaigne, Milton and Tolstoy. The essays are short and tend to seize on one aspect, character or work to celebrate the whole. For Shakespeare it's Falstaff. "Does anyone else, in all of literature, enjoy what he is saying as much as Falstaff does?" And "All that Hamlet, Falstaff, and Cleopatra require of you is that you not bore them."
Bloom's writing is tart and barbed; he enjoys taking aim at his critics nearly as much as extolling his subjects. Perhaps it is partly to needle those who disdain his partiality for dead white males that he posits the Biblical writer J, or the Yahwist, (writer of parts of Genesis and Exodus) as a woman. He pokes fun at revisionists and deconstructionists, though he seldom wastes a full sentence on any of them. "In our increasingly virtual reality, three authors seem immune to the decline of authentic reading: Shakespeare, Austen, Dickens."
All three, says Bloom, share one profound gift: "personalities major and minor burst forth from the pages of these writers, in a profusion otherwise unmatched in the language." Personality is essential to Bloom, who has plenty of it himself, and his discussions of artists as varied as Milton and Hemingway, Dante and Tennessee Williams, George Eliot and Muhammad, Iris Murdoch and Mark Twain, are fired with their difficult personalities, and the personalities of their art, their place in their world, their yearnings, longings and demons. Bloom himself - enthusiastic, opinionated and authoritative - kindles the urge to read.
11 of 13 people found the following review helpful.
Or aspire to be one
By Ebrooke
Here's a fun, kind of humiliating, game to play along with friends: open the book to any page and read one sentence out loud; the first person to know something about one of the words or one of the people gets a point/drink/gold star, etc. Which makes Bloom's book sound slightly comical and merely a toy to be used during party games. It is an intense book and like Pound's "Cantos," you'll find yourself following an endless and exhausting maze of leads, references, languages, and what-not, all in the hopes of learning just a bit more about some of the thinkers showcased here. You may not read it cover to cover, and that's ok; it's a book to be savored and slightly scared of at the same time. Recommended, with caution.
10 of 33 people found the following review helpful.
Huh, What's That You Just Said?
By Tic Tac Toe
I bought this book on impulse while shopping for something else because I thought it might illuminate me on which authors I would find interesting. I didn't follow my usual due diligence about book shopping. It is poetic justice, of a sort, that it proved a complete waste of $. I'd love to have that money back to buy something worthwile.
Bloom's writing style is impossible to read, and his ruminations on why so-in-so did such-and-such are boring. I repeatedly caught myself reading while my mind was wandering on other thoughts completely unrelated to the subject at hand.
I find his explanation for why he would have chosen these one hundred authors to write about strange. He says that he didn't choose these because they are the top one hundred in his or anyone else's judgement, but that he wrote about them because he "...wanted to write about these." Huh, what's that you just said? That's a brilliant explanation from someone who can write pages about what one character said to another on page 143 of a particular book.
I also found the organization of the book clumsy. The grouping of authors into groups of ten, and then into to subgroups of five had no meaning, as Bloom readily acknowledges. But wouldn't the book, read by many for instructional purposes as in my case, have benefited from some literary-oriented or historically-oriented arrangement rather than these odd groupings?
My only hope now is that I can unload this pile of paper at Half Price Books and reclaim a portion of what I wasted.
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