The Atlantic Unbound has an interview with Harold Bloom. It is worth reading in full, but of course I won't quote it at that kind of length. I will only include a couple of the most excellent parts:
There's a line in the first chapter of your book Hamlet: Poem Unlimited that seems to encapsulate your approach toward literature: "I think it wise to confront both the play and the prince with awe and wonder, because they know more than we do." As a literary critic, how are you able to analyze a text with this kind of humility instead of assuming a dry, superior tone as some other critics do?My Jewish readers (as well as the several of you who express an interest in comparative religion) will want to continue on through the interview to the parts on Kabbalah.Harold Bloom:
Superior? To William Shakespeare?...
This attitude of reverence is what sets you apart from many of your colleagues. You don't seem to belong to any particular school of literary criticism.
Harold Bloom:
Well, it's such a complex thing. I left the English department twenty-six years ago. I just divorced them and became, as I like to put it, Professor of Absolutely Nothing. To a rather considerable extent, literary studies have been replaced by that incredible absurdity called cultural studies which, as far as I can tell, are neither cultural nor are they studies. But there has always been an arrogance, I think, of the semi-learned.
You know, the term "philology" originally meant indeed a love of learning�a love of the word, a love of literature. I think the more profoundly people love and understand literature, the less likely they are to be supercilious, to feel that somehow they know more than the poems, stories, novels, and epics actually know.
And, of course, we have this nonsense called Theory with a capital T, mostly imported from the French and now having evilly taken root in the English-speaking world. And that, I suppose, also has encouraged absurd attitudes toward what we used to call imaginative literature.
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