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Norman Podhoretz: The Universal Man
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15019 |
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Section : |
MODERN THOUGHT
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| Issue
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9 / 1988 |
5,070 Words |
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Chilton Williamson, Jr.
Chilton Williamson, Jr., is senior editor for books at
Chronicles: A Magazine of American Culture. His latest book is
The Homestead, a novel published last year by Grove Weidenfeld. |
A good literary critic, even more than a good man, is hard to find, and so there is cause for regret when the genuine article dies, or retires--or finds something else to do. Having had occasion recently to reread the literary criticism of Norman Podhoretz--most of it accomplished by the early sixties and anthologized in Doings and Undoings: The Fifties and After in American Writings--I experienced such a pang. Although Podhoretz continues to keep his hand in by reviewing a work of the imagination now and again, his commitment to literary criticism as an end in itself--to "seeing the object as in itself it really is," as Matthew Arnold expressed it--has worn thin; nowadays, when the editor of Commentary chooses to write about fiction, his paramount concern is for a work's broader political context, though usually his focus does not prevent him from including an aesthetic appreciation.
Never, even in youth, an aesthete, Podhoretz has always believed "it is possible for a critic to speak openly from a particular political perspective and to make political judgments without permitting such judgments to replace or obscure literary values as such." He has insisted, moreover, on doing so, to the extent at least of relating a given work of literature to the surrounding climate of literary opinion. For the most part, however, Podhoretz, as a literary man, has been content to develop his considerable abilities for discerning how so-called creative writers think and how works of fiction actually work. In Making It he perceptively notes that "writing is among the most mysterious of human activities. No one … knows the laws by which it moves or refuses to move." In "Fitzgerald in Perspective" (Doings and Undoings), we find the almost magisterial assertions that "a writer who is being as straight with himself as he can possibly be
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