Ebook Herzog, by Saul Bellow
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Herzog, by Saul Bellow
Ebook Herzog, by Saul Bellow
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- Sales Rank: #973530 in Books
- Published on: 1964
- Number of items: 1
- Binding: Hardcover
- 341 pages
Most helpful customer reviews
72 of 73 people found the following review helpful.
Masterpiece, but no easy read
By Steven Reynolds
The middle-aged Moses Herzog is a notable literary-historical academic, the father of two children from two failed marriages, and the lover of a string of exotic women. His most recent wife, the Catholic convert Madelaine, has lately left him for his best friend. Herzog is lost. As he reflects on the continuing disaster that constitutes his life, and the choices which led him to this crisis, he begins writing unsent letters - to friends and family, colleagues and enemies, to famous figures both living a dead. As Bellow himself has noted, Herzog is a man who, in the agony of suffering, finds himself to be his own most penetrating critic. He re-examines his life by re-enacting all the roles he took seriously - the professor, the son, the brother, the lover, the father, the husband, the avenger, the intellectual. It's an attempt to divest himself of these personae, and when he has dismissed them, there comes a pause - a moment of grace - which is infinitely more valuable than his trying to invent everything for himself, or accepting human inventions, the collective errors, by which he's lived. He's decided to go through a process of jettisoning or lightening. The effect is that this is something the reader shares. Bellow has the capacity in his novels to cover the smallest timeframe - a matter of days, or even hours in some cases - and yet through the subtle interleaving of flashbacks, meditations and philosophical musings, cover a vast amount of intellectual and emotional ground. His novels are vast in scope yet humanly scaled. The philosophical is made real by instantiation. "Herzog" is a wonderful example of this, and it also contains two of the most compassionate moments I've ever read: Herzog's reaction to a court scene in which the death of an abused child is recounted; and the subsequent scene in which Herzog witnesses, through the window of the marital home from which he's been banished, his best friend and betrayer bathing Herzog's own child. Bellow's genius is to take these moments, one horrifying and one tender, and make them emblematic - give them real cultural, historical implication - without losing for a moment the convincing personal immediacy they have for the characters living through them. That's quite an achievement, and it's why Bellow's novels can be so intellectually rich and so viscerally touching at precisely the same time.
61 of 62 people found the following review helpful.
Don't give up half way through
By Amazon Customer
Half way through this book. I shared some of the doubts expressed by other reviewers. Yes it is well written, but it appeared to be too narrow in its focus. A book whose sole topic is the protagonist's ego is hard to sustain for 340 pages. It cried out for social or political contexts into which the eccentric character could be absorbed. However all my early doubts were dealt with as the book progressed. His love for his daughter, brother and mother give Herzog greater depth and the reader starts to realise that Moses is not just a self-pitying, self obsessive. He is a man out of his depth , an intellectual in an anti-intellectual age. He is a Jew with a long family history of suffering, a "schooling in grief" yet even this proud history of struggle seems trivial because as Herzog notes: "What happened during the War abolished Father Herzog's claim to exceptional suffering". This is one of many aspects of personal history that troubles Moses
The early chapters lay the foundations for the wonderful latter parts of the book. Herzog is one of the most extraordinary literary creations of modern times. Bellow has created a multi-layered madman, pathetic yet loveable, a man of great intellect; solipsistic, moving, pedantic, gentle and above all believable. One moment he is plotting to murder the wife he loathes; the next he is showing the depth of his love for his daughter; then he writes to Nietszche telling the long dead philosopher that he is lying in a hammock in rural Massachusetts. He also writes to God, Heidegger, Eisenhower, ex-lovers and many of the personal and professional rivals he wishes to settle scores with. These letters (never posted), like the wife's one legged lover and Herzog's monkey kissing friend add much dark humour to what is often a very serious and moving narrative. This is a difficult, intense novel, but well worth the effort.
2 of 2 people found the following review helpful.
Brobdingnagian
By HH
The pattern of "Herzog" is simple. It's about a man discovering what he has and coming to terms with what he has (vitality), a comedy in the old early renaissance sense in which the hero begins low and ends high. At the start, Herzog is suffering from a divorce and from all the loss which the divorce represents. Since his marriage consisted of one long period of re-tailoring his individuality and his talents to his wife's demanding, parasitic pattern, the loss of his wife is also a loss of identity and of the direction which gives identity its sharp outline. The loss gives Herzog time to think, time to question, and time once more to feel what kind of man he is.
Perhaps the most spectacular thing Bellow does in "Herzog" is to create a character who can think and feel simultaneously. He gives the impression that Herzog, and by implication Bellow himself, is quite comfortable with ideas. Herzog is a historian who understands his world and himself; he knows the best that has been thought and said, quotes it, argues with it, and tries to put it in the context of the world in which he lives. But despite his intellectualism, Herzog seems to feel his ideas. This may be to say merely that the gimmick Bellow has found -- that of having Herzog put his ideas in the form of letters to living and deceased greats -- works well; certainly it is well motivated. To write voluminous letters to any and all is a mad thing to do, and Herzog is despairingly near madness throughout much of the book. Perhaps, though, it is also to say that Bellow has made his hero convincing. Somehow we have faith enough in the reality of Herzog to thread our way through the labyrinths of his thought.
Perhaps the most difficult thing Bellow does in "Herzog" is to interest us in the non-spectacular. Nothing really exciting happens in Herzog. There are no inter-galactic battles between good guys and bad guys, no parading of deviates and murderers, no dope addiction, no cursing of all the gods of man, nature and society, as in almost anybody's serious novel. There is just Herzog, who Bellow tells us is not exceptionally diseased, depraved, nor even exceptionally unlucky. The nearest thing to a calamity in "Herzog" is an auto accident in which no one is seriously injured. Yet somehow Herzog's writing a letter, painting an old piano, or buying a suit becomes an exciting, personal, and highly meaningful adventure.
Nor is there anything especially spectacular about what Herzog finally learns. At the end he thinks to himself: " 'But what do you want, Herzog?' 'But that's just it -- not a solitary thing. I am pretty well satisfied to be, to be just as it is willed, and for as long as I may remain in occupancy.' " It is a simple lesson, and one that Bellow has managed to make seem very, very wise.
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