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Sewanee Review.
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THE MAP
of Misreading
Press,
$8.95)
With A Map of Misreading
Harold
Bloom
presentation
continues
the
of what he called
antithetical
American
formalist criticism has
since
done all that it is
long
ever going to do, and that what
ever European
theoretical
criticism might
do, it simply
isn't ours. In Bloom's
reading
of American
the spirit
poetry
that broods over the process
of
is that of Emerson's
influence
"The American
its
Scholar" with
call for a native counterinfluence
to the dominant
influence of
same spirit
is
it
this
Europe;
that is at work
in antithetical
criticism
and its pitting
of the
concerns of American
practical
formalism
the theoretical
against
obsessions
of French
antiformal
as
ism. Antithetical
criticism,
the "higher structure" into which
are incorporated,
these modes
is sure to bark shins in both
camps. Thus A Map of Mis
a practical
reading presents
criticism
that, in its intertextu
ality, its continual oscillation
between works and writers,
ignores just those formal
boundaries
that the new critic
for
the practical
requires
of a work; while on
explication
a
the other hand it presents
theoretical
criticism that, in its
emphasis of the prac
continuing
tical work of teaching poetic
texts and a poetic tradition to
other people
in a classroom,
calls into question
the narcissistic
so many
of
theoreti
ego-dancing
cal works. Bloom,
then, seeks
to avoid two extremes:
the
formalist encapsulation
of the
individual work
like
(or author)
OXXfrA
that
long process of
a human absolute
substituting
for a divine absolute,
the indi
vidual
self for the deity. Before
that change the repetition
of
received models was experienced
as a source of
strength because
the ultimate
origin of the models
was assumed
to be divine; after
that change it was experienced
as a form of
weak
debilitating
ness because, when
the self
became
the absolute,
the primary
values became precisely
the
and
individuality,
uniqueness,
of each self. Bloom
originality
takes Milton's
Paradise Lost as
the historical
starting point for
his reading of this process,
and
he sees Milton's
Satan, in his
attempt to displace God, as the
of the strong post
paradigm
poet who strives
enlightenment
to displace his ancestors. The
ultimate
form of this act of
Bloom calls
displacement
an attempt
to
"transumption,"
reverse the temporal
priority
so that
of the poetic precursor
one's poetic ancestors become,
as it were,
one's descendants?
of the
the poetic equivalent
of
the
of genera
reversal
fantasy
tions in which
the child believes
that when his father grows older
and he grows up he will become
his father s father. What Homer,
were to
Virgil, and the Bible
Milton, Milton was to the
romantic poets, and the ro
are to us?the
mantics
great
creative power
precursors whose
seems
the loved and
godlike,
hated fathers whose
poetic
an ideal and
strength is at once
a threat.
In Bloom's Oedipal
version
of poetic
the young
influence,
poet (son) finds in the pre
the conjunction
cursor's work
the Imaginative
the Muse
Power,
Since it is from the
(mother).
influence of the precursor's
work
that the young poet learns
how to be a poet, i.e., takes his
the conjunc
poetic generation,
tion of the older poet and the
muse
in the precursor s poem
for
the younger poet, the
is,
fantasized
"primal scene" of
instruction. But if the young
poet aspires to the greatness
of the precursor, he must achieve
his own personal
strength against
the influence of the older poet.
six revisionary
Bloom's
ratios?
the notorious
apotropaic
litany
of clinamen,
tessera, kenosis,
daemonization,
askesis, and
of
apophrades?are
strategies
or reverse in
counterinfluence
fluence whereby
the younger
the
absorbs
achievement
poet
cxxx
precursor's
poem).
Certainly
one of Bloom's boldest vatic
is the equivalence
assertions
that he draws between
rhetori
cal tropes and psychological
He claims
defense mechanisms.
that for at least the last three
centuries
tropes and defense
are
mechanisms
interchangeable
in an absolutely
fixed pattern:
a
rhetorical
irony is always
a
reaction-formation;
synedoche
or a
reversal into the opposite
turning against the self;
an
or an
metonymy
undoing,
a
or
isolating,
regression; hyper
is
bole is repression; metaphor
and
sublimation;
metalepsis
is introjection
(transumption)
or
Further he thinks
projection.
that overdetermined
fixed areas
of imagery are always the
j
mask of these trop
phenomenal
or
tropes.
ing defenses
defending
i In calling his book A Map of
intends a
Bloom
Misreading
reference:
! dual "geographic"
first, to the book as a topological
and,
survey of a psychic domain;
second, to the fact that the
scenario of counterinfluence
in
crisis
postenlightenment
is invariably
?Bloom is interested)
as an
| presented
interplay of
and enrich
| the impoverishment
ment of a
landscape
symbolic
as the precur
impoverishment,
is voided
sor's influence
and his
cxxxii
function
tradition
because
it stifles
Map of Misreading.
To point out that in many
in this book Bloom
passages
is his own worst
enemy is no
for Bloom's
stroke,
devastating
conscious
of the
understanding
of
in
daemonization
process
the period
since the self became
the absolute
is
that
precisely
strength lies in the selfs taking
itself as its own worst enemy.
What,
then, is one to do with
the outrageous
Bloom? He must
in his own broth.
be boiled
Like any strong influence he
must be resisted and absorbed,
absorbed
and resisted. A Map
of Misreading
gives us the practi
cal tools for misreading
Bloom.
?John
T.
Irwin
WHO
IS WHO
of a Motion
1974.
(Norton,
"we're
clear:
we're
"we're
ourselves,"
has
come
full circle.
seems
in Ammons
The motion
to be away from the orthodoxies
of criticism
in
specializing
as
fictions
icons,
(such
symbols,
and para
ironies, ambiguities,
doxes) and toward the ortho
doxies of poetry specializing
in
and
But
facts,
things,
objects.
cxxxiii