A review of Fame & Folly, by Cynthia Ozick
Published July 19th, 1996, in The Minnesota Daily’s A&E Magazine
Faulty Towers
Ozick Exposes Folly of Literature’s Greats
By Cynthia Ozick
Knopf, $21
In her new collection of essays, Fame & Folly, Cynthia Ozick writes
that her favorite book by Anthony Trollope is The Way We Live Now, his
thirty-third novel out of forty-seven, because it’s his longest—952 pages.
About herself she writes that she “has not written enough”—just under 2,000
published pages in thirty years—and that she “is little-known or not known at
all, relegated to marginality, absent from the authoritative anthologies that
dictate which writers matter.”
Yet despite her “marginality” and
the sparseness of her oeuvre, she’s one of the finest writers and
critics of our time. She doesn’t need forty-seven novels (although they would
certainly be welcome), because in those 2,000 pages she’s written such gem-like
masterpieces as Levitation, The Shawl, and The Messiah of
Stockholm.
Like her idols Franz Kafka and
Bruno Schulz, Ozick combines traditional Jewish history and mythology with
fabulous technical innovation, creating a literature that’s both forward- and
backward-looking. Her “Puttermesser” series of short stories rewrites the
creation myth, weaving a modern New York sensibility into the ancient “golem”
tales, and her chilling story “The Shawl” and its follow-up, “Rosa,” portray
the awesome void created by the Holocaust.
Along with her masterful
authorial presence, Ozick also brings an astute literary and social
consciousness. A champion of “high art” and an espouser of her own self-styled
feminism, Ozick writes about literature and history with equal doses of
passion, humor, and awe. She balks at nothing—T.S. Eliot’s anti-Semitism, Henry
James’ existential dread, her own obscurity—and her erudition allows her an
almost omniscient view of whatever subject she chooses.
Her essay “Eliot at 101,” from Fame
& Folly, examines Eliot’s phenomenal rise and fall from public favor.
Unabashedly stating that Eliot was the center of her literary apprenticeship,
Ozick describes him at his height as “pure zenith, a colossus, nothing less
than a permanent luminary fixed in the firmament like the sun and the moon.” He
filled football stadiums—the University of Minnesota’s football stadium, to be
exact: 14,000 seats—with adoring fans of his poetry and of his “New Criticism.”
Eliot’s readers rebelled against
Wordsworthian tradition in favor of Modernism, but “the young who gave homage
to Eliot,” writes Ozick, “were engaged in a self-contradictory double maneuver:
They were willingly authoritarian even as they jubilantly rebelled… they were
ready to fall on their knees to a god. A god, moreover, who despised
free-thinking, democracy, and secularism; the very conditions of
anti-authoritarianism.”
By now the god has fallen:
Nobody’s interested in Eliot’s fascist apologetics or his rigid criticism
anymore. But his fall seems to have ushered in a loss of popular interest in
“high art.” No writer could possibly fill a football stadium now, and Ozick
mourns this loss. “What we will probably go on missing forever,” she writes,
“is that golden cape of our youth, the power and prestige of high art.”
Other essays in Fame &
Folly, notably “What Henry James Knew,” “Mark Twain’s Vienna,” and “Isaac
Babel and the Identity Question,” discuss the relationship between what Ozick
calls “fame and folly.” James’ ambition and ego were driven by intense
insecurities; Twain was momentarily anti-Semitic; Babel rode with the Red
Cossacks—yet critics treat these artists as holy. As with Eliot, Ozick reveres
the writers but doesn’t agree with their mystification. As Ozick’s essay
“Rushdie in the Louvre” argues, mysticism in at the very heart of fanaticism
and authoritarianism, and this fascinating and accomplished collection of
essays does great service in holding great art up for all to behold while
allowing the artists under discussion to remain merely human. Ozick may not be
in danger of being idolized by anyone other than me, but this book succeeds
brilliantly at rising up as a work of high art while remaining tethered to a
very humble and very earth-bound author.
—David Wiley
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