"This is a book by one of our best and most distinguished critics
of American literature."--Norman Mailer, author
"Morris Dickstein's "A Mirror in the Roadway" is refreshing
criticism, particularly in its contrast to our current chorus of
Resentment. Like Edmund Wilson, his precursor, Dickstein favors
realism and reality over theories of theories. Dickstein is
admirable on Jewish writers (Kafka, Agnon, Bellow, Malamud, Philip
Roth, Ozick) who in a sense are his true subject."--Harold Bloom,
author and literary critic
"Morris Dickstein gives the phrase 'the art of criticism' real
meaning. He makes literature in writing about literature. His
essays are rare birds. They only soar."--Roger Rosenblatt,
commentator and journalist
"Morris Dickstein is one of the few critics who still can
bridge, vigorously and engagingly, the gap between the academic
world and the common reader. These essays are especially fine on
American writing of the 1920's and 30's, exhibiting balanced
judgment, insight, and a rich fund of knowledge about American
literary and cultural history. One can apply to Dickstein a phrase
he uses for Edmund Wilson--that he is able to apply a wide range of
resources "to hold fast to the elusive human dimension of
literature."--Robert Alter, University of California, Berkeley
"In arguing for an exuberant and dynamic notion of realism,
Morris Dickstein reanimates a great and nearly vanished tradition
of literary and cultural criticism that speaks to the common
reader."--Ross Posnock, New York University
"Dickstein's essays are original, genially reflective and, at
apt moments, invitingly autobiographical. He consistently shows
himself to be a fair-minded but exactingcritic who is not afraid to
tell us what books are worth reading and why. His critical
commentaries are saturated with the knowledge accumulated over
years of attentive and sympathetic encounters with some of the most
distinctive writers of modern American and European
letters."--Maria DiBattista, Princeton University
"Morris Dickstein has neither theories nor hobbyhorses. His
critical tools are the old fashioned ones: a vast range of reading,
fellow feeling for the author he is discussing, and the urge to put
the work in the context of the life. He is as illuminating about
Cather as about Celine, as perceptive about Philip Roth as about
Upton Sinclair."--Richard Rorty, Stanford University
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