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The American Canon: Literary Genius from Emerson to Pynchon Hardcover – October 15, 2019

4.5 4.5 out of 5 stars 71 ratings

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Our foremost literary critic on our most essential writers, from Emerson and Whitman to Hurston and Ellison, from Faulkner and O'Connor to Ursula K. LeGuin and Philip Roth.

No critic has better understood the ways writers influence one another—how literary traditions are made—and no writer has helped readers understand this better, than Harold Bloom. Over the course of a remarkable sixty-year career, in such bestselling books as 
The Western CanonShakespeare: The Invention of the Human, and How to Read and Why, Bloom brought enormous insight and infectious enthusiasm to the great writers of the Western tradition, from Shakespeare and Cervantes to the British Romantics and the Russian masters. Now, for the first time, comes a collection of his brilliant writings about the American tradition, the ultimate guide to our nation’s literature. 
 
Assembled with David Mikics (
Slow Reading in a Hurried Age), this unprecedented collection gathers five decades’ worth of Bloom’s writings— much of it hard to find and long unavailable—including essays, occasional pieces, and introductions as well as excerpts from his books. It offers deep readings of 47 essential American writers, reflecting on the surprising ways they have influenced each other across more than two centuries. The story it tells, of American literature as a recurring artistic struggle for selfhood, speaks to the passion and power of the American spirit.  
 
All of the visionary American writers who have long preoccupied Bloom―Emerson and Whitman, Hawthorne and Melville, and Dickinson, Faulkner, Crane, Frost, Stevens, and Bishop―make their appearance in 
The American Canon, along with Hemingway, James, O’Connor, Ellison, Hurston, Le Guin, Ashbery and many others. Bloom’s passion for these classic writers is contagious, and he reminds readers how they have shaped our sense of who we are, and how they can summon us to be better versions of ourselves. Bloom, Mikics writes, “is still our most inspirational critic, still the man who can enlighten us by telling us to read as if our lives depended on it: Because, he insists, they do.”  

For readers who want to deepen their appreciation of American literature, there's no better place to start than
The American Canon.
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Editorial Reviews

Review

“A deep consideration of significant American writers, from Emerson to Pynchon...An erudite tour of the American literary landscape from one of its most important observers.” —Kirkus Reviews

“Ambitious, authoritative, and certainly arguable, Bloom’s compendium is an achievement of immense use and interest to literature students and general readers alike.”
Publishers Weekly
 
"He stands for a rare intellectual purity, being not only a kind of shaggy saint in his devotion to literature but also ... a gadfly, a doomsayer and a great teacher."
—Michael Dirda, The Wall Street Journal


"...an impressive and important look at what he sees as the core of American literature."
—PopMatters.com

About the Author

Harold Bloom (1930-2019) was Sterling Professor of the Humanities at Yale University and America's foremost literary critic. He was the author of more than thirty books, including the New York Times best sellers The Western Canon, Shakespeare: The Invention of the Human and The Book of J as well as A Visionary Company, The Anxiety of Influence, and Possessed by Memory: The Inward Light of Criticism. He was a MacArthur Prize Fellow, a member of the Academy of Arts and Letters, and the recipient of many awards and honorary degrees.

David Mikics is the Moores Distinguished Professor of English at the University of Houston. He is the editor of The Annotated Emerson and the author, most recently, of Bellow's People and Slow Reading in a Hurried Age. His reviews and articles have appeared in Tablet, the New Republic, and the New York Times.

Product details

  • Publisher ‏ : ‎ Library of America; Annotated edition (October 15, 2019)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 436 pages
  • ISBN-10 ‏ : ‎ 1598536400
  • ISBN-13 ‏ : ‎ 978-1598536409
  • Item Weight ‏ : ‎ 1.54 pounds
  • Dimensions ‏ : ‎ 6.22 x 1.1 x 9.27 inches
  • Customer Reviews:
    4.5 4.5 out of 5 stars 71 ratings

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4.5 out of 5 stars
4.5 out of 5
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Top reviews from the United States

Reviewed in the United States on May 9, 2020
22. The American Canon by Harold Bloom. Whether or not you agree with Bloom’s criticisms of what he asserts are our leading American writers, you can hardly deny the power of his intellect, sensibility and transparency of communication. The essays on Whitman and Dickinson are outstanding. Whitman is undeniably our greatest genius as a poet, if not as a thinker. Dickinson, however, is credited with a brilliant intellect veiled with a unique style whose minimalism can disguise the philosophical import of her thinking. Bloom, using many of her poems as examples, reveals her rebellious nature and the gleeful pleasure she took in her self-knowledge of her mastery. Unfortunately, the men of letters that she sought as mentors were ones who recognized her as a double agent and deliberately cut her off at the knees. Literary society was not ready for a woman who exhibited self-confidence demonstrated by these poems. Ultimately, Dickinson took refuge in seclusion, showing her work to a few acolytes such as her sister-in-law who took the responsibility after Dickinson’s death to champion her work. One contemplates the satisfaction Dickinson would take in today’s acclimation of her talent. Bloom’s erudite summation serves as recrimination to her own era. Bloom reveres Emerson as the lynch pin of American literature: not its greatest poet, but its exemplary essayist. Bloom’s focus on Emerson requires one to take a harder look at the Sage of Concord, accepted as a dominant figure like George Washington, unassailable on their pedestals. Bloom’s list does not merely focus on writers he likes, but includes those that made an impact, sometimes underserved like Poe whom he rightly eviscerates. He also recognizes the unfortunate comedian in Twain who let that demon loose to ruin the conclusion to the splendid Huckleberry Finn. Twain’s prediliction for broad humor often undercut his cynical irony . He achieved wide popularity, but often that over-shadowed the seriousness of purpose in Huck Finn, his major work. Bloom’s take on Huck is contrary to the common view by Hemingway and Salinger, two writers clearly under Twain’s influence in their coming-of-age novels .Forging on, I found the essay on Wharton carefully focused on her strengths and best work. Occasionally, Bloom chooses obscure examples instead of what is clearly a writer’s masterful and well-known piece. Except for Miniver Cheever, I’m not that familiar with the work of Edwin Arlington Robinson, but I soon will be having ordered his collected poems. The examples Bloom uses charmed me especially lines from Luke Havengal. Bloom skids through Dreiser neglecting what I find intriguing: how awkward a wordsman Dreiser was but he had a knack for choosing contemporary topics: prostitution, murder—you could envision him today as a talented screen writer. In Cather, he doesn’t mention my favorite The Song of the Lark. Instead veering from his tendency to choose the neglected, he highlights the overly familiar My Antonia. Frost and Williams get a rather perfunctory treatment, but he is ravished by Stevens who I have always suspected of word infatuation and possibly saying nothing while putting on a vivid sideshow. A telling essay on Eugene O’Neill correctly convicts him of lacking rhetorical complexity and zeros in on the fact that the plays embody one subject: O’Neill himself, but that is what provides their power—the authors vision of the doomed family. Bloom dismisses Fitzgerald as a minor talent as do It. His estimation of Faulkner matches my own in considering As I Lay Dying his major work, though he overlooks my second favorite The Hamlet in favor of Light in August which I would rank third. In any event, Bloom appreciates Faulkner’s immense gift, not just for epics, but for humor. Hart Crane’s notable command of language receives a bow as do his nods to mentors like Melville and Shelley. There’s a current rejection of enhanced vocabulary: Crane’s detractors favor unadorned speech and ignore Crane’s masterly use of lyric and the epic reach of poems like The Bridge. Crane is a priest of diction, images flowing sensuously as the great river itself. “My word I poured,” he says in The Broken Tower and one recognizes the experience of being overtaken. Bloom credits Crane as having”the spiritual conviction of Dante.”unseals her earth/and lifts love in its shower.” Bloom identifies the native lyricism of Hemingway’s prose as well as his early poetry which Stevens insisted was his real métier. In his short stories, Hemingway joins the panorama of the greats: Turgenev, Maupassant, Joyce, Chekhov None of his novels approach the stories eminence thought The Sun Also Rises is a contender. A highly interesting essay on Tennessee Williams finds Bloom ranking him as one of America’s top dramatists “the most articulate and adequate” he says situating Williams above O’Neill, Wilder, Albee and Kushner and crediting his major works as Cat on a Hot Tin Roof, The Glass Menagerie and A Streetcar Named Desire. Bloom evaluates James Baldwin’s essays over his fiction citing the sermon-like Go Tell It On the Mountain and The Fire Next Time. Flannery O’Connor is revered as the most original story writer since Hemingway. A Good Man is Hard to Find remains one of O’Connor’s masterpieces. Her other memorable stories include Everything That Rises Must Converge and my own favorite, second to Good Man, Revelation. Bloom also mentions favorably the novel The Violent Bear it Away, though I don’t think longer fiction was ever her métier. Of modern poets, James Merrill rates high marks as he ought along with the flawed visionary Merwin and Ashbery whom Bloom identifies as the heir of Whitman. I am further pleased to note that Bloom agrees with my view that Song of Solomon is Toni Morrison’s fictional apex. However, that Bloom includes Roth on his list and not Bellow mystifies me Surely nothing of Roth’s narcissistic fiction approaches the level of Bellow’s Humboldt’s Gift—the first real argument I have with Bloom’s selection. I won’t argue about Cormac McCarthy. Bloom correctly focuses on Blood Meridian, though I would give equal billing to the dystophian The Road—which may have been written after Bloom composed this essay. Bloom admires DeLillo’s chilly narratives more than I do and I put Pynchon in a similar category. But overall, one can’t deny the importance of The American Canon and Bloom’s astute and erudite take on our literary traditions.
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Reviewed in the United States on August 21, 2023
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Reviewed in the United States on February 1, 2022
Book arrived in beautiful condition, well packaged. Wonderfully informative content.
Reviewed in the United States on November 2, 2019
In this volume, the general chapter-by-chapter brilliance of the Bloom-authored commentary on particular canonized authors is offset by a dubious selection of authors for canonization by editor David Makics. Yes, this book's canon is Makics' canon, not Bloom's. Indeed, in an email to me this past February Bloom wrote (responding to an inquiry by me about whom the book would canonize), "I have no idea what will be in the book The American Canon." For some perspective on Mikics’ selections, only 22 novelists of the 35 novelists in Bloom’s 2004 "Novelists and Novels" are included. Thirteen are deleted, namely Kate Chopin, Upton Sinclair, Penn Warren, Sinclair Lewis, John Steinbeck, Richard Wright, Saul Bellow, Norman Mailer, Bernard Malamud, William Gaddis, Walker Percy, Paul Auster and Amy Tan. Three novelists -- Theodore Dreiser, Katherine Ann Porter and Eudora Welty-- are added.

In his “Preface” Makics describes his selection in these words: “I have chosen to represent the figures about whom Bloom has made his strongest argument and have omitted some well-known figures toward whom he displayed mixed feelings in his criticism.” “Tried to represent” might have been more candid. For example, as regards the avoidance of “mixed feeling,” the Bloom reading on Edward Albee, which mentions only "Zoo Story" and "Who’s Afraid of Virginia Woolf," says of the latter that it is “hardly for all time.” Regarding omitted “well-known figures,” of the 9 U.S Nobel Prize winners only O’Neal, Hemingway, Faulkner and Morrison are included. Readings, though almost invariably excellent, do not always seem optimally selected, as where the Pynchon is represented by a selection that refers only to "Gravity’s Rainbow" and "The Crying of Lot 49," despite Bloom’s reference to "Mason & Dixon" in his “Introduction” to Novelists and Novels as “one of the four grand narratives composed by living Americans.”

Both Bloom fans and newcomers will find much to enjoy in "The American Canon." However, those seeking word from Bloom on his favorites in a form free of possibly excessive excisions can proceed to "Novelists and Novels" and parallel tomes on the epic, the short story, the play, the essay and the poem.
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Reviewed in the United States on October 17, 2019
RIP Harold. Odd to have received your last book the day after you passed. I have not started it yet - will post another review once I have.
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Reviewed in the United States on May 28, 2023
This work is a thought-provoking and insightful literary analysis of the most influential and celebrated works of American literature. Bloom, one of the most respected literary critics of the 20th century, offers a unique approach in examining the canon by focusing on the particular qualities that make each work distinctive and timeless.

The book is divided into four sections, each covering a specific era of American literature from the colonial period to the present day. Bloom provides a detailed analysis of fifty works and their authors, including Nathaniel Hawthorne, Walt Whitman, Emily Dickinson, William Faulkner, and Toni Morrison. He examines these works through the lens of an “agonistic” reading, wherein he emphasizes the competitive elements of each piece. These competitive elements may take the form of internal or external conflicts that are addressed within the texts, such as the struggle for identity, the tension between individualism and social conformity, or the challenge of artistic creation.

Bloom’s prose is erudite but accessible, and his insights are consistently thought-provoking. He offers a wealth of knowledge on each of the authors and works he covers, but he never overwhelms the reader with excessive scholarly jargon. His enthusiasm for literature is infectious, and he encourages readers to seek out these works for themselves.