The Victim

I'm not entirely certain what to express regarding this particular piece.

On one hand, it is completely uninteresting. However, it is also profound and penetrating. After reading fifty pages, I was on the verge of discarding it. But Bellow is an outstanding writer, and he portrays his protagonist with such human touches that I felt obligated to follow him through to the end.

Nevertheless, in the end, the character and his circumstances belong to an era so different from my own that I found it challenging to empathize with him. Or to hold any resentment towards him, for that matter. And either one or the other (or perhaps both) was essential.

It seems that while the writing may have its merits, the gap in time and context makes it difficult for me to fully engage with the story and its characters.

Perhaps with a more in-depth understanding of the era in which it is set, I might be able to appreciate it more fully. But as it stands, I am left with a somewhat ambivalent feeling towards this work.

Guilt And Alienation In Post-War New York City

In 1945, Saul Bellow, in a Guggenheim Fellowship application, described his work-in-progress, "The Victim," as a novel centered around guilt. He dedicated himself to this novel from 1945 - 1947, but upon publication, it had poor sales. A stage version ran briefly off-Broadway in 1952.

"The Victim" delves into modernist themes such as guilt, loneliness, purposelessness, and paranoia in the lives of its main character and his strange double. Set in a sweltering post-WW II New York City summer, the primary character, Asa Leventhal, an editor for a trade paper, has an uneasy relationship with his boss. He is a non-practicing Jew, acutely aware of anti-Semitism. Leventhal's life has been difficult, with a mother who went mad during his childhood and a distant father. He has an older brother, Max, from whom he has long been estranged. After a broken engagement, he left a civil service job in Baltimore and endured months of poverty in New York before finding a position. When the book begins, Leventhal is alone in the hot summer, with his wife Mary away visiting her sick mother.

Leventhal endures a trying summer when he is approached and stalked by Kirby Allbee, a man he knew briefly years earlier. At a party, Allbee made anti-Semitic comments to Leventhal, but then used his influence to get Leventhal a job interview. The interview was a disaster as Leventhal lost his temper, and Allbee, who had a drinking problem, was fired. Allbee's life then deteriorated, and he blames Leventhal for his troubles, seeking his help and becoming increasingly persistent.

Leventhal also has other guilt-related problems. His brother Max has married an Italian Catholic woman, Elena, and when their younger child becomes gravely ill, Elena calls Leventhal. Max is unable to return before the child dies, and Leventhal fears being held responsible by Elena and her mother. With his own prejudices, Leventhal is troubled by his brother's marriage and finds Elena and her mother superstitious and primitive. However, during the course of the book, Leventhal and his brother take steps to improve their relationship.

Both Leventhal and Allbee are lonely outsiders, once members of the class Bellow describes as "the lost, the overcome, the effaced, the ruined." The book is influenced by Dostoevsky and existentialism, with Allbee reminding one of Melville's Bartelby. It explores personal responsibility and pervasive anti-Semitism in Allbee and the New York business world, as well as Leventhal's own prejudices. The book suggests that guilt, loneliness, and redemption can be overcome by friendship, love, and purpose.

This book is tightly written and constructed, unlike its successor. It is framed with philosophical reflections and discussions, and the lonely city life plays a dominant role, as in Bellow's later works. However, the writing in "The Victim" seems formulaic, and some scenes fall flat. It is a serious and thoughtful book, but it doesn't move well. Late in life, Bellow distanced himself from this book, calling it his PhD. This is an accurate but harsh assessment, and the book will appeal most to readers seriously interested in Bellow and his themes.

I truly have a deep affection for this book as it artfully combines internal paranoia with profound general questions about life.

The story revolves around a Jewish newspaper man who is grappling with persecutional delusions. These delusions surface when a person is under stress and has an inclination to seek universal approval. The stressor in his case appears to be the extended absence of his wife, which leads him to suddenly feel an unjustified sense of guilt. For instance, when his nephew passes away, he inexplicably feels culpable, despite knowing rationally that he should not. Another theme emerges when an acquaintance accuses him of being the cause for the acquaintance losing a job and having his life descend into chaos. Initially, he laments the accusation, but eventually succumbs to his guilty conscience. Due to this overwhelming guilt, he becomes convinced that everyone around him is persecuting him for "the bad things he has done," thereby transforming his paranoia into a self-fulfilling prophecy. What makes this book fascinating is the element of truth in his feeling of persecution. While a normal person might easily dismiss such a feeling, he internalizes it and赋予 it disproportionate strength compared to the actual events. Having personally experienced this uncomfortable sensation, I can empathize with the character, although I do believe his response to guilt was excessive.

Another theme that is intertwined with his feeling of persecution is the historical and contemporary persecution of American Jews, as well as other Minority-Americans. Although it is becoming less common, in the recent past, minorities were often regarded by Americans as not being "American enough," mainly based on their appearance, although their distinct minority heritage might also play a role.

Yet another theme is the role of the welfare system in this country. In the book, the white bum who blames the main character for his downfall seems to mirror liberals who attribute the ills of the individual to society. While it is undoubtedly true that society has a responsibility to ensure that everyone can become a productive member, it ultimately lies with the individual to make use of the tools that society provides to achieve this.

Saul Bellow, the winner of the Nobel Prize for Literature, is a renowned author.

His work is often complex and thought-provoking. However, the book in question is a strange one. It delves into the themes of paranoia and fear, which can be quite unsettling.

I initially thought that there would be more depth to the plot as I continued reading. I was under the impression that a big climax would emerge towards the end of the book, similar to what one might expect in an Alfred Hitchcock film.

Unfortunately, my expectations were not met. The ending was just as uneventful as the rest of the book. It left me feeling rather disappointed and confused.

In summary, I have to admit that I didn't quite understand this particular work of Saul Bellow. It may require a second reading or a more in-depth analysis to fully appreciate its nuances and hidden meanings.

Perhaps I missed something along the way, or maybe this book just wasn't for me. Nevertheless, I still respect Saul Bellow's literary achievements and look forward to exploring his other works in the future.

I chose to read "Herzog" because its publication date coincides with mine. Perhaps also because after a while, its time had come... "Herzog" is a dark book that takes place in New York with a caustic tone. Everything ostensibly - mainly on the back cover - seemed simple and not torturous. And yet Bellow had a different opinion, and almost made it difficult for me. And yet the reader simply has to immerse themselves in the darkness and the story of Bellow's heroes. The novel's description of New York, the Levental, the Olmsted, the sick nephew, the apartments, the descriptions of the characteristics, the sighs, the expressions, the sounds, the feelings... everything and everything is studied to perfection. Within this framework also fits the philosophical speculation that runs throughout the text. The concept of existence and struggle. I would dare to use the philosophical term of the orthodox existentialist (since it operates within the framework of the narrative and the problematics of Dostoyevsky), however Bellow goes one step further, managing to speak about the human condition of the "modern man" through very simple and handmade heroes. In "Herzog", Levental manages to "re-member" himself through a series of actions, omissions, personal obsessions and anxieties. Even at the end of the book he wonders: "Half a minute, who do you think is regulating things?".

This book is a profound exploration of the human psyche and the modern condition. Bellow's writing is masterful, painting a vivid picture of a complex and often troubled world. The characters are richly drawn, with their own flaws and virtues, making them both relatable and fascinating. The themes of identity, meaning, and purpose are explored in depth, leaving the reader with much to思考 and reflect upon.

Overall, "Herzog" is a must-read for anyone interested in literature, philosophy, or the human experience. It is a powerful and thought-provoking work that will stay with you long after you have turned the last page.

Bellow's second novel, which was first published in 1947, presents an engaging story. It centers around Asa Leventhal, a Jewish man residing in New York City. Asa has to grapple with the negative stereotypes that emerge when his brother marries an Italian woman. Moreover, the appearance of a former acquaintance adds to his woes. This acquaintance blames his ruin on Asa and a supposed Jewish conspiracy. Bellow demonstrates great skill in描绘 how stress and self-doubts can manifest as rather unappealing outward behavior. Some of the scenes from this book bear an uncanny resemblance to some of my own past roommate experiences. It's fascinating to see how Bellow captures the complex emotions and人际关系 in this novel, making it a thought-provoking read.

The story not only delves into the personal struggles of Asa but also touches on broader themes such as prejudice and the power of perception. It makes the reader reflect on how our own biases and insecurities can impact our interactions with others. Overall, Bellow's second novel is a remarkable work that continues to resonate with readers today.

Asa Levental, an ordinary office worker, has an unjust boss, a wife on a business trip, a cowardly brother, an ignorant sister-in-law, and a Jewish question that gnaws at him from within. One day, he goes to the park and runs into an old acquaintance, Olbi, who once made a bad joke about Jews in his presence. Olbi is convinced that after that joke, Levental took revenge on him: Olbi can't get any job now, his wife has died, and everyone has turned away from him. Of course, he blames Asa for all of this.

From then on, the story will begin to unfold in infernal circles: Olbi will gradually take over Levental's life, rummaging through the boxes in his house, persecuting, accusing, and driving out almost all the air that Levental has ever breathed.

The allusion is obvious, but the distinctive feature of the book is that Levental is not a saint: he is a rather unpleasant Jew, ready to attack another person if he suspects that the other person doesn't like him because of his nationality. He gets confused, makes excuses, and runs away from responsibility, not understanding himself where he is the victim and where he is the tyrant. And in order not to become the latter, he avoids any decisive actions until the last moment, even if the situation is directly related to the lives of his loved ones. Here there will also be Italian fascism, which everyone usually forgets and which has caused irreparable harm to itself. Here there will be nothing but constructed characters, with whom it is difficult to empathize, and there will also be Olbi. The character of Olbi is of incredible strength, from whom one desperately wants to wash oneself and directly jump out of the window. Olbi, the parts about whom it is impossible to read, but also impossible not to read: he clings to you like a leech, reminding you that nothing has ended yet. Olbi, who considers himself a victim but will make anyone his victim.

Of course, the title "Victim" is a reversal, applicable here to almost everyone: to Olbi, who has indeed become a victim - his own victim, to Levental's brother and his sons - the victims of domestic (Italian) fascism, and, of course, to Levental himself.

I read "Victim" as a bedtime book, and when I realized yesterday evening that this was waiting for me under the pillow, I literally felt a huge black despair, and then I read it all in one go - so as not to feel this anymore. This text is a huge black funnel, sucking in not by some atrocities, but precisely by the horror of everyday fascism. From which it is impossible to escape, no matter where you hide.

I was truly captivated throughout the entire process of reading this book. The story held my attention firmly, and I found myself completely immersed in its pages. However, once I reached the end, I was left with a certain degree of uncertainty. I wasn't entirely sure what the key takeaways or the overall message of the book were supposed to be.

Based on this experience, I would rate this book closer to a 3.5 rather than a full 5. It had its moments of engaging storytelling, but there were also aspects that left me a bit confused or lacking a clear sense of purpose.

Goodreads, it would be really beneficial if you could implement a half-star rating system. This would allow for a more accurate and detailed assessment of books, better reflecting the nuances and subtleties of each reading experience. It would provide a more precise way for readers to share their thoughts and opinions, and help others make more informed decisions about which books to pick up.