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This dazzling book is at once an indispensable guide to Stevens's poetic canon and a significant addition to the literature on the American Romantic movement. It gives authoritative readings of the major long poems and sequences of Stevens and deals at length with the important shorter works as well, showing their complex relations both to one another and to the work of Stevens's precursors, Wordsworth, Shelley, Keats, Emerson, and Whitman. No other book on Stevens is as ambitious or comprehensive as this one: everyone who writes on Stevens will have to take it into account. The product of twenty years of meditating, thinking, and writing about Stevens, this truly remarkable book is a brilliant extension of Bloom's theories of literary interpretation.
- Sales Rank: #597193 in Books
- Published on: 1980-05-31
- Original language: English
- Number of items: 1
- Dimensions: 9.28" h x 1.10" w x 6.04" l, 1.42 pounds
- Binding: Paperback
- 416 pages
Most helpful customer reviews
22 of 25 people found the following review helpful.
The Bloom is Off the Prose
By Jeffrey Teich
Those of us who have bathed in the dazzling light of Bloom's exegeses of the Shakespeare plays will find on display in this volume a more obscure side of the great critic. The reader encounters here an earlier edition of Bloom, one who now expresses himself in sometimes tortuous prose and unwieldy language, now bludgeons rather than dissects. This Bloom has not yet gained his sure footing in the sparse, pithy prose of his more recent works which reveal him to be a master interpreter. Still, there is much here to admire; for Bloom shows us Steven's pedigree with marvelous clarity. Beginning with Emerson and proceeding to Whitman, Dickinson, Harte and others, Bloom illuminates Steven's debt to the rich provender on which he drew. (My own acquaintance with Emerson had languished since high school , but I soon found myself reading Emerson's superb essay on Shakespeare and Whitman's Leaves of Grass with a new eye.) Bloom shows how 'the American religion', an atheistic blending of respect for individual rights, power, will, and fate found their firm expression in Emerson and travelled onward to inform the poetry which followed, especially Stevens'. Bloom shows us how the tropes of fate, death, mother, and the sea wind through the years as each poet in turn struggles to express a uniquely American sense of meaning. True enough, Bloom fiddles too much with the technical bits, but he gives us a place from which to view Stevens' work so that we can now grasp why, as Bloom says, he was the greatest American poet of the 20th century- and perhaps of any century. Such favorites as The Auroras of Autumn, The Man with the Blue Guitar, The Emperor of Ice Cream and a score of others shine for us in a new light. Best of all, the reader carries with him the secret knowledge that despite these early slips,Bloom's brilliance will only grow.
5 of 5 people found the following review helpful.
The agony and ecstasy of reading.
By Barry Smith
I check 3 stars because, forced to check something, there's no 2.5, and thought I should tilt upward, considering what poet we're talking about. Very learned book on Stevens, too learned I think, anyway so much so a layman like me should probably keep his mouth shut, but the pleasure and melancholy in reading Stevens' poems, how obsessed one can get reading them, the daunting level from which he speaks, his language and measure like a god's, and the difficulty is rewarded many times over, for one learns a little more, feels a little more, inches up to each poem a little more, at each rereading, which explains at least in part why we're expending the energy in writing and reading books about them, for his poems, especially in this case Sunday Morning, are the products of a truly great, epochal poet, that belongs in the canon more assuredly than most.
But Mr. Bloom, you speak as though you're having late coffee and oranges in a sunny chair, while I in darkness cry out, please help me, how can I keep reading your book when I read something like this on the very poem in question: "... I think it not accidental that Sunday Morning, with all its Wordsworthian, Keatsian, and even repressedly Whitmanian touches, should be Stevens' most Tennysonian poem..." You think it not "accidental"? Help! I think I'm drowning! Anxiety of influence? My God, someone throw me a life line! Do I have expend 2 lifetimes devoted to careful study on all these other poets before I can even make a hairline crack in the seal that holds back Stevens? Perhaps I do. Farewell then, I'm going under, there's nothing more for me here in this life, someone notify my children, for I thought I could read Stevens, but now I wonder if I can even walk down the street!
10 of 15 people found the following review helpful.
Bloom shows Stevens a fit member of the post-Whitman/Emerson tradition
By Bo K.
Harold Bloom is probably my favorite critic, and Stevens one of the only 20th century poets in English I can bear to read without becoming hopelessly bored by the belatedness of the work. Bloom's book here is a close reading of the standard shorter and longer works of Stevens, and in so doing, Bloom shows how Steven's language and metaphor place him in the line of such Romantic poets as Keats, SHelly, and then of course, and most importantly, Whitman and Emerson. Emerson of course wrote rather weak poetry but his conception of the poet and his call for an American bard remain so strong today that very few poets/writers have the cognitive strength to deal with him. Most American writers fall back into the trope of nostalgia and flight (courtesy of Brockdon Brown); Stevens wrestled with this too, but his work ultimately stands in the orphic tradition of American poetry founded by Emerson, and whose strongest exemplars are of course Whitman and probably the Pan-American Pablo Neruda.
My only criticism of this book is that a) it does not address the great late poem "Sail of Ulysses," which is one of the most Emersonian poems in Steven's canon; further, b), Bloom's tone in this book, as compared with most of his others about the Romantic tradition, is not quite so strident. Some don't like Bloom at when he is strident, but I love his work the more he sounds like a high-toned Christian preacher in his Emersonian pulpit. However, it may be that Bloom is unable to rise to such heights in this book because, as great as Stevens is, he never truly defeated his agon with Emerson and Whitman; he never truly overcame his belatedness. Stevens came very near to doing so in his best work, but I am sorry to say that I think Stevens remains an ephebe to Emerson and Whitman. That is not to reduce his achievement; very few poets are able to defeat their precursors. Stevens is a canonical poet without a doubt; however, when I then open Whitman or Neruda, I see that his voice is indeed quite a bit weaker than theirs. The little old lady from Des Moines will then say, "yes sir of course, but whose voices could ever be as strong as theirs?!" And I would say to her then hallelujah madame!
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