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From Publishers Weekly

With The Western Canon, Yale-based critical eminence Bloom tapped into a strain of the cultural zeitgeist looking for authoritative takes on what to read. Bloom here follows up with 6-10 pages each on 100 "geniuses" of literature (all deceased) pointing to the major works, outlining the major achievements therein, showing us how to recognize them for ourselves. Despite the book's length, Bloom's mostly male geniuses are, as he notes "certainly not `the top one hundred' in anyone's judgement, my own included. I wanted to write about these." Bloom backs up his choices with such effortless and engaging erudition that their idiosyncrasy and casualness become strengths. While organized under the rubric of the 10 Kabalistic Sefirot, "attributes at once of God and of Adam Kadmon or Divine Man, God's Image," Bloom's chosen figures are associated by his own brilliant (and sometimes jabbingly provocative) forms of attention, from a linkage of Dr. Johnson, Goethe and Freud to one of Dickens, Celan and Ellison (with a few others in between them). A pleasant surprise is the plethora of lesser-known Latin American authors, from Luz Vaz de Camoes to Jos‚ Maria E‡a de Queiroz and Alejo Carpentier. Many familiar greats are here, too, as is a definition of genius. "This book is not a work of analysis or of close reading, but of surmise and juxtaposition," Bloom writes, and as such readers will find it appropriately enthusiastic and wild.

Copyright 2002 Cahners Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Library Journal

Bloom, a distinguished and often controversial literary critic and best-selling author of numerous books about literature (e.g., How To Read and Why), explores the concept of literary genius through the ages by examining 100 writers. Aside from such "must includes" as Shakespeare, Dante, Cervantes, Homer, Virgil, and Plato, Bloom offers some perhaps less well known to American readers, such as Lady Murasaki and Octavio Paz, acknowledging that his selections are idiosyncratic and were chosen because he wanted to write about certain authors, not because they were necessarily in "the top one hundred." In the introduction, Bloom posits a definition of genius that is fleshed out in his discussion of each writer. Authors are clustered into Lustres, or groups of five, while a brief introduction to each section explains why the writers in the section are associated with one another. (Each of the Lustres is based on one of the common names for the Kabbalistic Sefirot, which Bloom describes as representing God's creativity or genius.) Although the book is a delight to read, its real value lies in the author's ability to provoke the reader into thinking about literature, genius, and related topics. No similar work discusses literary genius in this way or covers this many writers. Recommended for public and academic libraries.

Shana C. Fair, Ohio Univ. Lib., Zanesville

Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

《天纔：創造性心靈的一百位典範》
【美】哈羅德·布魯姆
序言
全書體係：天纔與“卡巴拉”
“光輝之書”
諾斯替主義：文學的宗教
緒論：何為天纔？
天纔：我的定義

一：KETER 神之冕
光輝№1：莎士比亞——塞萬提斯——濛田——彌爾頓——托爾斯泰
光輝№2：【盧剋萊修】——維吉爾——【奧古斯丁】——但丁——喬叟

二：HOKMUH 神之慧
光輝№3：【舊約J書作者】——【蘇格拉底】—【柏拉圖】——【聖保羅】——【默罕默德】
光輝№4：薩繆爾·約翰遜——鮑斯威爾——歌德——【弗洛伊德】——托馬斯·曼

三：BINAH 神之智
光輝№5：【尼采】——【祁剋果】——卡夫卡——普魯斯特——貝剋特
光輝№6：莫裏哀——易蔔生——契訶夫——王爾德——皮蘭德婁

四：HESED 神之恩
光輝№7：約翰·但恩——蒲柏——斯威夫特——簡·奧斯丁——紫氏部
光輝№8：霍桑——麥爾維爾——夏洛蒂·勃朗特——艾米麗·勃朗特——伍爾芙

五：DIN 神之力
光輝№9：愛默生——艾米麗·狄金森——弗羅斯特——斯蒂文斯——T·S·艾略特
光輝№10：華茲華斯——雪萊——濟慈——萊奧帕爾迪——丁尼生

六：TIFERET 神之美
光輝№11：史文朋——加布裏耶爾·羅塞蒂——剋裏斯蒂娜·羅塞蒂——沃爾特·佩特——霍夫曼斯塔爾
光輝№12：雨果——奈瓦爾——波德萊爾——蘭波——瓦雷裏

七：NEZAH 神之勝
光輝№13：荷馬——卡濛斯——喬伊斯——卡彭鐵爾——帕斯
光輝№14：司湯達——馬剋·吐溫——福剋納——海明威——奧康納

八：HOD 神之威
光輝№15：惠特曼——佩索阿——哈特·剋萊恩——加西亞·洛爾迦——塞爾努達
光輝№16：喬治·艾略特——薇拉·凱瑟——伊迪絲·華頓——菲茲傑拉德——艾麗絲·默多剋

九：YESOD 神之基
光輝№17：福樓拜——埃薩·德·剋羅茲——馬查多·德·阿西斯——博爾赫斯——卡爾維諾
光輝№18：布萊剋——D·H·勞倫斯——田納西·威廉姆斯——裏爾剋——濛塔萊

十：MALKHUT 神之國
光輝№19：巴爾紮剋——劉易斯·卡羅爾——亨利·詹姆斯——羅伯特·勃朗寜——葉芝
光輝№20：狄更斯——陀思妥耶夫斯基——巴彆爾——策蘭——拉爾夫·艾裏森

尾聲：天纔的命運
· · · · · · (收起)