Harold Bloom

12/21/2017 Harold Bloom - Wikipedia
Harold Bloom
Harold Bloom (born July 11,
Harold Bloom
1930) is an American literary critic
Born July 11, 1930
and Sterling Professor of
The Bronx, New York
Humanities at Yale University.[1]
Since the publication of his first
Occupation Literary critic, writer,
professor
book in 1959, Bloom has written
more than forty books,[2] including Education Cornell University
twenty books of literary criticism,
(B.A.)
Yale University (PhD)
several books discussing religion,
and a novel. He has edited
Literary Aestheticism,
movement Romanticism
hundreds of anthologies
concerning numerous literary and Spouse Jeanne Gould (m.
philosophical figures for the
1958; 2 children)
Chelsea House publishing firm.[3][4]
Bloom's books have been translated into more than 40 languages.
Bloom came to public attention in the United States as a commentator during

the canon wars of the early 1990s.[5]
Contents
Early life
Teaching career
Personal life
Writing career
Defense of Romanticism
Influence theory
The Agon, Strong & Weak Misreadings
https://en.wikipedia.org/wiki/Harold_Bloom 1/26
Addenda and Developments of his Theory

Novel experiment
Religious criticism
The Western Canon
Work on Shakespeare
2000s
Influence
Reception, criticism and controversy
Selected bibliography
Books
Articles
See also
References
Further reading
External links
Early life
Bloom was born in New York City, the son of Paula (Lev) and William Bloom.
He lived in the South Bronx at 1410 Grand Concourse.[6][7] He was raised as an
Orthodox Jew in a Yiddish-speaking household, where he learned literary
Hebrew;[8] he learned English at the age of six.[9] Bloom's father, a garment
worker, was born in Odessa and his mother, a homemaker, near Brest
Litovsk.[8] Harold had three older sisters and an older brother of whom he is
the sole survivor.[8]
As a boy, Bloom read Hart Crane's Collected Poems, a collection that inspired

his lifelong fascination with poetry.[10] Bloom went to the Bronx High School of
Science (where his grades were poor but his standardized-test scores were
high)[11], and subsequently received a B.A. from Cornell in 1951, where he was
a student of English literary critic M.H. Abrams, and a PhD from Yale in
1955.[12] Bloom was a standout student at Yale, where he clashed with the
faculty of New Critics including William K. Wimsatt. Several years later, Bloom
dedicated his first major book, The Anxiety of Influence, to Wimsatt.[13]
Teaching career
Bloom has been a member of the Yale English Department since 1955. He
received a MacArthur Fellowship in 1985. From 1988 to 2004, Bloom was Berg
Professor of English at New York University while maintaining his position at
Yale. In 2010, he became a founding patron of Ralston College, a new
institution in Savannah, Georgia, that focuses on primary texts.[14][15]
Personal life
Bloom married Jeanne Gould in 1958.[16] In a 2005 interview his wife said that
she regarded him and herself as both atheists while he denied being an atheist
saying "No, no I'm not an atheist. It's no fun being an atheist."[17]
Writing career
Defense of Romanticism
Bloom began his career with a sequence of highly regarded monographs on
Percy Bysshe Shelley (Shelley's Mythmaking, Yale University Press, originally
Bloom's doctoral dissertation), W. B. Yeats, (Yeats, Oxford University Press),
and Wallace Stevens, (Wallace Stevens: The Poems of Our Climate, Cornell
University Press). In these, he defended the High Romantics against neo-
Christian critics influenced by such writers as T. S. Eliot, who became a
recurring intellectual foil. Bloom had a contentious approach: his first book,
Shelley's Mythmaking, charged many contemporary critics with sheer
carelessness in their reading of the poet.
Influence theory
After a personal crisis in the late sixties, Bloom became deeply interested in
Emerson, Sigmund Freud, and the ancient mystic traditions of Gnosticism,
Kabbalah, and Hermeticism. In a 2003 interview with Bloom, Michael
Pakenham, the book editor for The Baltimore Sun, writes that Bloom has long
referred to himself as a "Jewish Gnostic". Bloom explains: "I am using Gnostic
in a very broad way. I am nothing if not Jewish... I really am a product of
Yiddish culture. But I can't understand a Yahweh, or a God, who could be all-
powerful and all knowing and would allow the Nazi death camps and
schizophrenia."[18] Influenced by his reading, he began a series of books that
focused on the way in which poets struggled to create their own individual
poetic visions without being overcome by the influence of the previous poets
who inspired them to write.
The first of these books, Yeats, a magisterial examination of the poet,

challenged the conventional critical view of his poetic career. In the
introduction to this volume, Bloom set out the basic principles of his new
approach to criticism: "Poetic influence, as I conceive it, is a variety of
melancholy or the anxiety-principle." A new poet becomes inspired to write
because he has read and admired the poetry of previous poets; but this
admiration turns into resentment when the new poet discovers that these
poets whom he idolized have already said everything he wishes to say. The poet
becomes disappointed because he "cannot be Adam early in the morning.
There have been too many Adams, and they have named everything."
The Agon, Strong & Weak Misreadings

In order to evade this psychological obstacle, the new poet must convince
himself that previous poets have gone wrong somewhere and failed in their
vision, thus leaving open the possibility that he may have something to add to
the tradition after all. The new poet's love for his heroes turns into antagonism
towards them: "Initial love for the precursor's poetry is transformed rapidly
enough into revisionary strife, without which individuation is not possible."[19]
The book that followed Yeats, The Anxiety of Influence, which Bloom had
started writing in 1967, drew upon the example of Walter Jackson Bate's The
Burden of the Past and The English Poet and recast in systematic
psychoanalytic form Bate's historicized account of the despair felt by
seventeenth- and eighteenth-century poets about their ability to match the
achievements of their predecessors. Bloom attempted to trace the
psychological process by which a poet broke free from his precursors to
achieve his own poetic vision. He drew a sharp distinction between "strong
poets" who perform "strong misreadings" of their precursors, and "weak poets"
who simply repeat the ideas of their precursors as though following a kind of
doctrine. He described this process in terms of a sequence of "revisionary
ratios," through which each strong poet passes in the course of his career.
Addenda and Developments of his Theory

A Map of Misreading picked up where The Anxiety of Influence left off,
making several adjustments to Bloom's system of revisionary ratios. Kabbalah
and Criticism attempted to invoke the esoteric interpretive system of the
Lurianic Kabbalah, as explicated by scholar Gershom Scholem, as an alternate
system of mapping the path of poetic influence. Figures of Capable
Imagination collected odd pieces Bloom had written in the process of
composing his 'influence' books.
He capped off this period of intense creativity with another monograph, a full-
length study of Wallace Stevens, with whom he identified more than any other
poet at this stage of his career, as he told an interviewer in the early 1980s.
Bloom continued to write about influence theory throughout the seventies and
eighties, and he has written little since that does not invoke his ideas about
influence.
Novel experiment
Bloom's fascination with the fantasy novel A Voyage to Arcturus by David
Lindsay led him to take a brief break from criticism in order to compose a
sequel to Lindsay's novel. This novel, The Flight to Lucifer, remains Bloom's
only work of fiction.[20] Though reviews were very positive, he soon disowned
this book. He believed his self-consciousness weighed it down too heavily. He

has said that he would remove every copy of the book from every library if he
could.
Religious criticism
Bloom then entered a phase of what he called "religious criticism", beginning
in 1989 with Ruin the Sacred Truths: Poetry and Belief from the Bible to the
Present.
In The Book of J (1990), he and David Rosenberg (who translated the Biblical

texts) portrayed one of the posited ancient documents that formed the basis of
the first five books of the bible (see documentary hypothesis) as the work of a
great literary artist who had no intention of composing a dogmatically religious
work (see Jahwist). They further envisaged this anonymous writer as a woman
attached to the court of the successors of the Israelite kings David and
Solomon—a piece of speculation which drew much attention. Later, Bloom
said that the speculations didn't go far enough, and perhaps he should have
identified J with the Biblical Bathsheba.[21] In Jesus and Yahweh: The Names
Divine (2004), he revisits some of the territory he covered in The Book of J in
discussing the significance of Yahweh and Jesus of Nazareth as literary
characters, while casting a critical eye on historical approaches and asserting
the fundamental incompatibility of Christianity and Judaism.
In The American Religion (1992), Bloom surveyed the major varieties of

Protestant and post-Protestant religious faiths that originated in the United
States and argued that, in terms of their psychological hold on their adherents,
most shared more in common with gnosticism than with historical
Christianity. The exception was the Jehovah's Witnesses, whom Bloom regards
as non-Gnostic. He elsewhere predicted that the Mormon and Pentecostal
strains of American Christianity would overtake mainstream Protestant
divisions in popularity in the next few decades. In Omens of Millennium
(1996), Bloom identifies these American religious elements as on the periphery
of an old – and not inherently Christian – gnostic, religious tradition which
invokes a complex of ideas and experiences concerning angelology,

interpretation of dreams as prophecy, near-death experiences, and
millennialism.[22]
In his essay in The Gospel of Thomas, Bloom states that none of Thomas'
Aramaic sayings have survived to this day in the original language.[23] Marvin
Meyer generally agreed and further confirmed that the earlier versions of that
text were likely written in either Aramaic or Greek.[24] Meyer ends his
introduction with an endorsement of much of Bloom's essay.[25] Bloom notes
the other-worldliness of the Jesus in the Thomas sayings by making reference
to "the paradox also of the American Jesus."[26]
The Western Canon

In 1994, Bloom published The Western Canon, a survey of the major literary
works of Europe and the Americas since the 14th century, focusing on 26
works he considered sublime and representative of their nations[27] and of the
Western canon.[28] Besides analyses of the canon's various representative
works, the major concern of the volume is reclaiming literature from those he
refers to as the "School of Resentment", the mostly academic critics who
espouse a social purpose in reading. Bloom believes that the goals of reading
must be solitary aesthetic pleasure and self-insight rather than the goal held by
"forces of resentment" of improving one's society, which he casts as an absurd
aim, writing: "The idea that you benefit the insulted and injured by reading
someone of their own origins rather than reading Shakespeare is one of the
oddest illusions ever promoted by or in our schools." His position is that
politics have no place in literary criticism: a feminist or Marxist reading of
Hamlet would tell us something about feminism and Marxism, he says, but
probably nothing about Hamlet itself.
In addition to considering how much influence a writer has had on later

writers, Bloom proposed the concept of "canonical strangeness" (cf. uncanny)
as a benchmark of a literary work's merit. The Western Canon also included a
list—which aroused more widespread interest than anything else in the volume
—of all the Western works from antiquity to the present that Bloom considered
either permanent members of the canon of literary classics, or (among more

recent works) candidates for that status. Bloom has said that he made the list
off the top of his head at his editor's request, and that he does not stand by
it.[29]
Work on Shakespeare
Bloom has a deep appreciation for Shakespeare[30] and considers him to be the
supreme center of the Western canon.[31] The first edition of The Anxiety of
Influence almost completely avoided Shakespeare, whom Bloom considered, at
the time, barely touched by the psychological drama of anxiety. The second
edition, published in 1997, adds a long preface that mostly expounds on
Shakespeare's debt to Ovid and Chaucer, and his agon with his contemporary
Christopher Marlowe, who set the stage for him by breaking free of
ecclesiastical and moralizing overtones.
In his 1998 survey, Shakespeare: The Invention of the Human, Bloom
provides an analysis of each of Shakespeare's 38 plays, "twenty-four of which
are masterpieces." Written as a companion to the general reader and
theatergoer, Bloom declares that bardolatry "ought to be even more a secular
religion than it already is."[32] He also contends in the work (as in the title) that
Shakespeare "invented" humanity, in that he prescribed the now-common
practice of "overhearing" ourselves, which drives our changes. The two
paragons of his theory are Sir John Falstaff of Henry IV and Hamlet, whom
Bloom sees as representing self-satisfaction and self-loathing, respectively.
Throughout Shakespeare, characters from disparate plays are imagined
alongside and interacting with each other; this has been decried by numerous
contemporary academics and critics as hearkening back to the out of fashion
character criticism of A. C. Bradley and others, who happen to gather explicit
praise in the book. As in The Western Canon, Bloom criticizes what he calls the
"School of Resentment" for its failure to live up to the challenge of
Shakespeare's universality and instead balkanizing the study of literature
through various multicultural and historicist departments. Asserting
Shakespeare's singular popularity throughout the world, Bloom proclaims him
as the only multicultural author, and rather than the "social energies"
historicists ascribe Shakespeare's authorship to, Bloom pronounces his
modern academic foes – and indeed, all of society – to be "a parody of
Shakespearian energies."
2000s
Bloom consolidated his work on the western canon with the publication of
How to Read and Why in 2000 and Genius: A Mosaic of One Hundred
Exemplary Creative Minds in 2003. In the same year, Hamlet: Poem
Unlimited was published, an amendment to Shakespeare: Invention of the
Human written after he decided the chapter on Hamlet in that earlier book
had been too focused on the textual question of the UrHamlet to cover his
most central thoughts on the play itself. Some elements of religious criticism
were combined with his secular criticism in Where Shall Wisdom Be Found
(2004), and a more complete return to religious criticism was marked by the
publication of Jesus and Yahweh: The Names Divine in 2005. Throughout the
decade he also compiled, edited and introduced several major anthologies of
poetry.
In 2006, Bloom took part in the documentary, the Apparition of the Eternal
Church, made by Paul Festa. This documentary centered on many individuals's
reactions to hearing, for the first time, the renowned piece for organ, the
Apparition de l'église éternelle, of Olivier Messiaen.
Bloom began a book under the working title of Living Labyrinth, centering on

Shakespeare and Whitman, which was published in 2011 as The Anatomy of
Influence: Literature as a Way of Life.
In July 2011, after the publication of The Anatomy of Influence and after
finishing work on The Shadow of a Great Rock, Bloom was working on three
further projects:
Achievement in the Evening Land from Emerson to Faulkner, a history of

American literature following the canonical model, which ultimately
developed into his 2015 book The Daemon Knows: Literary Greatness
and the American Sublime.
The Hum of Thoughts Evaded in the Mind: A Literary Memoir.
a play with the working title Walt Whitman: A Musical Pageant.[33] By
November 2011, Bloom had changed the title of the play to To You
Whoever You Are: A Pageant Celebrating Walt Whitman.[34]
Influence
In 1986, Bloom credited Northrop Frye as his nearest precursor. He told Imre
Salusinszky in 1986: "In terms of my own theorizations ... the precursor proper
has to be Northrop Frye. I purchased and read Fearful Symmetry a week or
two after it had come out and reached the bookstore in Ithaca, New York. It
ravished my heart away. I have tried to find an alternative father in Mr.
Kenneth Burke, who is a charming fellow and a very powerful critic, but I don't
come from Burke, I come out of Frye."[35]
However, in his 2001 Anatomy of Influence, he wrote "I no longer have the
patience to read anything by Frye" and nominated Angus Fletcher among his
living contemporaries as his "critical guide and conscience" and elsewhere that
year recommended Fletcher's Colors of the Mind and The Mirror and the
Lamp by M. H. Abrams. In this latter phase of his career, Bloom has also
emphasized the tradition of earlier critics such as William Hazlitt, Ralph
Waldo Emerson, Walter Pater, A. C. Bradley, and Samuel Johnson, describing
Johnson in The Western Canon as "unmatched by any critic in any nation
before or after him". In his 2012 Foreword to the book The Fourth Dimension
of a Poem (WW Norton, 2012), Bloom indicated the influence which M. H.
Abrams had upon him in his years at Cornell University.[36]
Bloom's theory of poetic influence regards the development of Western

literature as a process of borrowing and misreading. Writers find their creative
inspiration in previous writers and begin by imitating those writers in order to
develop a poetic voice of their own; however, they must make their own work
different from that of their precursors. As a result, Bloom argues, authors of
real power must inevitably "misread" their precursors' works in order to make
room for fresh imaginings.[37][38]
Observers often identified Bloom with deconstruction in the past, but he

himself never admitted to sharing more than a few ideas with the
deconstructionists. He told Robert Moynihan in 1983, "What I think I have in
common with the school of deconstruction is the mode of negative thinking or
negative awareness, in the technical, philosophical sense of the negative, but
which comes to me through negative theology ... There is no escape, there is
simply the given, and there is nothing that we can do."[39]
Bloom's association with the Western canon has provoked a substantial

interest in his opinion concerning the relative importance of contemporary
writers. In the late 1980s, Bloom told an interviewer: "Probably the most
powerful living Western writer is Samuel Beckett. He's certainly the most
authentic."[40]
After Beckett's death in 1989, Bloom has pointed towards other authors as the
new main figures of the Western literary canon.
Concerning British writers: "Geoffrey Hill is the strongest British poet now
active", and "no other contemporary British novelist seems to me to be of Iris
Murdoch's eminence". Since Murdoch's death, Bloom has expressed
admiration for novelists such as Peter Ackroyd, Will Self, John Banville, and A.
S. Byatt.[41]
In his 2003 book, Genius: A Mosaic of One Hundred Exemplary Creative
Minds, he named the Portuguese writer and Nobel Prize winner José
Saramago as "the most gifted novelist alive in the world today", and as "one of
the last titans of an expiring literary genre".
Of American novelists, he declared in 2003 that "there are four living

American novelists I know of who are still at work and who deserve our
praise".[42] He claimed that "they write the Style of our Age, each has
composed canonical works," and he identified them as Thomas Pynchon,
Philip Roth, Cormac McCarthy, and Don DeLillo. He named their strongest
works as, respectively, Gravity's Rainbow, The Crying of Lot 49 and Mason &
Dixon; American Pastoral and Sabbath's Theater; Blood Meridian; and
Underworld. He has added to this estimate the work of John Crowley, with
special interest in his Aegypt Sequence and novel Little, Big saying that "only a
handful of living writers in English can equal him as a stylist, and most of them
are poets ... only Philip Roth consistently writes on Crowley's level".[43]
In Kabbalah and Criticism (1975), Bloom identified Robert Penn Warren,

James Merrill, John Ashbery, and Elizabeth Bishop as the most important
living American poets. By the 1990s, he regularly named A.R. Ammons along
with Ashbery and Merrill, and he has lately come to identify Henri Cole as the
crucial American poet of the generation following those three. He has
expressed great admiration for the Canadian poets Anne Carson, particularly
her verse novel Autobiography of Red, and A. F. Moritz, whom Bloom calls "a
true poet."[44] Bloom also lists Jay Wright as one of only a handful of major
living poets.
Bloom's introduction to Modern Critical Interpretations: Thomas Pynchon's

Gravity's Rainbow (1986) features his canon of the "twentieth-century
American Sublime", the greatest works of American art produced in the 20th
century. Playwright Tony Kushner sees Bloom as an important influence on his
work.[45]
Reception, criticism and controversy
For many years, indeed decades, Bloom's writings have been able to effectively
polarize opinion, among even established literary scholars. Bloom has been
called "probably the most celebrated literary critic in the United States"[46] and
"America's best-known man of letters".[47] A New York Times article in 1994
said that many younger critics understand Bloom as an "outdated oddity,"[48]
whereas a 1998 New York Times article called him "one of the most gifted of
contemporary critics."[49]
James Wood has described Bloom as "Vatic, repetitious, imprecisely

reverential, though never without a peculiar charm of his own—a kind of
campiness, in fact—Bloom as a literary critic in the last few years has been
largely unimportant."[47] Bloom responded to questions about Wood in an
interview by saying: "There are period pieces in criticism as there are period
pieces in the novel and in poetry. The wind blows and they will go away ...
There's nothing to the man ... I don't want to talk about him".[50]
In the early 21st century, Bloom has often found himself at the center of
literary controversy after criticizing popular writers such as Adrienne Rich,[51]
Maya Angelou,[52] and David Foster Wallace.[53] In the pages of the Paris
Review, he criticized the populist-leaning poetry slam, saying: "It is the death
of art."[54] When Doris Lessing was awarded the Nobel Prize in Literature, he
bemoaned the "pure political correctness" of the award to an author of "fourth-
rate science fiction."[55]
In 2004 author Naomi Wolf wrote an article for New York Magazine accusing

Harold Bloom of a sexual "encroachment" more than two decades earlier, by
touching her thigh. She said that what she alleged Bloom did was not
harassment, either legally or emotionally, and she did not think herself a
"victim", but that she had harbored this secret for 21 years. Explaining why she
had finally gone public with the charges, Wolf wrote, "I began, nearly a year
ago, to try—privately—to start a conversation with my alma mater that would
reassure me that steps had been taken in the ensuing years to ensure that
unwanted sexual advances of this sort weren't still occurring. I expected Yale to
be responsive. After nine months and many calls and e-mails, I was shocked to
conclude that the atmosphere of collusion that had helped to keep me quiet
twenty years ago was still intact—as secretive as a Masonic lodge."[56] When
asked about the allegations in 2015, Bloom stated, "I refuse to even use the
name of this person. I call her Dracula's daughter, because her father was a
Dracula scholar. I have never in my life been indoors with Dracula's daughter.
When she came to the door of my house unbidden, my youngest son turned
her away. Once, I was walking up to campus, and she fell in with me and said,
'May I walk with you, Professor Bloom?' I said nothing."[57]
MormonVoices, a group associated with Foundation for Apologetic

Information & Research, included Bloom on its Top Ten Anti-Mormon
Statements of 2011 list for stating "The current head of the Mormon Church,
Thomas S. Monson, known to his followers as 'prophet, seer and revelator,' is

indistinguishable from the secular plutocratic oligarchs who exercise power in
our supposed democracy".[58]
Selected bibliography
Books
Shelley's Mythmaking. New Haven: Yale University Press, 1959.
The Visionary Company: A Reading of English Romantic Poetry. Garden
City, N.Y.: Doubleday, 1961. Rev. and enlarged ed. Ithaca: Cornell
University Press, 1971.
Blake's Apocalypse: A Study in Poetic Argument. Anchor Books: New
York: Doubleday and Co., 1963.
The Literary Criticism of John Ruskin.; Edited with introduction. New York:
DoubleDay, 1965.
Walter Pater: Marius the Epicurean; edition with introduction. New York:
New American Library, 1970.
Romanticism and Consciousness: Essays in Criticism.; Edited with
introduction. New York: Norton, 1970.
Yeats. New York: Oxford University Press, 1970. ISBN 0-19-501603-3
The Ringers in the Tower: Studies in Romantic Tradition. Chicago:
University of Chicago Press, 1971.
The Anxiety of Influence: A Theory of Poetry. New York: Oxford University
Press, 1973; 2d ed., 1997. ISBN 0-19-511221-0
The Selected Writings of Walter Pater; edition with introduction and notes.
New York: New American Library, 1974.
A Map of Misreading. New York: Oxford University Press, 1975.
Kabbalah and Criticism. New York : Seabury Press, 1975. ISBN 0-8264-
0242-9
Poetry and Repression: Revisionism from Blake to Stevens. New Haven:
Yale University Press, 1976.
Figures of Capable Imagination. New York: Seabury Press, 1976.
Wallace Stevens: The Poems of our Climate. Ithaca, N.Y.: Cornell

University Press, 1977.
Deconstruction and Criticism. New York: Seabury Press, 1980.
The Flight to Lucifer: Gnostic Fantasy. New York: Vintage Books, 1980.
ISBN 0-394-74323-7
Agon: Towards a Theory of Revisionism. New York : Oxford University
Press, 1982.
The Breaking of the Vessels. Chicago: University of Chicago Press, 1982.
The Poetics of Influence: New and Selected Criticism. New Haven: Henry
R. Schwab, 1988.
Ruin the Sacred Truths: Poetry and Belief from the Bible to the Present.
Cambridge, Mass.: Harvard University Press, 1989.
The Book of J: Translated from the Hebrew by David Rosenberg;
Interpreted by Harold Bloom. New York: Grove Press, 1990 ISBN 0-8021-
4191-9
The Gospel of Thomas: The Hidden Sayings of Jesus; translation with
introduction, critical edition of the Coptic text and notes by Marvin Meyer,
with an interpretation by Harold Bloom. San Francisco:
HarperSanFrancisco, 1992.
The American Religion: The Emergence of the Post-Christian Nation;
Touchstone Books; ISBN 0-671-86737-7 (1992; August 1993)
The Western Canon: The Books and School of the Ages. New York:
Harcourt Brace, 1994.
Omens of Millennium: The Gnosis of Angels, Dreams, and Resurrection.
New York: Riverhead Books, 1996.
Shakespeare: The Invention of the Human. New York: 1998. ISBN 1-
57322-751-X
How to Read and Why. New York: 2000. ISBN 0-684-85906-8
Stories and Poems for Extremely Intelligent Children of All Ages. New
York: 2001.
El futur de la imaginació (The Future of the Imagination). Barcelona:
Anagrama / Empúries, 2002. ISBN 84-7596-927-5
Genius: A Mosaic of One Hundred Exemplary Creative Minds. New York:
2003. ISBN 0-446-52717-3
Hamlet: Poem Unlimited. New York: 2003.
The Best Poems of the English Language: From Chaucer Through Frost.
New York: 2004. ISBN 0-06-054041-9
Where Shall Wisdom Be Found? New York: 2004. ISBN 1-57322-284-4
Jesus and Yahweh: The Names Divine 2005. ISBN 1-57322-322-0
American Religious Poems: An Anthology By Harold Bloom 2006. ISBN 1-
931082-74-X
Fallen Angels, illustrated by Mark Podwal. Yale University Press, 2007.
ISBN 0-300-12348-5
Till I End My Song: A Gathering of Last Poems Harper, 2010. ISBN 0-06-
192305-2
The Anatomy of Influence: Literature as a Way of Life- Yale University
Press, 2011. ISBN 0-300-16760-1
The Shadow of a Great Rock: A Literary Appreciation of The King James
Bible Yale University Press, 2011. ISBN 0-300-16683-4
The Daemon Knows: Literary Greatness and the American Sublime.
Spiegel & Grau, 2015. ISBN 0-812-99782-4
Falstaff: Give Me Life. Scribner, 2017. ISBN 978-1-5011-6413-2
Articles
"On Extended Wings" (https://www.nytimes.com/books/97/12/21/home/ste
vens-vendler.html); Wallace Stevens' Longer Poems. By Helen Hennessy
Vendler, (Review), The New York Times, October 5, 1969.
"Poets' meeting in the heyday of their youth; A Single Summer With Lord
Byron", The New York Times, February 15, 1970.
"An angel's spirit in a decaying (and active) body", The New York Times,
November 22, 1970.
"The Use of Poetry", The New York Times, November 12, 1975.
"Northrop Frye exalting the designs of romance; The Secular Scripture",
The New York Times, April 18, 1976.
"On Solitude in America", The New York Times, August 4, 1977.
"The Critic/Poet", The New York Times, February 5, 1978.
"A Fusion of Traditions; Rosenberg", The New York Times, July 22, 1979.
"Straight Forth Out of Self", The New York Times, June 22, 1980.
"The Heavy Burden of the Past; Poets", The New York Times, January 4,
1981.
"The Pictures of the Poet; The Painting and Drawings of William Blake, by
Martin Butlin. Vol. I, Text. Vol. II, Plates", (Review) The New York Times,
January 3, 1982.
"A Novelist's Bible; The Story of the Stories, The Chosen People and Its
God. By Dan Jacobson", (Review) The New York Times, October 17,
1982.
"Isaac Bashevis Singer's Jeremiad; The Penitent, By Isaac Bashevis
Singer", (Review) The New York Times, September 25, 1983.
"Domestic Derangements; A Late Divorce, By A. B. Yehoshua Translated
by Hillel Halkin", (Review) The New York Times, February 19, 1984.
"War Within the Walls; In the Freud Archives, By Janet Malcolm", (Review)
The New York Times, May 27, 1984.
"His Long Ordeal by Laughter; Zuckerman Bound, A Trilogy and Epilogue.
By Philip Roth", (Review) The New York Times, May 19, 1985.
"A Comedy of Worldly Salvation; The Good Apprentice, By Iris Murdoch",
(Review) The New York Times, January 12, 1986.
"Freud, the Greatest Modern Writer" (Review) The New York Times,
March 23, 1986.
"Passionate Beholder of America in Trouble; Look Homeward, A Life of
Thomas Wolfe. By David Herbert Donald", (Review) The New York Times,
February 8, 1987.
"The Book of the Father; The Messiah of Stockholm, By Cynthia Ozick",
(Review) The New York Times, March 22, 1987.
"Still Haunted by Covenant" (https://www.nytimes.com/1988/01/31/books/s
till-haunted-by-covenant.html?pagewanted=all), (Review) The New York
Times, January 31, 1988.
"New Heyday of Gnostic Heresies" (https://www.nytimes.com/1992/04/26/
opinion/new-heyday-of-gnostic-heresies.html?pagewanted=all), The New
York Times, April 26, 1992.
"A Jew Among the Cossacks; The first English translation of Isaac Babel's
journal about his service with the Russian cavalry. 1920 Diary, By Isaac
Babel", (Review) The New York Times, June 4, 1995.
"Kaddish; By Leon Wieseltier", (Review) The New York Times, October 4,
1998.
"View; On First Looking into Gates's Crichton", The New York Times, June
4, 2000.
"What Ho, Malvolio! (https://www.nytimes.com/2000/12/06/opinion/what-h
o-malvolio.html)'; The election, as Shakespeare might have seen it", The
New York Times, December 6, 2000.
"Macbush", (play) Vanity Fair, April 2004.
"The Lost Jewish Culture" (http://www.nybooks.com/articles/20338) The
New York Review of Books 54/11 (June 28, 2007) : 44–47 [reviews The
Dreams of the Poem: Hebrew Poetry from Muslim and Christian Spain,
950–1492, translated, edited, and with an introduction by Peter Cole
"The Glories of Yiddish" (http://www.nybooks.com/articles/22020) The
New York Review of Books 55/17 (November 6, 2008) [reviews History of
the Yiddish Language, by Max Weinreich, edited by Paul Glasser,
translated from the Yiddish by Shlomo Noble with the assistance of
Joshua A. Fishman]
"Yahweh Meets R. Crumb (http://www.nybooks.com/articles/archives/200
9/dec/03/yahweh-meets-r-crumb/)", The New York Review of Books, 56/19
(December 3, 2009) [reviews The Book of Genesis, illustrated by R.
Crumb]
"Will This Election Be the Mormon Breakthrough?" (https://www.nytimes.c
om/2011/11/13/opinion/sunday/will-this-election-be-the-mormon-breakthro
ugh.html), The New York Times, November 12, 2011.
"Richard III: Victim or Monster? Asks Harold Bloom" (http://www.newswee
k.com/richard-iii-victim-or-monster-asks-harold-bloom-63257), Newsweek,
February 11, 2013.
Introduction to The Invention of Influence by Peter Cole (http://tabletmag.c
om/jewish-arts-and-culture/books/159759/harold-bloom-peter-cole),
Talbet, January 21, 2014.
See also
Covering cherub School of resentment
List of thinkers influenced by
deconstruction
References
1. Department of English | Yale University (http://english.yale.edu/faculty-staf
f/harold-bloom)
2. http://www.vanityfair.com/culture/2015/04/harold-bloom-the-daemon-
knows-12-authors
3. Romano, Carlin (April 24, 2011). "Harold Bloom by the Numbers – The
Chronicle Review – The Chronicle of Higher Education" (http://chronicle.c
om/article/Harold-Bloom-by-the-Numbers/127211/). Chronicle.com.
Retrieved June 25, 2013.
4. "Colossus Among Critics: Harold Bloom" (https://www.nytimes.com/books/
98/11/01/specials/bloom-colossus.html). The New York Times.
5. Marc Redfield (2003). "Literature, Incorporated". In Peter C. Herman.
Historicizing Theory (https://books.google.com/books?id=O165_qUlm5wC
&pg=PA230). Suny Press. p. 210. ISBN 978-0-7914-5962-1.
6. Collins, Glenn (January 16, 2006). "New Bronx Library Meets Old Need"
(https://www.nytimes.com/2006/01/16/nyregion/16library.html). The New
York Times. Retrieved February 23, 2010.
7. http://www.enotes.com/topics/harold-bloom
8. "Harold Bloom: The Shadow of a Great Rock" (http://www.kcrw.com/etc/pr
ograms/bw/bw111020harold_bloom_the_sha). Bookworm. KCRW.
9. Collins, Glenn (January 16, 2006). "New Bronx Library Meets Old Need"
(https://www.nytimes.com/2006/01/16/nyregion/16library.html?pagewanted
=all&_r=0). The New York Times.
10. Bloom, Harold (2004). The Best Poems of the English Language: From
Chaucer Through Robert Frost. HarperCollins. p. 1942.
11. http://www.encyclopedia.com/people/literature-and-arts/american-
literature-biographies/harold-bloom
12. International Who's Who of Authors and Writers 2004 (https://books.googl
e.com/books?id=phhhHT64kIMC&pg=PA60) (19th ed.). London: Europa
Publications. 2003. p. 60. ISBN 978-1-85743-179-7.
13. Tanenhaus, Sam (20 May 2011). "Harold Bloom: An Uncommon Reader"
(https://www.nytimes.com/2011/05/22/books/review/book-review-the-anato
my-of-influence-by-harold-bloom.html). New York Times. Retrieved
16 February 2016.
14. "Collegium Ralstonianum apud Savannenses – Home" (http://www.ralston.
ac/). Ralston.ac.
15. Fish, Stanley (November 8, 2010). "The Woe-Is-Us Books" (http://opiniona

tor.blogs.nytimes.com/2010/11/08/the-woe-is-us-books/). The New York
Times.
16. "The Grand Comedian Visits the Bible by Harold Bloom | The New York
Review of Books" (http://www.nybooks.com/articles/archives/2012/feb/23/
grand-comedian-visits-bible/?pagination=false). Nybooks.com. February
23, 2012. Retrieved June 25, 2013.
17. https://www.rc.umd.edu/praxis/bloom_hartman/bloom/bloom.html
18. Pakenham, Michael (March 23, 2003). "In Full Bloom: Guerrilla In Our
Midst" (http://articles.baltimoresun.com/2003-03-23/entertainment/030324
0442_1_bloom-dining-room-table). The Baltimore Sun. Retrieved
September 15, 2016.
19. Map of Misreading p. 10
20. "The Flight to Lucifer review" (http://www.violetapple.org.uk/notes/bloom_fl
ighttolucifer.php). Retrieved 5 September 2012.
21. Bloom, Harold, The Western Canon. The Books and Schools of the Ages,
Harcourt Brace & Company, New York 1994, p. 5.
22. Bloom (1996), p. 5.
23. Bloom, Harold. "A Reading" The Gospel of Thomas: The Hidden Sayings
of Jesus. English translation and critical edition of the Coptic text by
Marvin W. Meyer. San Francisco: HarperSanFrancisco. 1992. p 115and p.
119.
24. Mayer, Marvin. "Introduction". The Gospel of Thomas. San Francisco:
HarperSanFrancisco, 1992. p 9.
25. Meyer, op. cit., p 19.
26. Meyer, op. cit., p. 119.
27. Bloom 1994, pg. 2
28. Bloom 1994, pg. 11
29. Harold Bloom | VICE United States (https://www.vice.com/read/harold-blo
om-431-v15n12); Archived (https://web.archive.org/web/20131014172844/
http://www.vice.com/read/harold-bloom-431-v15n12) October 14, 2013, at
the Wayback Machine.
30. Bloom 1994, pp. 2–3
31. Bloom 1994, pp. 24–5
32. Bloom, Harold. Shakespeare: The Invention of the Human. New York:
Riverhead, 1998, p. xix.
33. Harold Bloom: On the Playing Field of Poetry | Radio Open Source with
Christopher Lydon (http://www.radioopensource.org/harold-bloom-on-the-
playing-field-of-poetry/)
34. "Will This Election Be the Mormon Breakthrough?" (https://www.nytimes.c
om/2011/11/13/opinion/sunday/will-this-election-be-the-mormon-breakthro
ugh.html), The New York Times, November 12, 2011.
35. "On His Own Intellectual Roots" (http://prelectur.stanford.edu/lecturers/blo
om/interviews.html#roots)
36. M.H. Abrams. The Fourth Dimension of a Poem (WW Norton, 2012).
37. Antonio Weiss (Spring 1991). "Harold Bloom, The Art of Criticism No. 1" (h
ttp://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harol
d-bloom). Paris Review.
38. Paul Fry, "Engl 300: Introduction To Theory Of Literature" (http://oyc.yale.e
du/english/engl-300/lecture-14). Lecture 14 – Influence. Open Yale
lectures on the influence of Bloom and Eliot.
39. "INTERVIEWS WITH HAROLD BLOOM" (https://prelectur.stanford.edu/lec
turers/bloom/interviews.html). Stanford Presidential Lectures in the
Humanities and Arts. Stanford University. Retrieved March 15, 2014.
Excerpted from "Interview: Harold Bloom interviewed by Robert Moynihan"
Diacritics : A Review of Contemporary Criticism v13 , #3 (Fall, 1983)
PAGES 57–68.
40. "Candidates for Survival: A talk with Harold Bloom" Boston Review
February, 1989 (http://new.bostonreview.net/BR11.1/bloom.html); Archived
(https://web.archive.org/web/20140315224424/http://new.bostonreview.ne
t/BR11.1/bloom.html) March 15, 2014, at the Wayback Machine.
41. Bloom, Harold (2002). Genius : a mosaic of one hundred exemplary
creative minds. New York: Warner Books. p. 648. ISBN 0-446-69129-1.
"There are a few affinities, except perhaps with the admirable Antonia
Byatt, in the generation after: novelists I also now admire, like Will Self,
Peter Ackroyd, and John Banville."
42. "Dumbing Down American Readers" "Boston Globe" 9/24/2003 (http://ww

w.boston.com/news/globe/editorial_opinion/oped/articles/2003/09/24/dum
bing_down_american_readers/) Archived (https://web.archive.org/web/20
060617015302/http://www.boston.com/news/globe/editorial_opinion/oped/
articles/2003/09/24/dumbing_down_american_readers/) June 17, 2006, at
the Wayback Machine.
43. Bloom, Harold (2003). "Preface". Snake's-hands : the fiction of John
Crowley (https://books.google.com/books?id=JsaIP2n6xvgC&printsec=fro
ntcover&dq=old+snake-hands&source=bl&ots=OgRjTopV_B&sig=bx3eUG
L22sMq8QvaJ4qJoNBWh3w&hl=en#v=onepage&q=Crowley%20Roth&f=f
alse). [Canton, OH]: Cosmos Books. p. 10. ISBN 1-58715-509-5.
44. Hollander, John (2002), "Enriching Shadow: A. F. Moritz's Early Poems",
in Moritz, A. F., Early Poems (https://books.google.com/books?id=owHzhP
CAEv8C&pg=PA17&lpg=PA17&dq=bloom+%22true+poet%22&source=bl
&ots=cGcybhO9il&sig=KIqldKKwfs0DP4AduA271-KgZSk&hl=en&sa=X&v
ed=0CB4Q6AEwAGoVChMImcCSsJCFxgIVygiSCh028gAV#v=onepage&
q=moritz%20bloom%20%22true%20poet%22&f=false), Toronto:
Insomniac Press, p. 17
45. Modern Critical Interpretations: Thomas Pynchon's Gravity's Rainbow. Ed.
Harold Bloom. New York: Chelsea House, 1986.
46. Kermode, Frank (October 12, 2002). "Review: Genius by Harold Bloom" (h
ttps://www.theguardian.com/books/2002/oct/12/featuresreviews.guardianr
eview14). The Guardian. London.
47. Review-a-Day – Jesus and Yahweh: The Names Divine by Harold Bloom,
reviewed by The New Republic Online – Powell's Books (http://www.powel
ls.com/review/2006_05_11.html?&PID=18)
48. Begley, Adam (September 24, 1994). "Review: Colossus Among Critics:
Harold Bloom" (https://www.nytimes.com/books/98/11/01/specials/bloom-c
olossus.html). The New York Times. New York.
49. Shapiro, James (November 1, 1998). "Soul of the Age" (https://www.nytim
es.com/books/98/11/01/reviews/981101.01shapirt.html). The New York
Times. New York.
50. Pearson, Jesse (December 2, 2008). "Harold Bloom" (https://www.vice.co
m/read/harold-bloom-431-v15n12). VICE United States. Retrieved
June 25, 2013.
51. http://new.bostonreview.net/BR23.3/perloff.html
52. "Miss Maya Angelou cannot write her way out of a paper bag!" Kenton
Robinson, "Foe To Those Who Would Shape Literature To Their Own End
Dissent in Bloom" Hartford Courant October 4, 1994 E.1
53. Koski, Lorna (April 26, 2011). "The Full Harold Bloom" (http://www.wwd.co
m/eye/people/the-full-bloom-3592315?full=true). Women's Wear Daily.
Retrieved October 19, 2012.
54. "Poetry Slam" (http://languageisavirus.com/poetry-guide/slam_poetry.html)
55. Associated Press. "U.K.'s Lessing wins Nobel Prize in literature: Swedish
Academy notes author for 'skepticism, fire and visionary power'" (http://ww
w.msnbc.msn.com/id/12784353/) msnbc.com October 11, 2007
56. Wolf, Naomi (March 1, 2004). "The Silent Treatment" (http://nymag.com/ny
metro/news/features/n_9932/). New York. Retrieved May 19, 2010.
57. D'addario, Daniel (May 11, 2015). "10 Questions with Harold lBloom".
Time Magazine.
58. Walker, Joseph (January 8, 2012). "Group lists Top Ten Anti-Mormon
Statements of 2011" (http://www.deseretnews.com/article/print/70021355
7/Group-lists-Top-Ten-Anti-Mormon-Statements-of-2011.html). Deseret
News.
Further reading
Allen, Graham (1994). Harold Bloom: Poetics of Conflict. New York, NY:
Harvester Wheatsheaf.
Basbanes, Nicholas A. (2005). Every Book Its Reader: The Power of the
Printed Word to Stir the World. New York: HarperCollins. pp. 224–238.
Bielik-Robson, Agata (2011). The Saving Lie: Harold Bloom and
Deconstruction (http://www.nupress.northwestern.edu/Title/tabid/68/ISBN/
0-8101-2728-8/Default.aspx). Northwestern. ISBN 0-8101-2728-8.
Bloom, Harold (May 24, 2003). "The sage of Concord" (http://books.guardi
an.co.uk/review/story/0,12084,962070,00.html). The Guardian.
Bloom, Harold. "Article on Ralph Waldo Emerson". Guardian Unlimited.
Bloom, Harold. "Excerpts from various Bloom interviews" (http://prelectur.s
tanford.edu/lecturers/bloom/interviews.html). The Stanford Presidential
Lecture Series.
Bloom, Harold (September 24, 2003). "Dumbing down American readers"

(http://www.boston.com/news/globe/editorial_opinion/oped/articles/2003/0
9/24/dumbing_down_american_readers/). The Boston Globe.
Bloom, Harold (July 11, 2000). "Can 35 Million Book Buyers Be Wrong?
Yes". The Wall Street Journal. His famous criticism of the Harry Potter
series.
Bloom, Harold (October 12, 2008). "Out of Panic, Self-Reliance" (https://w
ww.nytimes.com/2008/10/12/opinion/12bloom.html). The New York Times.
Bloom, Harold. "List of Bloom's contributions to The New York Review of
Books" (http://www.nybooks.com/authors/1343). The New York Times.
"Harold Bloom 1930–". Contemporary Literary Criticism. Contemporary
Literary Criticism Series. 24. Detroit: Gale. 1983. pp. 70–83.
ISBN 9780810301115.
De Bolla, Peter (1988). Harold Bloom: Toward Historical Rhetorics. New
York, NY: Routledge.
"Modern American Critics since 1955". Dictionary of Literary Biography.
Gale. 67. 1988.
Fite, David (1985). Harold Bloom: The Rhetoric of Romantic Vision.
Amherst: University of Massachusetts Press.
Moynihan, Robert (1986). A Recent Imagining: Interviews with Harold
Bloom, Geoffrey Hartman, J. Hillis Miller, Paul De Man. Archon.
Saurberg, Lars Ole (1997). Versions of the Past—Visions of the Future:
The Canonical in the Criticism of T.S. Eliot, F.R. Leavis, Northrop Frye,
and Harold Bloom. New York, NY: St. Martin's Press.
Scherr, Barry J. (1995). D. H. Lawrence's Response to Plato: A Bloomian
Interpretation. New York, NY: P. Lang.
Sellars, Roy; Allen, Graham, eds. (2007). The Salt Companion to Harold
Bloom. Salt Publishing. ISBN 9781876857202.
"Interview with Bloom on NPR, regarding his book Jesus and Yahweh:
The Names Divine" (http://www.npr.org/templates/story/story.php?storyId=
5048309). NPR.
"Interview with Bloom regarding his book How to Read and Why" (https://
www.pbs.org/newshour/conversation/july-dec00/bloom_8-29.html). The
NewsHour with Jim Lehrer. 2000.
"God and Harold at Yale" (https://web.archive.org/web/20061008103336/h

ttp://www.claremont.org/writings/crb/spring2006/balint.html). Claremont
Review. April 2014. Archived from the original (http://www.claremont.org/w
ritings/crb/spring2006/balint.html) on October 8, 2006.
Lesinska, Ieva (October 26, 2004). "Interview regarding Breakfast with
Brontosaurus" (http://www.eurozine.com/articles/2005-10-07-bloom-en.ht
ml). Eurozine.
Lydon, Christopher (September 3, 2003). "Radio interview" (http://blogs.la
w.harvard.edu/lydon/2003/09/03). Harvard Law Weblogs.
Rothenberg, Jennie (July 16, 2003). "Interview with Jennie Rothenberg" (h
ttps://www.theatlantic.com/unbound/interviews/int2003-07-16.htm). The
Atlantic.
Wood, James (May 1, 2006). "The Misreader" (https://newrepublic.com/art
icle/65417/the-misreader). The New Republic.
External links
Official website (http://english.yale.edu/people/tenured-and-tenure-track-fa
culty-professors/harold-bloom) at Yale University
Harold Bloom (https://charlierose.com/guests/1576) on Charlie Rose
Appearances (https://www.c-span.org/person/?haroldbloom) on C-SPAN
Epstein, Joseph I. (May 4, 2003). "In Depth with Harold Bloom" (http://
www.c-spanvideo.org/program/176255-1). Interview. C-SPAN.
Works by or about Harold Bloom (https://worldcat.org/identities/lccn-n79-3
258) in libraries (WorldCat catalog)
"Harold Bloom collected news and commentary" (http://topics.nytimes.co
m/top/reference/timestopics/people/b/harold_bloom/index.html). The New
York Times.
Harold Bloom (http://prelectur.stanford.edu/lecturers/bloom/) at Stanford
Presidential Lectures
Lamb, Brian (Sep 3, 2000). "How to Read and Why" (http://www.booknote
s.org/Watch/157968-1/Harold+Bloom.aspx). Interview. Booknotes.
Oventile, Robert Savino (Aug 8, 2015). "Anarchic Transports: A Review of
Harold Bloom's The Daemon Knows: Literary Greatness and the
American Sublime" (http://www.sobriquetmagazine.com/books/2015/08/an
archic-transports-a-review-of-harold-blooms-the-daemon-knows-literary-gr
eatness-and-the-american-s.html). Review. Sobriquet Magazine.
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12/21/2017 Harold Bloom - Wikipedia

Bloom came to public attention in the United States as a commentator during

Addenda and Developments of his Theory

As a boy, Bloom read Hart Crane's Collected Poems, a collection that inspired

The first of these books, Yeats, a magisterial examination of the poet,

The Agon, Strong & Weak Misreadings

Addenda and Developments of his Theory

this book. He believed his self-consciousness weighed it down too heavily. He

In The Book of J (1990), he and David Rosenberg (who translated the Biblical

In The American Religion (1992), Bloom surveyed the major varieties of

invokes a complex of ideas and experiences concerning angelology,

The Western Canon

In addition to considering how much influence a writer has had on later

either permanent members of the canon of literary classics, or (among more

Bloom began a book under the working title of Living Labyrinth, centering on

Achievement in the Evening Land from Emerson to Faulkner, a history of

Bloom's theory of poetic influence regards the development of Western

Observers often identified Bloom with deconstruction in the past, but he

Bloom's association with the Western canon has provoked a substantial

Of American novelists, he declared in 2003 that "there are four living

In Kabbalah and Criticism (1975), Bloom identified Robert Penn Warren,

Bloom's introduction to Modern Critical Interpretations: Thomas Pynchon's

James Wood has described Bloom as "Vatic, repetitious, imprecisely

In 2004 author Naomi Wolf wrote an article for New York Magazine accusing

MormonVoices, a group associated with Foundation for Apologetic

Thomas S. Monson, known to his followers as 'prophet, seer and revelator,' is

Wallace Stevens: The Poems of our Climate. Ithaca, N.Y.: Cornell

15. Fish, Stanley (November 8, 2010). "The Woe-Is-Us Books" (http://opiniona

42. "Dumbing Down American Readers" "Boston Globe" 9/24/2003 (http://ww

Bloom, Harold (September 24, 2003). "Dumbing down American readers"

"God and Harold at Yale" (https://web.archive.org/web/20061008103336/h

Retrieved from "https://en.wikipedia.org/w/index.php?

This page was last edited on 19 November 2017, at 21:09.

Text is available under the Creative Commons Attribution-ShareAlike License;

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