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The Anatomy of Influence: Literature as a Way of Life Hardcover – May 3 2011

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Product Details

  • Hardcover: 368 pages
  • Publisher: Yale University Press (May 3 2011)
  • Language: English
  • ISBN-10: 0300167601
  • ISBN-13: 978-0300167603
  • Product Dimensions: 15.6 x 3 x 23.5 cm
  • Shipping Weight: 703 g
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #515,988 in Books (See Top 100 in Books)
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Product Description


"Bloom . . . has many arresting things to say and says them, often, with exquisite precision. He is, by any reckoning, one of the most stimulating literary presences of the last half-century—and one of the most protean, a singular breed of scholar-teacher-critic-prose poet-pamphleteer."—Sam Tanenhaus, New York Times Book Review
(Sam Tanenhaus The New York Times Book Review)

“Ah, then there’s Harold Bloom, America’s giant of a literary critic.. . . In The Anatomy of Influence: Literature as a Way of Life, Bloom pulls off a masterly connecting of the dots through the literary canon and his own life with his usual breathtaking eloquence.”  —Publishers Weekly
(Publisher's Weekly)

“An autumnal summing-up, winding through ‘the labyrinth of literary influence’ to conclude, ‘[t]hat labyrinth is life itself.’ ”—Kirkus Reviews

"As defender of the Western canon, the controversial Bloom has no equal. . . . Bloom's elegant and accessible writing will be welcomed by serious readers."—Nancy R. Ives, Library Journal
(Nancy R. Ives Library Journal)

Praise for Harold Bloom:
“Harold Bloom is one of the greatest literary critics of his time . . . a man who like Tennyson’s Ulysses is a part of all that he has read.”—Washington Post
(Washington Post)

"Bloom thinks in the sweep of millennia, of intellectual patterns that unfold over centuries, of a vast and intricate labyrinth of interconnections between artists from Plato to Pater."—Michael Lindgren, Washington Post
(Michael Lindgren The Washington Post)

Praise for Harold Bloom:
 “Arguably the most influential critic of the last quarter century. He elevates critical writing to the level of literature itself.”—New York Times Book Review
(New York Times Book Review)

Praise for Harold Bloom:
“Harold Bloom reminds us what matters. He is our most valuable critic.”—Boston Globe
(Boston Globe)

Praise for Harold Bloom:
“Bloom is fighting the good fight for literature.”—The Observer (U.K.)
(The Observer)

Praise for Harold Bloom:
“[Bloom] is the reader as human medium, an instrument through whom inspiration strikes: in turn he renders visible the lineament of other writers’ imaginations while articulating the generally inchoate and undeveloped responses of the average reader. . . . Magnificent. . . . He is never less than memorable.”—Peter Ackroyd, The Times (London)
(The Times)

“Reading Bloom read the great writers of the canon is an immense pleasure; reading Bloom read Bloom is a revelation.  Like his ideal poets, Bloom brings us fire and light, apt tools for reading in the dark.”—James Angelos, Ugarte
(James Angelos Ugarte)

Bloom “has been one of America's most fascinating literary critics for nearly half a century. In his newest book, The Anatomy of Influence: Literature as a Way of Life, Bloom revisits the ideas that made him a star—and explains, in a straightforward way, why he's spent his career trying ‘to build a hedge around the secular Western canon.’ ”—Josh Rothman, Brainiac Blog, Boston Globe
(Josh Rothman Brainiac Blog, Boston Globe)

“If Bloom is right—and I believe he is—that ‘literary criticism . . . ought to consist in acts of appreciation,’ he has fulfilled that mandate once again in The Anatomy of Influence.”—Robert Pogue Harrison, New York Review of Books
(Robert Pogue Harrison New York Review of Books)

"Bloom pulls off a masterly connecting of the dots through the literary canon and his own life with his usual breathtaking eloquence."—Publishers Weekly
(Publishers Weekly)

"This finale to his illustrious career in literary criticism will not disappoint fans of Bloom . . . Essential."—L. McMillan, Choice
(L. McMillan Choice)

Selected as a Choice Outstanding Academic Title for 2011 in the Language and Literature category.
(Choice Magazine Choice Outstanding Academic Title:Language and Literature)

About the Author

Harold Bloom is Sterling Professor of the Humanities at Yale University. He lives in New Haven, CT.

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0xa25d61ec) out of 5 stars 19 reviews
167 of 179 people found the following review helpful
HASH(0xa265e690) out of 5 stars Bloom's Last Tape April 16 2011
By Charlus - Published on Amazon.com
Format: Hardcover Verified Purchase
Harold Bloom is a polarizing figure. One finds it hard to reconcile this statement with the humble literary critic. But it is so.

There are the Bloomdolators who bristle to the point of abusive invective if anyone dares suggest their idol has feet of critical clay and regularly pray to He-Who-Can-Do-No- Wrong (read some of the reviews here on Amazon if this you doubt). Then there are the naysayers who either ignore him, feel him outdated or those who want to take him seriously but find that whatever the topic it inevitably detours to Shakespeare and/or is punctuated by emphatic oracular statements unencumbered by any argument to support them. (Full Disclosure: I fall into the latter camp. Surprised?)

So why five stars? Because in many ways this book is different. It is Bloom's summa, pulling together everything from a lifetime of reading, of thinking about literature (with the emphasis on Shakespeare, naturally) and of thinking about literary influence. The tone is more elegiac than oracular. There is less of "this is what is" and more "this is what I've come to believe", a subtle shift that makes all the difference. This shading transforms the work into a synthesis of his well-earned subtitle: literature as a way of life.

His revisionist approach to his earlier (and most famous) work, THE ANXIETY OF INFLUENCE recall's Susan Sontag's similar motivations in revisiting ON PHOTOGRAPHY in her later REGARDING THE PAIN OF OTHERS, i.e. second and more informed thoughts. But influence (and agon) are not all that is on Bloom's mind (although it is the thread that winds through this book). Everything that he feels he wants to say about the various great works that have been important to him (his strong writers) are touched on, glancingly or at length.

The reader may need her dictionary handy to unpick words such as sprezzatura, tropological, misprision, topoi, prolepsis, acedia, and many others. And his love of mandarin prose has not been abandoned:

"There is an occult relation between Hamlet's long malaise and the play's unique and dazzling enigma, the gap cut in mimesis from act2, scene 2, through act 3, scene 2. We behold and hear not an imitation of an action but rather representations of prior representations. The covenant between stage and audience is abrogated in favor of a dance of shadows, where only the manipulator Hamlet is real. Destroying its own genre, the play thus gives us an unfathered Hamlet. Shakespeare scrambles after him, but Hamlet keeps getting away, Hobgoblin run off with the garland of Apollo." (page 65)

But if Bloom in these pages sees himself as an English Department of one, this book gives the impression rather of a mythical beast, glorious to behold, the last of his kind, sustained these many years by the nourishment of great books, great thinkers, great ideas who in the sunset of his generosity has decided to leave us the legacy of what he knows. I for one am sincerely grateful.
19 of 19 people found the following review helpful
HASH(0xa265eabc) out of 5 stars Bloom As Virgil Nov. 26 2012
By C.C. Ryan - Published on Amazon.com
Format: Hardcover Verified Purchase
If you love Western literature, enjoy erudite discussions about it, don't fear a challenge and have a tendency to question life's meaning, then I recommend you read this. As some of the above reviews have stated, this could be considered Harold Bloom's swan song. Whether true or not, this work captures him at full hurtle, acute as he is explosive, hopeful as he is cynical.

Challenge yourself to read Bloom, and he will challenge you to read, read and reread. He will challenge you to read Shakespeare, Cervantes, Tolstoy, Homer, Goethe, Emerson, Freud, Dostoyevsky, Mann, and on and on. He will make you realize that the great poets and authors of language are like empires or countries, with their own geographies, climates, histories, inhabitants and personalities. He will challenge you to read deeply the only literature that ultimately matters, because it is the literature that deals with that which, hopefully, is indeed Ultimate.

I discovered Bloom as an overconfident, 18 year old undergrad studying abroad. I was immediately humbled like never before. The first thing I realized when I began Genius was that I really hadn't read anything, and that the most appropriate starting points were 1. The English Dictionary and 2. The Complete Works of William Shakespeare.

Bloom will disarm you and elicit every literary insecurity you ever had. He will take you straight to Why it is you read literary criticism in the first place. So, why do you?

Bloom will guide you and hopefully breathe a life into your relationship with literature that you never imagined possible, in a way that so few teachers are able to do in our time.

As a possible pre-reading, I'd suggest How to Read And Why, Hamlet, Poem Unlimited, Jorge Luis Borges' "The Garden of Forking Paths" and an NPR Interview from a number of years back concerning Jesus and Yaweh The Names Divine.

Remember. It will be a challenge, but more worthwhile than you can imagine.
23 of 27 people found the following review helpful
HASH(0xa265ece4) out of 5 stars Bloom's swan song, a must-read for his fans Nov. 23 2011
By dom - Published on Amazon.com
Format: Hardcover
I'm truly not a huge Bloom fan. I've read a few of his books, and don't think there is a more well-read man in the universe. He can be very jargon-centered at times in all his books but that's what a lot of criticism is, unfortunately. But here you meet Bloom the man, the thinker, the lit lover, and he draws you in with his usual love of Shakespeare as the true master of language, and Whitman, as the quintessential American poet, the singer of democracy. This is truly a thoughtful, strong book, a culmination of a life-s work in reading and writing about literature and other intersecting disciplines. Do read it!
4 of 4 people found the following review helpful
HASH(0xa265ee58) out of 5 stars I like Bloom, but it's because I find his colossal ... May 21 2015
By M. Verde - Published on Amazon.com
Format: Paperback Verified Purchase
Harold Bloom has a Northrop Frye complex. This book could have been titled: The Anatomy of my Anxiety. I like Bloom, but it's because I find his colossal insecurity about his intellectual stature so perfectly pure that he reminds me of an 80-year-old Tom Sawyer who knows deep down that Huck met the river while he mezmerized the shore. I read Bloom because, in addition to what I learn from his strong misreadings of great literature, he teaches me what defensive arrogance smells like when perfumed in brilliance. But to learn things about the verbal universe as critically profound as Shakespeare is poetically and dramatically so, I read Northrop Frye. Bloom is an ungenerous student of Frye's genius. In fact, I would diagnose Bloom's meglomania, evinced in his frequent Tourette-like ejaculations of this sort, "I'm a department of one," as unresolved anxiety over Frye's genius. He gets five stars for being so perfectly and beautifully and brilliantly full of it all the way to the end.
33 of 47 people found the following review helpful
HASH(0xa265edd4) out of 5 stars Ratios, Re-visioning, and Return May 26 2011
By Florestan - Published on Amazon.com
Format: Hardcover
I very much enjoyed this book, and read it in the context of Bloom's theory of the revisionary ratios. As apparent from the Title, Bloom's precursor here is Northrop Frye. The mode of discourse is on the same level as Fyre's masterworks, The Great Code and Words With Power. Also indicated by the reference to Frye's is the centrality of Blakeanism to Bloom's discussion.

I would firstly point out that Bloom's entire discussion is an intricate and elegant proof of Blake's compelling first tractate, All Religions are One:

Principle 4.As none by travelling over known lands can find out the unknown. So from already acquired knowledge Man could not acquire more. therefore an Universal Poetic Genius exists
Principle 5. The Religions of all Nations are derived from each Nations different reception of the Poetic Genius which is every where call'd the Spirit of Prophecy.

Where Frye attempted to contextualize the manifestations of the Poetic Genius and understand its function within the Western Canon, centering on Shakespeare, Bloom tries to discover and describe how the Poetic Genius, the Universe of Insight, is wrestled with by individual poets. Jacob-like, poets wrestle. The poetically strong emerge, having at best fought a delaying action, with new understanding of this Spirit, this Monad. The strong poet contributes to the greater aesthetic understanding of this Spirit and, as it were, adds his refinements to the equations of psychohistory (see Asimov). It is the contribution to the Culture's insight into the Poetic Genius as the Spirit of Prophecy acts (or will act) IN THE REAL WORLD which allows a poem or poet to enter the Canon.

Interestingly, the journeyman work of reading poems (or of singing or painting) is what allows a Poet to find the keys to paradise, but only the paradise of Beulah, the lesser heaven. Beulah, which is explored by the creative personality as he or she engages is spiritual cartography, ultimately reveals one story only, that of the Bride and the Bridegroom, of Beatrice and Dante, of Simon and Helen. Freud's desperate struggle to understand, and thus outflank, the Poetic Genius is central to Bloom's discussion, yet Bloom himself is a much more penetrating observer than Freud, and as a theorist Blooms much surpasses Freud. The reason for Bloom's triumph of insight is the method worked out in The Anxiety of Influence, A Map of Misreading, Kabbalah and Criticism, and Poetry & Repression. Put succinctly, Bloom's method allows him to be correct, accurate, and pragmatically useful.

Thus Harold Bloom, finding himself in the last revisionary ratio, is back in Northop Frye's shoes -- describing the structural aspects of the edifice created by the Poetic Genius' reception in our world. Having recognized his precursor at last, "Bloom Regained" illuminates with detailed critical observations of the influence of that informing structure on individual poets and their methods for reading individual poems. Frye's Great Code is vindicated because of its truthfulness and its structural integrity.

I am very happy that Professor Bloom chose not to finish this book. While he could not forestall the Apophrades, his wrestling with Frye's structural questions allows the Canon to add yet another layer of understanding and fertile creativity. Bloom must be credited with facilitating a new Century's assimilation of the Poetic Genius of William Blake, English Literature's deep root.
The dogs may bark, but the Canon moves on.