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Edmund Wilson was the dominant American literary critic from the 1920s until his death in 1972, but he was also far more than that: a chronicler of his times, a historian of ideas, a probing observer of himself and of the society around him. With this volume and a companion volume devoted to the 30s and 40s--the first two entries in what will be a series devoted to Wilson's work--The Library of America pays tribute to the writer who first conceived the idea of a publishing series dedicated to "bringing out in a complete and compact form the principal American classics." "Literary Essays and Reviews of the 1930s and 40s" gives us Wilson at the midpoint of his extraordinary career as critic and scholar, and includes in complete form three of his most significant books. "The Triple Thinkers" (1938, revised 1948) and "The Wound and the Bow" (1941) give us Wilson at the height of his powers, in a series of extended literary studies marked by his unique combination of criticism, biographical narrative, and psychological analysis. Here are his dazzling portraits of Pushkin and Flaubert, Dickens and Henry James, Kipling and Casanova, equally sensitive to historical context and his subjects' inner lives; his scintillating reader's guide to the mysteries of Finnegans Wake and his celebrated exploration of the nature of creativity through the figure of Sophocles' wounded hero Philoctetes. "Classics and Commercials" (1950) is Wilson's gathering of the best of his reviews from the 1940s, a collection that exemplifies the range and omnivorousness of his interests. In the exact and fluent prose that makes him an unfailing delight to read, Wilson takes on everything from Gogol and Tolstoy to contemporaries like James M. Cain, Katherine Anne Porter, Dorothy Parker, and William Faulkner. Whether registering his qualms about detective novels, parsing the etiquette manuals of Emily Post, or paying tribute to the comic genius of Evelyn Waugh, Wilson turns any critical occasion into the highest kind of pleasure. The volume is completed with a selection of uncollected reviews from this period, including Wilson's observations on the work of William Maxwell, Saul Bellow, and Anais Nin.
- Sales Rank: #1162745 in Books
- Brand: Brand: Library of America
- Published on: 2007-10-04
- Released on: 2007-10-04
- Original language: English
- Number of items: 1
- Dimensions: 8.17" h x 1.24" w x 5.20" l, 1.39 pounds
- Binding: Hardcover
- 1000 pages
- Used Book in Good Condition
About the Author
Edmund Wilson (1895-1972) was the leading literary critic of his generation. the author of such influential works as Axel's Castle, The Wound and the Bow, and Patriotic Gore.
Lewis M. Dabney (1932-2015) is the author of Edmund Wilson: A Life in Literature and the editor of Wilson’s last journal, The Sixties, and of Edmund Wilson: Centennial Reflections.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By dale repp
great book, slow shipping...
6 of 7 people found the following review helpful.
The best critic
By Jorge Arias
Splendid, magnific, poised, clever, all emcompassing, encyclopedic knowledge, clear, very clear expression without any jargon, deeply intelectual but warm and sometimes passionate, funny, witty... all is for good.
28 of 28 people found the following review helpful.
Classic Criticism
By Timothy P. Stallcup
This is a marvelous edition. Wilson is probably the greatest American "critic" of the 20th century, using the term "critic" in a broad sense. Yes, Wilson wrote extensively, consistently and even primarily about literature and "writing," but he never confined himself to these subjects. He ranged (and was allowed by his publishers to range) across a broad spectrum of interests and topics, from history, to biography, to music, to politics, to popular culture. Wilson seemed interested and immersed not only in everything that was significant and interesting in his own time (and it is a tribute to his perception that he was an early champion of Eliot and Pound and Joyce), but also in cultural history and the classics and the way they have shaped and continue to inform our cultural world. To this broad range of interests, he applied a dazzling intellect and immense erudition to craft virtual jewels of essays that entirely engage us while they introduce and analyze and inquire and explain.
The extent of Wilson's learning and reading is truly daunting. However, his writing is not. In merely looking at the titles of Wilson's essays, it might be easy to be "put off." The best reader might ask, "Do I really want to read a 60 year old essay about Dickens or Kipling or Henry James or even John Barrymore?" And that same reader (completing the conversation) might well answer himself, "No." But in the case of Edmund Wilson, this would be a real mistake. Yes, Wilson's titles may promise only a desert of difficulties and threaten us with feelings of intellectual inadequacy and regrets that we haven't quite kept up with our serious reading. I, for one, have never read much Kipling, find Finnegan's Wake impenetrable, and it has been a very long time since I sat down (willingly or otherwise) with a a volume of Henry James. Oddly enough, none of this makes a bit of difference. Wilson is such a master of his subjects (and his style) that he rarely, if ever, makes us feel left out. Masterfully, he picks us up, takes us along for the ride, tells us what we need to know, explains his own interest, shares his enthusiasm, and leads us on a delightful trail of discovery. I cannot say how many times I have picked up this book and started an essay in which I could hardly believe I had an interest, only to find that I was absolutely fascinated. It didn't matter after all that I had barely heard of Paul Elmer More, or that I never quite got around to reading The Spoils of Poynton. In fact, Wilson inspires you to read and reread volumes you had never considered or thought you had long left behind.
Perhaps even more significant, Wilson is one of the finest American WRITERS of essays. Period. His style and command of the language are superb. If anyone wanted to learn to write essays, or simply to learn to write, I can't think of a better exercise than reading Edmund Wilson.
All of this being said, I am afraid it leaves Wilson sounding rather dry, difficult and academic. But that isn't it at all, particularly with "Classics and Commercials." the third volume reprinted here, consisting of relatively brief essays and reviews most of which appeared in The New Yorker. Honestly, you can open this volume at random and you will find not only intelligence and perception and grace but also HUMOR! I defy you to read, for example, "What Became of Louis Bromfield?", and not laugh hysterically at Wilson's merciless dissection of the unfortunate writer. It is one of the funniest, wryest, and wittiest critiques I know and, at close, it leaves us with a small, serious insight into what distinguishes good writing from bad and why that distinction (and the formation and maintenance of a viable aesthetic criterion) is culturally vital. Mostly, however, the essay makes me laugh. Among the other noteworthy essays and reviews here are those on the California writers, pulp novels, mysteries, and Sherlock Holmes, to name only a few.
If you have a deeper interest in writing and criticism, and the time and inclination to follow serious, extended discussions, delve into "The Triple Thinkers" and "The Wound and the Bow" (the other two volumes reprinted here). These two volumes of extended literary studies are consistently first rate. The most compelling are the studies of Dickens, Kipling, Hemingway and Henry James. The study of Dickens especially demonstrates the tempered use of historical/biographical criticism that doesn't "explain" so much as it enhances an appreciation of the work. The study of Hemingway is interesting because Wilson knew Hemingway (though not as well as he knew Fitzgerald), admired his early work, thought he had lost his way, but also thought that he had righted the ship to return to producing good fiction. Wilson's critique of the "public" Hemingway is especially perceptive. Also worthy of attention are Wilson's essays on Marxism in literature and "The Historical Interpretation."
I really can't emphasize enough what a fantastic volume this is for so many reasons. It deserves to be widely read, and I only hope Library of American issues a third volume in the Wilson series.
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