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Discussed and debated, revered and reviled, Bloom's tome reinvigorates and re-examines Western Literature, arguing against the politicization of reading. His erudite passion will encourage you to hurry and finish his book so you can pick up Shakespeare, Austen and Dickens once again to rediscover their original magic. In addition, his appendix listing of the "future" canon - the books today that will be timeless tomorrow - is sure to be the template for future debate.
From Booklist
A review of 200 or 300 words cannot do justice to a book like this: it is the summation of a great critic's most fundamental beliefs--something like a dying Bernstein's last performance of Mahler's ninth, though in this case a lot less sad. In fact, this book of essays represents Bloom at his most celebratory, and there's a wonderful, vigorous energy about it. Why, one wonders, reading it, do we bother reading anybody but Shakespeare, Dante, or Chaucer? The argument for Shakespeare is particularly compelling. Bloom believes that Shakespeare is the canon: that he defines for the Western world the standards by which we judge all literature. And more: he defines for us what we are ourselves, what we understand of human nature. This argument, offered with Bloom's customary flare for the controversial, is akin to the remark that all philosophy is a footnote to Plato, and like it, is probably in large measure true. Thus, modern psychology doesn't add very much to what people could have already learned from reading Shakespeare because Shakespeare defines the limits of what we know: we can't get beyond or outside him. Certainly, experience teaches that Bloom is right; indeed, the evolution of human consciousness seems to have taken one of its periodic jolts forward about the time of Shakespeare, and he above all seems to have captured the entire scope of what was new. As Bloom points out, Shakespeare is universally adored, in all languages, and perhaps it is for this reason. The essays on Dante and Chaucer are almost equally powerful, though in a sense less awesome. And the brief remarks about the powerful movements of resentment trying to push apart these great pillars of the Western canon, though perspicacious, are melancholy and incidental. Get this book for the great essays on Shakespeare. For lovers of literature, probably nothing more powerful or in an odd way more religious will be written this year. Stuart Whitwell
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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2 von 2 Kunden fanden die folgende Rezension hilfreich:
5.0 von 5 Sternen
At last, a celebration of literature.....,
Von Brooke276 (Denver, CO) - Alle meine Rezensionen ansehen
Rezension bezieht sich auf: The Western Canon: The Books and School of the Ages (Taschenbuch)
After decades of endless bickering from the School of Resentment, we finally have a bold alternative. Bloom necessarily links many works with the flowering of Western Civilization (our ideas, values, and contradictions), but he remains true to the texts themselves; never inserting needless political commentary and postmodern gibberish. Bloom selects a wide variety of authors, which allows the reader to understand the diverse nature of the canon itself (compared to the artificial and often times unwarranted "inclusions" often seen in more politically correct collections). However, the key to this book, or any of Bloom's undeniably readable work is that he, unlike the self-righteous voices of multiculturalism (who are only concerned with "fairness," righting past wrongs, oppression, and the "hidden forces" of privilege in literature), understands that the only concept that truly matters is the one least accepted in our current age -- JOY. Bloom brings back this underrated and long forgotten reaction to the written word and I thank him for that.
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5 von 6 Kunden fanden die folgende Rezension hilfreich:
5.0 von 5 Sternen
hurray for non-politically correct writing,
Von
Rezension bezieht sich auf: The Western Canon: The Books and School of the Ages (Taschenbuch)
I have said lots about Bloom in reviews of his other books. Suffice it to say that he was a literary genius who took advantage of his odd sleeping patterns and low need for sleep to read scores of books a week for his whole life. Therefore, I appreciate Bloom for his encylopedic knowledge of literature. And don't think he hasn't read contemporary multi-cultural works -- it's just that he never loses his perspective because he can hold the classics in his hands along with new works and compare them in an unbiased way. Like his book on Shakespeare, this book's main virtue is that it will inspire both the inexperienced reader and the long time reader to pick up many of these masterpieces and read them (or reread them). For that alone, Bloom deserves praise. You may not always agree with him, but you cannot help but be in awe of his knowledge base which extends from the biblical to the modern with few gaps. I found the reading list helpful as well. Of course he leaves out many great authors, but he's not trying to be all inclusive and that shouldn't stop you from seeking out other great works of literature. This is a great introduction to many great works that deserve to be read by any thinking person.
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Silly,
Rezension bezieht sich auf: The Western Canon: The Books and School of the Ages (Taschenbuch)
I don't know what Harold Bloom was trying to achieve with this book, but his insistence on the highest cultural standards is belied by the whole idea of it. The only people who have any genuine stake in there being such a thing as a Western Canon are tenured professors of literature - obviously, if everybody chucks out Montaigne in favour of Toni Morrison, then Bloom is going to be out of a job. But that ain't going to happen - at least, not outside the frenzied imaginations of elderly professors. At the risk of making a really terrible pun, a canon appears to be something of which writers are in permanent danger of being violently expelled. I see absolutely no point in trying to affirm some sort of Top Ten, or Top Hundred, or Top 10,000 Great Writers, unless it's to market a fat book on the strength of it. Writing happens, and literature becomes canonical, from the bottom up, not by the fiat of academics. (You may argue that it's academic prestige that in the end gives a book canonical status, but no claret-drinkin', tutorial-givin', pipe-smokin' blow-in is going to persuade me that Saul Bellow is a better writer than Thomas Pynchon, no matter how many more honorary degrees he has. There, I've put my cards on the table.) If anything, this book is a symptom of exactly the kind of superficality Bloom affects to deplore. His narrowness (has this man spent a single week of his adult life off-campus? If so, you'd never tell) is the strongest possible rebuke to his championing of the virtues of reading the classics. He seems to have little to say about these writers other than "Read This!" If books are ultimately only about other books, then there's no point in reading or writing at all. I gave him two stars on the strength of isolated insights, such as the notion that Emily Dickinson has more "cognitive originality" than any other poet since Dante; an interesting and suggestive idea, pity that Bloom doesn't make more of it. The endless wittering about Who gets to be in the Canon and Who doesn't and Why ends up making Bloom seem like a cranky pundit during the post-match breakdown on a Saturday sports show. "Well, Borges played a good match, he's a good player, but in the end, Barry, he hasn't the staying power, he hasn't the stamina of a Cervantes, certainly the finest midfielder the Spanish have ever known." You'll get more enlightment browsing in the Classics section of any largish bookshop. Risible. Helfen Sie anderen Kunden bei der Suche nach den hilfreichsten Rezensionen
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