"I have never believed that the critic is the rival of the poet, but I do believe that criticism is a genre of literature or it does not exist"
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Bloom is trying to rescue the critic from the petty soap opera of “creators vs. commentators” by yanking criticism back into the only arena he thinks matters: aesthetic power. The opening clause disarms a common grievance-that critics feed off poets, parasitically scoring points without risking anything. Bloom refuses that rivalry framing, not out of humility but out of hierarchy. If criticism is done right, it’s not a jealous shadow of poetry; it’s a different kind of art with its own stakes.
Then comes the real knife: “criticism is a genre of literature or it does not exist.” Bloom isn’t arguing for criticism as consumer guidance, political accountability, or cultural triage. He’s setting a brutal entrance fee. If your criticism can’t stand as writing-if it can’t generate style, metaphor, argument, and a distinct voice-it dissolves into chatter, journalism, or institutional paperwork. The subtext is a rejection of the professionalized critic who mistakes methodology for insight, and of the hot-take economy that treats interpretation like a disposable opinion.
Context matters: Bloom built a career defending the canon and the autonomy of aesthetic experience against what he saw as the moralizing drift of academia (“the School of Resentment”). This line doubles as a manifesto: criticism must be strong enough to join the tradition it judges. It’s also a confession of ambition. Bloom’s critics sometimes accused him of writing criticism like epic struggle; here he quietly admits that was the point.
Then comes the real knife: “criticism is a genre of literature or it does not exist.” Bloom isn’t arguing for criticism as consumer guidance, political accountability, or cultural triage. He’s setting a brutal entrance fee. If your criticism can’t stand as writing-if it can’t generate style, metaphor, argument, and a distinct voice-it dissolves into chatter, journalism, or institutional paperwork. The subtext is a rejection of the professionalized critic who mistakes methodology for insight, and of the hot-take economy that treats interpretation like a disposable opinion.
Context matters: Bloom built a career defending the canon and the autonomy of aesthetic experience against what he saw as the moralizing drift of academia (“the School of Resentment”). This line doubles as a manifesto: criticism must be strong enough to join the tradition it judges. It’s also a confession of ambition. Bloom’s critics sometimes accused him of writing criticism like epic struggle; here he quietly admits that was the point.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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