Harold Bloom (1930–2019) was an American literary critic and the Sterling Professor of the Humanities at Yale University. His books include The Anatomy of Influence, The Shadow of a Great Rock, and Poetry and Repression.
“A magnificent meander through the flames and the breezes, by the
waters and over the earth of those creations, intimations and
thoughts that most matter. There will be few grand streams-of
consciousness like this in the future.”—Stoddard Martin, Jewish
Chronicle
“An extraordinary testimony to a long life spent in the company of
poetry and an affecting last declaration of his passionate and
deeply unfashionable faith in the capacity of the imagination to
make the world feel habitable”—Seamus Perry, Literary Review
“Profound…Draws more deeply on [Bloom’s] scholarly expertise….Shows
his readers how even literary criticism must be decoded like a
dramatic poem or a novel before we can consume it.”—Eileen M. Hunt,
Times Literary Supplement
“In the end, only words have a chance of outliving us, and Bloom
records his best guesses at the words that might endure. Until the
end, Bloom was a man of incessant curiosity, with more questions
than answers about an essential poetic imagination.”—Thylias Moss,
Professor Emerita, University of Michigan
“This book is superb, utterly convincing, and absolutely
invigorating. Bloom’s final argument with mortality ultimately has
a rejuvenating effect upon the reader, and is nothing short of a
revelation.”—David Mikics, author of Slow Reading in a Hurried
Age
"I felt reading this book the way Virginia Woolf in her diary
describes her feeling about reading Shakespeare: 'I never yet knew
how amazing his stretch and speed . . . is, until I felt it utterly
outpace and outrace my own.'"—Laura Quinney, author of William
Blake on Self and Soul
“Bloom helps us grasp what Dickinson calls ‘vaster attitudes,’
allowing us to take a proud flight and to disdain, for a time, our
own mortality.”—William Flesch, Brandeis University
"Bloom! The life, the voice, the sorrowful countenance, the
Emersonian swoon, the feasting intellect, the daemonic rapture. His
I is an Eye, all-seeing, a container of multitudes, a volcanic
primer on the crisis of enchantment in what he dares to name ‘a
universe of Death.’ And here, in this last masterwork—an
impassioned meditation on the poets who made him—his living breath
is indomitably felt.”—Cynthia Ozick
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