Saul Bellow
Born	Solomon Bellows 10 June 1915 Lachine, Quebec, Canada
Died	5 April 2005 (aged 89) Brookline, Massachusetts, United States
Occupation	Writer
Nationality	Canadian/American
Alma mater	University of Chicago Northwestern University University of Wisconsin-Madison
Notable awards	Nobel Prize in Literature 1976 Pulitzer Prize for Fiction 1976 National Medal of Arts 1988 National Book Award 1954, 1965, 1971
Spouse	Anita Goshkin (1937–56), Alexandra (Sondra) Tschacbasov (1956–59), Susan Glassman (1961–64), Alexandra Bagdasar Ionescu Tulcea (1974–85), Janis Freedman (1989–2005)
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Saul Bellow (10 June 1915 – 5 April 2005) was a Canadian-born American writer. For his literary contributions, Bellow was awarded the Pulitzer Prize, the Nobel Prize for Literature, and the National Medal of Arts.^[1] He is the only writer to win the National Book Award for Fiction three times^[2] and he received the Foundation’s lifetimeMedal for Distinguished Contribution to American Letters in 1990.^[3]

In the words of the Swedish Nobel Committee, his writing exhibited “the mixture of rich picaresque novel and subtle analysis of our culture, of entertaining adventure, drastic and tragic episodes in quick succession interspersed with philosophic conversation, all developed by a commentator with a witty tongue and penetrating insight into the outer and inner complications that drive us to act, or prevent us from acting, and that can be called the dilemma of our age.”^[4] His best-known works includeThe Adventures of Augie March, Henderson the Rain King, Herzog, Mr. Sammler’s Planet, Seize the Day, Humboldt’s Gift and Ravelstein. Widely regarded as one of the 20th century’s greatest authors, Bellow has had a “huge literary influence.”^[5]

Bellow said that of all his characters Eugene Henderson, of Henderson the Rain King, was the one most like himself.^[6] Bellow grew up as an insolent slum kid, a “thick-necked” rowdy, and an immigrant from Quebec. As Christopher Hitchens describes it, Bellow’s fiction and principal characters reflect his own yearning for transcendence, a battle “to overcome not just ghetto conditions but also ghetto psychoses.”^[7][8] Bellow’s protagonists, in one shape or another, all wrestle with what Corde (Albert Corde, the dean in “The Dean’s December”) called “the big-scale insanities of the 20th century.” This transcendence of the “unutterably dismal” (a phrase from Dangling Man) is achieved, if it can be achieved at all, through a “ferocious assimilation of learning” (Hitchens) and an emphasis on nobility.

§Biography

§Early life

Saul Bellow was born Solomon Bellows^[9][10] in Lachine, Quebec, two years after his parents, Lescha (née Gordin) and Abraham Bellows,^[11] emigrated from Saint Petersburg, Russia. (He changed his name in 1936.)^[9][10] Bellow celebrated his birthday in June, although he may have been born in July (in the Jewish community, it was customary to record the Hebrew date of birth, which does not always coincide with the Gregorian calendar).^[12] Of his family’s emigration, Bellow wrote:

“

The retrospective was strong in me because of my parents. They were both full of the notion that they were falling, falling. They had been prosperous cosmopolitans in Saint Petersburg. My mother could never stop talking about the family dacha, her privileged life, and how all that was now gone. She was working in the kitchen. Cooking, washing, mending… There had been servants in Russia… But you could always transpose from your humiliating condition with the help of a sort of embittered irony.[13]

”

A period of illness from a respiratory infection at age eight both taught him self-reliance (he was a very fit man despite his sedentary occupation) and provided an opportunity to satisfy his hunger for reading: reportedly, he decided to be a writer when he first read Harriet Beecher Stowe‘s Uncle Tom’s Cabin.

When Bellow was nine, his family moved to the Humboldt Park neighborhood on the West Side of Chicago, the city that formed the backdrop of many of his novels.^[10] Bellow’s father, Abraham, was an onion importer. He also worked in a bakery, as a coal delivery man, and as a bootlegger.^[10] Bellow’s mother, Liza, died when he was 17. He was left with his father and brother Maurice. His mother was deeply religious, and wanted her youngest son, Saul, to become a rabbi or a concert violinist. But he rebelled against what he later called the “suffocating orthodoxy” of his religious upbringing, and he began writing at a young age.^[10] Bellow’s lifelong love for the Bible began at four when he learned Hebrew. Bellow also grew up reading William Shakespeare and the great Russian novelists of the 19th century.^[10] In Chicago, he took part inanthroposophical studies. Bellow attended Tuley High School on Chicago’s west side where he befriended fellow writer Isaac Rosenfeld. In his 1959 novel Henderson the Rain King, Bellow modeled the character King Dahfu on Rosenfeld.^[14]

§Education and early career

Bellow attended the University of Chicago but later transferred to Northwestern University. He originally wanted to study literature, but he felt the English department was anti-Jewish. Instead, he graduated with honors in anthropology and sociology.^[15] It has been suggested Bellow’s study of anthropology had an influence on his literary style, and anthropological references pepper his works.^{[citation needed]} Bellow later did graduate work at the University of Wisconsin–Madison.

Paraphrasing Bellow’s description of his close friend Allan Bloom (see Ravelstein), John Podhoretz has said that both Bellow and Bloom “inhaled books and ideas the way the rest of us breathe air.”^[16]

In the 1930s, Bellow was part of the Chicago branch of the Works Progress Administration Writer’s Project, which included such future Chicago literary luminaries as Richard Wright and Nelson Algren. Many of the writers were radical: if they were not members of the Communist Party USA, they were sympathetic to the cause. Bellow was a Trotskyist, but because of the greater numbers of Stalinist-leaning writers he had to suffer their taunts.^[17]

In 1941 Bellow became a naturalized US citizen.^[18] In 1943, Maxim Lieber was his literary agent.

During World War II, Bellow joined the merchant marine and during his service he completed his first novel, Dangling Man (1944) about a young Chicago man waiting to be drafted for the war.

From 1946 through 1948 Bellow taught at the University of Minnesota, living on Commonwealth Avenue, in St. Paul, Minnesota.^[19]

In 1948, Bellow was awarded a Guggenheim Fellowship that allowed him to move to Paris, where he began writing The Adventures of Augie March (1953). Critics have remarked on the resemblance between Bellow’s picaresque novel and the great 17th Century Spanish classic Don Quixote.^{[citation needed]} The book starts with one of American literature’s most famous opening paragraphs,^{[citation needed]} and it follows its titular character through a series of careers and encounters, as he lives by his wits and his resolve. Written in a colloquial yet philosophical style, The Adventures of Augie March established Bellow’s reputation as a major author.

In the spring term of 1961 he taught creative writing at the University of Puerto Rico at Río Piedras.^[20] One of his students was William Kennedy, who was encouraged by Bellow to write fiction.

§Return to Chicago and mid-career

Bellow lived in New York City for a number of years, but he returned to Chicago in 1962 as a professor at the Committee on Social Thought at the University of Chicago. The committee’s goal was to have professors work closely with talented graduate students on a multi-disciplinary approach to learning. Bellow taught on the committee for more than 30 years, alongside his close friend, the philosopher Allan Bloom.

There were also other reasons for Bellow’s return to Chicago, where he moved into the Hyde Park neighborhood with his third wife, Susan Glassman. Bellow found Chicago vulgar but vital, and more representative of America than New York.^[21] He was able to stay in contact with old high school friends and a broad cross-section of society. In a 1982 profile, Bellow’s neighborhood was described as a high-crime area in the city’s center, and Bellow maintained he had to live in such a place as a writer and “stick to his guns.”^[22]

Bellow hit the bestseller list in 1964 with his novel Herzog. Bellow was surprised at the commercial success of this cerebral novel about a middle-aged and troubled college professor who writes letters to friends, scholars and the dead, but never sends them. Bellow returned to his exploration of mental instability, and its relationship to genius, in his 1975 novel Humboldt’s Gift. Bellow used his late friend and rival, the brilliant but self-destructive poet Delmore Schwartz, as his model for the novel’s title character, Von Humboldt Fleisher.^[23] Bellow also used Rudolf Steiner’s spiritual science, anthroposophy, as a theme in the book, having attended a study group in Chicago. He was elected a Fellow of the American Academy of Arts and Sciences in 1969.^[24]

§Nobel Prize and later career

Propelled by the success of Humboldt’s Gift, Bellow won the Nobel Prize in literature in 1976. In the 70-minute address he gave to an audience in Stockholm, Sweden, Bellow called on writers to be beacons for civilization and awaken it from intellectual torpor.^[23]

The following year, the National Endowment for the Humanities selected Bellow for the Jefferson Lecture, the U.S. federal government’s highest honor for achievement in thehumanities. Bellow’s lecture was entitled “The Writer and His Country Look Each Other Over.”^[25]

Bellow traveled widely throughout his life, mainly to Europe, which he sometimes visited twice a year.^[23] As a young man, Bellow went to Mexico City to meet Leon Trotsky, but the expatriate Russian revolutionary was assassinated the day before they were to meet. Bellow’s social contacts were wide and varied. He tagged along with Robert F. Kennedy for a magazine profile he never wrote, he was close friends with the author Ralph Ellison. His many friends included the journalist Sydney J. Harris and the poet John Berryman.^{[citation needed]}

While sales of Bellow’s first few novels were modest, that turned around with Herzog. Bellow continued teaching well into his old age, enjoying its human interaction and exchange of ideas. He taught at Yale University, University of Minnesota, New York University, Princeton University, University of Puerto Rico, University of Chicago, Bard College and Boston University, where he co-taught a class with James Wood (‘modestly absenting himself’ when it was time to discuss Seize the Day). In order to take up his appointment at Boston, Bellow moved in 1993 from Chicago to Brookline, Massachusetts, where he died on 5 April 2005, at age 89. He is buried at the Jewish cemetery Shir HeHarim of Brattleboro, Vermont.

Bellow was married five times, with all but his last marriage ending in divorce. His son by his first marriage, Greg Bellow, became a psychotherapist; Greg Bellow published Saul Bellow’s Heart: A Son’s Memoir in 2013, nearly a decade after his father’s death.^[26] Bellow’s son by his second marriage, Adam, published a nonfiction book In Praise of Nepotism in 2003. Bellow’s wives were Anita Goshkin, Alexandra (Sondra) Tsachacbasov, Susan Glassman, Alexandra Ionescu Tulcea and Janis Freedman. In 1999, when he was 84, Bellow had a daughter, Rosie, his fourth child, with Freedman.

While he read voluminously, Bellow also played the violin and followed sports. Work was a constant for him, but he at times toiled at a plodding pace on his novels, frustrating the publishing company.^[23]

His early works earned him the reputation as a major novelist of the 20th century, and by his death he was widely regarded as one of the greatest living novelists.^[27] He was the first writer to win three National Book Awards in all award categories.^[2] His friend and protege Philip Roth has said of him, “The backbone of 20th-century American literature has been provided by two novelists—William Faulkner and Saul Bellow. Together they are the Melville, Hawthorne, and Twain of the 20th century.” James Wood, in a eulogy of Bellow in The New Republic, wrote:^[28]

“

I judged all modern prose by his. Unfair, certainly, because he made even the fleet-footed—the Updikes, the DeLillos, the Roths—seem like monopodes. Yet what else could I do? I discovered Saul Bellow’s prose in my late teens, and henceforth, the relationship had the quality of a love affair about which one could not keep silent. Over the last week, much has been said about Bellow’s prose, and most of the praise—perhaps because it has been overwhelmingly by men—has tended toward the robust: We hear about Bellow’s mixing of high and low registers, his Melvillean cadences jostling the jivey Yiddish rhythms, the great teeming democracy of the big novels, the crooks and frauds and intellectuals who loudly people the brilliant sensorium of the fiction. All of this is true enough; John Cheever, in his journals, lamented that, alongside Bellow’s fiction, his stories seemed like mere suburban splinters. Ian McEwan wisely suggested last week that British writers and critics may have been attracted to Bellow precisely because he kept alive a Dickensian amplitude now lacking in the English novel. […] But nobody mentioned the beauty of this writing, its music, its high lyricism, its firm but luxurious pleasure in language itself. […] [I]n truth, I could not thank him enough when he was alive, and I cannot now.

”

§Themes and style

The author’s works speak to the disorienting nature of modern civilization, and the countervailing ability of humans to overcome their frailty and achieve greatness (or at least awareness). Bellow saw many flaws in modern civilization, and its ability to foster madness, materialism and misleading knowledge.^[29] Principal characters in Bellow’s fiction have heroic potential, and many times they stand in contrast to the negative forces of society. Often these characters are Jewish and have a sense of alienation or otherness.

Jewish life and identity is a major theme in Bellow’s work, although he bristled at being called a “Jewish writer.” Bellow’s work also shows a great appreciation of America, and a fascination with the uniqueness and vibrancy of the American experience.

Bellow’s work abounds in references and quotes from the likes of Marcel Proust and Henry James, but he offsets these high-culture references with jokes.^[10] Bellow interspersed autobiographical elements into his fiction, and many of his principal characters were said to bear a resemblance to him.

§Criticism, controversy and conservative cultural activism[edit]

Martin Amis described Bellow as “The greatest American author ever, in my view”.^[30]

“

His sentences seem to weigh more than anyone else’s. He is like a force of nature… He breaks all the rules […] [T]he people in Bellow’s fiction are real people, yet the intensity of the gaze that he bathes them in, somehow through the particular, opens up into the universal.[31]

”

For Linda Grant, “What Bellow had to tell us in his fiction was that it was worth it, being alive.”

“

His vigour, vitality, humour and passion were always matched by the insistence on thought, not the predigested cliches of the mass media or of those on the left, which had begun to disgust him by the Sixties… It’s easy to be a ‘writer of conscience’—anyone can do it if they want to; just choose your cause. Bellow was a writer about conscience and consciousness, forever conflicted by the competing demands of the great cities, the individual’s urge to survival against all odds and his equal need for love and some kind of penetrating understanding of what there was of significance beyond all the racket and racketeering.[32]

”

On the other hand, Bellow’s detractors considered his work conventional and old-fashioned, as if the author was trying to revive the 19th-century European novel. In a private letter, Vladimir Nabokov once referred to Bellow as a “miserable mediocrity.”^[33] Journalist and author Ron Rosenbaum described Bellow’s Ravelstein (2000) as the only book that rose above Bellow’s failings as an author. Rosenbaum wrote,

“

My problem with the pre-Ravelstein Bellow is that he all too often strains too hard to yoke together two somewhat contradictory aspects of his being and style. There’s the street-wise Windy City wiseguy and then—as if to show off that the wiseguy has Wisdom—there are the undigested chunks of arcane, not entirely impressive, philosophic thought and speculation. Just to make sure you know his novels have intellectual heft. That the world and the flesh in his prose are both figured and transfigured.[34]

”

Sam Tanenhaus wrote in New York Times Book Review in 2007:

“

But what, then, of the many defects—the longueurs and digressions, the lectures on anthroposophy and religion, the arcane reading lists? What of the characters who don’t change or grow but simply bristle onto the page, even the colorful lowlifes pontificating like fevered students in the seminars Bellow taught at the University of Chicago? And what of the punitively caricatured ex-wives drawn from the teeming annals of the novelist’s own marital discord?

”

But, Tanenhaus went on to answer his question:

“

Shortcomings, to be sure. But so what? Nature doesn’t owe us perfection. Novelists don’t either. Who among us would even recognize perfection if we saw it? In any event, applying critical methods, of whatever sort, seemed futile in the case of an author who, as Randall Jarrell once wrote of Walt Whitman, is a world, a waste with, here and there, systems blazing at random out of the darkness—those systems as beautifully and astonishingly organized as the rings and satellites of Saturn.[35]

”

V. S. Pritchett praised Bellow, finding his shorter works to be his best. Pritchett called Bellow’s novella Seize the Day a “small gray masterpiece.”^[10]

As he grew older, Bellow moved decidedly away from leftist politics and became identified with cultural conservatism.^[23][36][37] His opponents included feminism, campus activism^[38] and postmodernism.^[39] Bellow also thrust himself into the often contentious realm of Jewish and African-American relations.^[40] Bellow has also been critical of multiculturalism and once said: “Who is the Tolstoy of the Zulus? The Proust of thePapuans? I’d be glad to read him.”^[41]

Despite his identification with Chicago, he kept aloof from some of that city’s more conventional writers. In a 2006 interview with Stop Smiling magazine, Studs Terkel said of Bellow: “I didn’t know him too well. We disagreed on a number of things politically. In the protests in the beginning of Norman Mailer‘s Armies of the Night, when Mailer, Robert Lowell and Paul Goodman were marching to protest the Vietnam War, Bellow was invited to a sort of counter-gathering. He said, ‘Of course I’ll attend’. But he made a big thing of it. Instead of just saying OK, he was proud of it. So I wrote him a letter and he didn’t like it. He wrote me a letter back. He called me a Stalinist. But otherwise, we were friendly. He was a brilliant writer, of course. I love Seize the Day.”

§Awards and honors

• 1948 Guggenheim Fellowship
• 1954 National Book Award for Fiction
• 1965 National Book Award for Fiction
• 1971 National Book Award for Fiction
• 1976 Pulitzer Prize for Fiction
• 1976 Nobel Prize in Literature
• 1980 O. Henry Award
• 1988 National Medal of Arts
• 1989 PEN/Malamud Award
• 1989 Peggy V. Helmerich Distinguished Author Award
• 1990 National Book Foundation’s lifetime Medal for Distinguished Contribution to American Letters

§Bibliography

§Novels and novellas

• Dangling Man (1944)
• The Victim (1947)
• The Adventures of Augie March (1953), National Book Award for Fiction^[42]
• Seize the Day (1956)
• Henderson the Rain King (1959)
• Herzog (1964), National Book Award^[43]
• Mr. Sammler’s Planet (1970), National Book Award^[44]
• Humboldt’s Gift (1975), winner of the 1976 Pulitzer Prize for Fiction^[45]
• The Dean’s December (1982)
• More Die of Heartbreak (1987)
• A Theft (1989)
• The Bellarosa Connection (1989)
• The Actual (1997)
• Ravelstein (2000)

§Short story collections

• Mosby’s Memoirs (1968)
• Him with His Foot in His Mouth (1984)
• Something to Remember Me By: Three Tales (1991)
• Collected Stories (2001)

§Plays

• The Last Analysis (1965)

§Library of America editions

• Novels 1944–1953: Dangling Man, The Victim, The Adventures of Augie March (2003)
• Novels 1956–1964: Seize the Day, Henderson the Rain King, Herzog (2007)
• Novels 1970–1982: Mr. Sammler’s Planet, Humboldt’s Gift, The Dean’s December (2010)
• Novels 1984–2000: What Kind of Day Did You Have?, More Die of Heartbreak, A Theft, The Bellarosa Connection, The Actual, Ravelstein (2014)

§Translations

• Gimpel the Fool (1945) by Isaac Bashevis Singer (trans. by Bellow in 1953)

§Non-fiction

• To Jerusalem and Back (1976), memoir
• It All Adds Up (1994), essay collection
• Saul Bellow: Letters, edited by Benjamin Taylor (2010), correspondence

§Works about Saul Bellow

• Saul Bellow’s Heart: A Son’s Memoir, Greg Bellow, 2013 ISBN 978-1608199952
• Saul Bellow, Tony Tanner (1965) (see also his City of Words [1971])
• Saul Bellow, Malcolm Bradbury (1982)
• Saul Bellow Drumlin Woodchuck,Mark Harris, University of Georgia Press. (1982)
• Saul Bellow: Modern Critical Views, Harold Bloom (Ed.) (1986)
• Handsome Is: Adventures with Saul Bellow, Harriet Wasserman (1997)
• Saul Bellow and the Decline of Humanism, Michael K Glenday (1990)
• Saul Bellow: A Biography of the Imagination, Ruth Miller, St. Martins Pr. (1991)
• Bellow: A Biography, James Atlas (2000)
• Saul Bellow and American Transcendentalism, M.A. Quayum (2004)
• “Even Later” and “The American Eagle” in Martin Amis, The War Against Cliché (2001) are celebratory. The latter essay is also found in the Everyman’s Library edition of Augie March.
• ‘Saul Bellow’s comic style’: James Wood in The Irresponsible Self: On Laughter and the Novel, 2004. ISBN 0-224-06450-9.
• The Hero in Contemporary American Fiction: The Works of Saul Bellow and Don DeLillo , Stephanie Halldorson (2007)
• Saul Bellow a song, written by Sufjan Stevens on The Avalanche

§See also

• List of Jewish Nobel laureates
• PEN/Saul Bellow Award for Achievement in American Fiction
• Wilhelm Reich

§References

§External links

This article’s use of external links may not follow Wikipedia’s policies or guidelines. Please improve this article by removing excessive or inappropriateexternal links, and converting useful links where appropriate into footnote references. (May 2011)

Wikiquote has quotations related to: Saul Bellow

• Works by Saul Bellow at Open Library
• Works about Saul Bellow in libraries (WorldCat catalog)
• Mr. Sammler’s City, City Journal, Spring 2008
• Nobel site with two speeches (one of which is an audio recording) & longer biography
• Annotated Bibliography of Criticism by the Saul Bellow Society
• Bellow’s 1955 autobiographical statement for reference book
• Gordon Lloyd Harper (Winter 1966). “Saul Bellow, The Art of Fiction No. 37”. Paris Review.
• JM Coetzee on the early novels
• Slate’s assortment of other writers’ takes on Bellow, mostly eulogistic
• Joyce Carol Oates on Saul Bellow
• Saul Bellow ‘Bookweb’ on literary website The Ledge, with suggestions for further reading.
• Blogpost on Bellow’s Russian family name–Belo or Belov?
• Review of Bellow’s collected letters
• Saul Bellow, a neocon’s tale by John Podhoretz
• Reflections with Saul Bellow by Dejan Stojanović
• Saul Bellow’s grave, Brattleboro, Vermont
• ‘Between Fiction and Autobiography’, review of Letters in The Oxonian Review
• “Leaving the Yellow House”, a short story in Narrative Magazine, (Winter 2007).
• “Bellow and Trotsky”, Judie Newman, Berfrois, 1 June 2011

http://en.wikipedia.org/wiki/Saul_Bellow