From a long review by William Deresiewicz in The Nation:
Into the world of Bellow’s brothers, Maurice and Sam, big in the coal business, huge in real estate, Cadillac drivers, ganse machers, figures of energy and action, not above a shady deal, men who knew the way the system worked, the traps it laid for bleeding hearts. Men like their father, a failed bootlegger and everything elser, but cynical and tough, all three of them contemptuous of little Sol the luftmensch. “My father looked, when I told him of the award,” Bellow writes an old friend at 33, having finally won himself a Guggenheim, “as he had looked at the gold star in my third-grade copybook. Yes, very fine, but there is still life with its markets, alleyways and bedrooms where such as you are conceived between a glass of schnapps and a dish of cucumbers and cream.”
Deresiewicz goes on to quote Allan Bloom talking about Bellow’s versatility:
His friend Allan Bloom said it brilliantly and best: “He has always understood that even if you are on your way from Becoming to Being, you still have to catch the train at Randolph Street.”
Understanding, for Bellow, begins in feeling—hardly an intellectual’s position or, these days, even a comprehensible one. Citrine, we read, is a man who has decided “to follow the threads of spirit he had found within himself to see where they might lead.” That is why Bellow’s memories of childhood were always his essential touchstone. “Love reclaims one for reality,” he writes here—that same love that he felt for his readers. And that is why he insisted, to Alfred Kazin, that when it comes to judging a work of literature, “The first criterion is enjoyment, and so are the second and third criteria.” Bellow was against interpretation long before another writer got there. “While our need for meanings is certainly great,” he wrote in a 1959 essay, “our need for concreteness, for particulars, is even greater.” And that is why he thought by telling stories.
More information:
by William Deresiewicz, The Nation, November 23, 2010
by Edward Mendelson, The New York Review of Books, April 28, 2011




