The Daemon Knows: Literary Greatness and the American Sublime, by Harold Bloom
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The Daemon Knows: Literary Greatness and the American Sublime, by Harold Bloom
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NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND KIRKUS REVIEWSHailed as “the indispensable critic” by The New York Review of Books, Harold Bloom—New York Times bestselling writer and Sterling Professor of Humanities at Yale University—has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. Now he turns at long last to his beloved writers of our national literature in an expansive and mesmerizing book that is one of his most incisive and profoundly personal to date. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom’s most masterly book yet. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers’ works in conversation with one another, exploring their relationship to the “daemon”—the spark of genius or Orphic muse—in their creation and helping us understand their writing with new immediacy and relevance. It is the intensity of their preoccupation with the sublime, Bloom proposes, that distinguishes these American writers from their European predecessors. As he reflects on a lifetime lived among the works explored in this book, Bloom has himself, in this magnificent achievement, created a work touched by the daemon. Praise for The Daemon Knows“Enrapturing . . . radiant . . . intoxicating . . . Harold Bloom, who bestrides our literary world like a willfully idiosyncratic colossus, belongs to the party of rapture.”—Cynthia Ozick, The New York Times Book Review“The capstone to a lifetime of thinking, writing and teaching . . . The primary strength of The Daemon Knows is the brilliance and penetration of the connections Bloom makes among the great writers of the past, the shrewd sketching of intellectual feuds or oppositions that he calls agons. . . . Bloom’s books are like a splendid map of literature, a majestic aerial view that clarifies what we cannot see from the ground.”—The Washington Post“Audacious . . . The Yale literary scholar has added another remarkable treatise to his voluminous body of work.”—The Huffington Post “The sublime The Daemon Knows is a veritable feast for the general reader (me) as well as the advanced (I assume) one.”—John Ashbery “Mesmerizing.”—New York Journal of Books “Bloom is a formidable critic, an extravagant intellect.”—Chicago Tribune “As always, Bloom conveys the intimate, urgent, compelling sense of why it matters that we read these canonical authors.”—Kirkus Reviews (starred review)“Few people write criticism as nakedly confident as Bloom’s any more.”—The Guardian (U.K.)
The Daemon Knows: Literary Greatness and the American Sublime, by Harold Bloom- Amazon Sales Rank: #81158 in Books
- Brand: Bloom, Harold
- Published on: 2015-05-12
- Released on: 2015-05-12
- Format: Deckle Edge
- Original language: English
- Number of items: 1
- Dimensions: 9.40" h x 1.70" w x 6.56" l, .0 pounds
- Binding: Hardcover
- 544 pages
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Most helpful customer reviews
23 of 23 people found the following review helpful. Read it, if you can. By Roadhouse I don't think one can really "review" this book. The mantra here is that when it comes to literary greatness "the Daemon knows how it is done." This makes sense. If you want know how your art can ascend to the near-God layer of the atmosphere, it would be smart to ask one who resides there. Mr. Bloom sets out here to show what he believes is good evidence that some of our greatest (at least the 12 discussed) American writers who achieved the sublime, did so upon the foundation of those characteristics (self-reliance, individuality, freedom (especially from the handcuffs of history), etc that we folks generally consider to be among the hallmark attributes of an "American." While the political roots of the "American" were established in the 1700s, the American character was not realized as a source of literary greatness until the 1800s and early 1900s.The book is not a teaching vehicle. If you want to understand more about Wallace Stevens and the others, read something else. This book is about the synthesis of evidence in the literature of an "American sublime." It is very tough going for the reader, even for the elite reader I suspect (not being one). I am not sure the hypothesis is persuasively shown in all 12 writers discussed. But the journey is worth it.Only one of Mr. Bloom's stature and longevity could have attempted the argument or even thought of it. The language is glorious and the scholarship impeccable. The book is a close encounter with thoughts of one of our great literary analysts. Whatever you take from the book will exceed the effort it took you to read it, a good bargain.
50 of 58 people found the following review helpful. Bloom at Full Power By PJE This is Harold Bloom at full-tilt and full-power. On display here you'll see the amazing range of capacities that make him perhaps the preeminent literary critic of all time. In stunning accounts of the major American authors--Emerson, Dickinson, Melville, Twain, Faulkner and more--you make contact with Bloom's exuberant prose, and his astonishing memory and learning. But Bloom is not weighed down by learning and recollection: his powers of intuition, by which he uncannily feels his way into the life of the text before him, are in full play here. Bloom is a great scholar: but he has the instinctive power we associate with great actors and athletes.This book is clear, lively and available: a splendid introduction to Bloom and a fine gift to his many justified admirers.
12 of 12 people found the following review helpful. Stimulating and passionate reading of classic American writers of poetry and prose By Montana Skyline Bloom quotes Oscar Wilde's observation that criticism is "the only civilized form of autobiography." Such is a weakness but also the great strength of Harold Bloom's latest (and if he is to be believed) possibly final major book of literary criticism. If you find Bloom's passion for literature, exceptional close reading, and "sublime" insights attractive, then you likely will love this book, as I did. I think there is no living critic whose analysis and arguments about English literature (and American literature in particular) are more stimulating or more likely to send you the shelf to read or re-read the major American authors of poetry and prose featured in this book. Prospective readers might be on notice that his treatment in the present volume of some writers, e.g., Whitman and Melville, is more thoughtful and extended than his attention to others, e.g., Dickinson and James. Invariably, however, there is something to be learned in each case.Bloom has been accused of being effete in his style and attention, and arguably with some cause. Bloom quotes with evident approval Frost's claim to speak at two levels, aiming certain arguments of his poems at more discerning readers. And, at times, Bloom's style is effusive and simply over-done. If I offer my own particular complaint, it is that he is too much inclined to the technical jargon of literary criticism, and when he has a concept, phrase or term that he is focused upon, e.g., "Daemon," "sublime" or the like, he can beat it to death --- I find myself occasionally groaning as a favored phrase is administered to readers like a beating. In fairness, this is usually because he is making a central, thematic point...but still.The stylistic tics above, however, are but a modest annoyance when weighed against the strength of Bloom's analysis, and his passion for the writers he treats more than compensates for some gushing. One need not agree with Bloom's arguments or taste in all instances (Nathaniel Hawthorne has never drawn me out) to value his insights. He remains a provocative critic in the best sense.
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