Saul Bellow disappeared off the edge of my literary radar. Perhaps he caught the tailwind of my growing disenchantment with the novels of Philip Roth. Gabriel Josipovici’s brilliant essay on Saul Bellow, in his 1977 collection The Lessons of Modernism, has reinvigorated a neglected passion. This year sees the publication of a collection of Bellow’s letters and a third volume of The Library of America series. Both of which I look forward to reading.
The essay on Bellow recalls that unique tone of voice, that combines “the utmost formality with the utmost desperation.” He goes on to say:
Bellow has been described as a great realist; as a follower of Dreiser and the American urban naturalist tradition; as a great fantasist, especially in Henderson the Rain King; and as the last of the Yiddish storytellers. But these are ways of shrugging of the demands of that voice, of avoiding its implications by placing it safely in a literary or historical context. Bellow is too important a writer to have this done to him.
“Just as,” continues Josipovici, “according to Proust, all Dostoevsky’s novels could well be called Crime and Punishment and all Flaubert’s L’Education sentimentale, so all Bellow’s could be called Dangling Man.”
It is with Dangling Man I will start my Bellow immersion in the autumn. Inspired by Bibliographing’s Melville project, my intention is to read the fifteen novels, short stories, essay collection and Bellow’s memoir.
What I’ve termed my disenchantment with Philip Roth is, I hope, merely a phase. I can only endorse the suggestion of starting to read Roth with The Ghost Writer, an exceptional novel. The Library of America recently issued a sixth volume in the Roth series, and a new novel is due.