We don’t have to be opposed to multiculturalism in general to appreciate Bloom’s ability to concisely contextualize what he is opposed to. If you can wade into the polemic of The Western Canon keeping your own discretion intact, allowing its cant to wash over you and looking for the actual sustenance Bloom was always talking about, you will find it. The individual chapters are among the richest things Bloom wrote about the authors in question. Where else could you find a critic so blithely abolishing the distinction between Dante’s Christianity and his secularity? Or declaring that the great Florentine and Milton were each ultimately a “sect of one”? Where else could you hear that Virginia Woolf’s “religion” was pure “Paterian aestheticism,” or perceive the ways in which Chaucer’s pioneering characters gave Shakespeare the start he needed to place a new kind of personhood on the stage? In Bloom’s historical pageant, the reader plays the greatest role imaginable: every reading is a resurrection. And it’s this—the grandest of Bloom’s claims for the power of literature—that I found most personally inspiring. That sacred charge, that weighty importance given to the mission of understanding and preserving this tradition, had its intended effect on me. I was transported, and inspired, and all I wanted to do was write.
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