This romance made me remember the Cohen brothers' film - A Serious Man.

One could say it's a story with Kafkaesque contours, about a man who does everything right but keeps pushing away those around him.

Despite everything, Bellow shows some optimism and starts the story with a deus ex machina and a time jump.

Although it's far from my favorite Bellow romance, I will retain the hallucinatory atmosphere of New York nights and the unexpected crossings to Brooklyn.

(Note: Bellow narrates better at home - Chicago).

Here is what I posted a few minutes ago about the novella THE VICTIM is based upon:

"THE ETERNAL HUSBAND is the model for Saul Bellow's novel, THE VICTIM. Having read and liked THE VICTIM, I decided to read Dostoevsky's novella. I read it in the translation by Pevear and Volokhonsky. Dostoevsky's masterpiece is not only the model for Bellow's book, it is the blueprint. Bellow's genius was to introduce the theme of antisemitism into Dostoevsky's story of a Christian sinner and his Christian nemesis."

Before reading THE ETERNAL HUSBAND, I posted my review of THE VICTIM. Here it is:

While there are many peripheral characters in this, the second of Saul Bellow's published novels, THE VICTIM is essentially a two-character drama. I have a feeling Ed McBain/Evan Hunter got the inspiration for CAPE FEAR from this. (By the way, the novel which became the movie CAPE FEAR has a different title, but it should not be difficult to look up.) Bear in mind, of course, that Bellow is not writing a thriller, but a meditation on antisemitism.

Briefly, the plot involves the reappearance in the life of Asa Leventhal, a moderately successful New York businessman, of Kirby Allbee. Years before, at a party, Allbee had aimed antisemitic remarks at Leventhal. Now, Allbee is back, accusing Leventhal of deliberately offending a man who gave Leventhal, at Allbee's recommendation, a job interview. After Leventhal's job interview, Allbee was fired from his job. He stalks Leventhal years after the fact, saying Leventhal owes him something.

This could have been a Noir thriller. Indeed, it has surface similarities to a lot of potboilers of the era. (This novel was published in 1947.) But Bellow, who referred to this as an apprentice work in letters, nevertheless invests it with an unstinting realism. Leventhal's visits to Staten Island to see his abandoned sister-in-law and his nephews show a world recognizable today. From the simple logistics of travel (you take a train to the Ferry, the Ferry to the dock, then a bus to the stop) to the sense of foreboding one gets walking around a neighborhood which is not your own. In short, Bellow is patient with details and uses them to create a mood.

I have not read Dostoevsky's THE ETERNAL HUSBAND, but James Atlas, in his biography of Saul Bellow, points out that it is a source for THE VICTIM. I plan to read it, but I can't think Bellow is not almost as deep as Dostoevsky here.

One chapter, placed at just the right spot in this novel, is a set-piece. Chapter 10 consists of Asa Leventhal's accidental encounter with a group of friends and associates as they eat in a cafeteria. He is called over to their table and the reader is treated to a conversation about Benjamin Disraeli, the Yiddish Theater, the movies and the importance, in an actor, of being neither less nor more than human. I think Bellow's model here is the James Joyce of Dubliners. Five different threads of conversation are treated at once, colleagues in creativity are grouped (musicians being the artists in Dubliners, actors being the artists in THE VICTIM.) The chapter could have been removed. Bellow's publisher asked him to remove it, in fact, and Bellow, a la Joyce, wrote back that it was not the publisher's place to insist on that. This is the chapter that makes this a masterpiece. It is a deep book either way, but it is celestial at that juncture.

NOTE WRITTEN AFTER FINISHING THE ETERNAL HUSBAND: Even the set-piece in THE VICTIM reflects what amounts to a set-piece in THE ETERNAL HUSBAND. While Dostoevsky's scene advances the plot and the Bellow scene doesn't, both have a discussion of how to be human while producing art -- singing, in Dostoevsky's book and acting in Bellow's -- and both discussions are in scenes in both books showing the protagonist suddenly enjoying himself in lively company. Saul Bellow matched Dostoevsky almost point-for-point in THE VICTIM.

While the book was not a bad read, it didn't succeed in holding my attention too well.

I found myself having to continuously make an effort to read it. This is not really a positive judgement to make on a book.

It's a bit disappointing when a book fails to engage the reader fully.

I had high hopes for this one, but unfortunately, it just didn't quite deliver.

The story might have had some interesting elements, but they weren't presented in a way that kept me hooked from start to finish.

Maybe it was the pacing, or perhaps the characters didn't feel fully developed.

Either way, it made the reading experience a bit of a struggle.

I would have liked to have been more immersed in the book and to have had a harder time putting it down.

As it stands, it's an okay read, but not one that I would highly recommend.

This work is only of middling quality when compared to Bellow's other creations.

Here, there are indeed some fine ruminations on the obligations that people have towards one another. However, despite its brevity, the story progresses in a rather plodding manner.

Leventhal, lacking the intellectual charm of Bellow's other protagonists, is not an especially captivating character to follow.

Nevertheless, his conscience at least makes him more sympathetic than one might anticipate for such an overwrought individual.

Moreover, Albee's encounters with Leventhal, which largely drive the story, tend to be burdensome in various ways.

These aspects combine to make this work fall short of the high standards set by some of Bellow's other masterpieces.

It has its moments of interest, but overall, it fails to fully engage the reader on the same level as his more outstanding works.

When an antisemitic acquaintance levels the accusation at Asa Leventhal that he has ruined his life, the Jew from New York City initially brushes it aside. His focus is firmly on a recent family tragedy that has shaken him to the core.

However, the gentiles in his life are astonishingly quick to take the side of his accuser. This blatant show of support for the unjust accusation causes Leventhal to start feeling a sense of guilt creeping in. Before long, he finds himself going to great lengths, bending over backwards, to assist a nemesis who continues to belittle and demean him at every turn.

This narrative provides a powerful and poignant look at the insidious nature of gaslighting and the far-reaching and pervasive effects of antisemitism. It is a story that is just as relevant today as it was in the post-World War II era when the novel was first brought to light. It serves as a stark reminder of the ongoing struggle against prejudice and the importance of standing up against such harmful attitudes.

It's been 40 years since I've read this book.

Looking back, it felt as if it had been influenced a good deal by Kafka.

The story is filled with a sense of ambiguity. It's never clear whether the victim is Leventhal or Allbee.

Leventhal's offense against Allbee is equally unclear, adding to the mystery and confusion.

Some of the dream scenes in the book have a Kafka-like air, creating an otherworldly and disorienting atmosphere.

Despite these elements, it was an enjoyable enough read.

However, it's still clearly a young and developing Bellow.

His writing shows promise and potential, but there are also signs of immaturity and a need for further growth and refinement.

Overall, it's an interesting and thought-provoking work that offers a glimpse into the early stages of Bellow's literary career.

Just no.

Read Henderson the Rain King instead, and enjoy : )

This short piece simply presents a rejection with a suggestion. It starts with the firm "Just no." which implies a negative response. Then it offers an alternative, which is to read the book "Henderson the Rain King" by Saul Bellow. The link provided leads to more information about the book on Goodreads. The addition of "and enjoy : )" at the end gives a positive and inviting tone, encouraging the reader to take up the suggestion and have a good time reading the recommended book. Overall, it's a concise yet effective way to convey the message of not choosing something and presenting a better option.

I had a really tough time getting into this book. It seemed to be a struggle from the very beginning. And when I finally managed to finish it, I was left with the feeling that I must have missed something important.

The story itself was not too bad. Allbee, who believes that Asa Leventhal deliberately got him fired, continuously hounds Leventhal for some sort of assistance, even though the two men seemingly despise each other. However, Allbee presents quite a few anti-Semitic views, which was really difficult to tolerate.

One aspect that truly bothered me about the way this book was written is that Bellow would describe a gesture or a bit of dialogue, but instead of allowing the reader to draw their own inferences, he would tell you precisely how he wanted it to be interpreted. This really took a lot of the enjoyment out of reading for me, as I truly love the concept of conversational implicature. At other times, he would deviate from the narratorial style that was used for 99.9% of the book to tell us something that Leventhal couldn't possibly know. For instance, at one point, Leventhal and his friend Harkavy are having a conversation. Bellow writes something like: "Harkavy scowled. But in reality, he was just clearing his throat." That kind of writing just really annoys me.

All in all, it was an okay read. But I definitely wouldn't recommend it to anyone who is looking for a quick and easy read. It requires a lot of effort and patience to get through.

In the realm of truth's free exposures, it is hauntingly near.

The Victim, with a subtle proximity, sprays Kafka's dreams of nightmare interactions.

Putting aside the subtexts, Bellow is highly adept in exploring the intricate web of expectation and personal experience.

It is much like when one slides past and views some domestic incident through the train window.

As the train moves along, the scenes outside pass by in a blur, yet they leave an indelible impression.

Bellow delves deep into the human psyche, uncovering the hidden emotions and desires that lie beneath the surface.

His exploration is both profound and thought-provoking, inviting the reader to reflect on their own expectations and experiences.

Through his masterful storytelling, Bellow brings to life the complex and often tumultuous world of human relationships.

He shows us that beneath the ordinary facade of our lives, there are hidden dramas and conflicts that shape our existence.

And it is in these moments of truth's free exposures that we are able to see ourselves and others more clearly.

This book is deliberately enigmatic.

I was intrigued to the extent that I completed reading it, yet I wasn't driven to analyze and figure out precisely what the author intended to convey.

Perhaps my lack of enthusiasm stems from the time disparity. The ideas that the author instilled in Asa Leventhal's consciousness are unmistakably those of a distinct generation. They are markedly different from what a contemporary author would pen if writing a story about the same era.

The depictions of NYC that were interwoven into the narrative provided an extremely vivid sense of what life was like there in the 1940s. They were so ordinary that they could only be accurate. It was as if one could step back in time and experience that period through the author's words.

Despite my not being overly compelled to dissect the book's deeper meanings, I still found value in the realistic portrayal of the city and the era. It served as a reminder of how different life was back then and how much has changed in the intervening years.

Overall, while the book may not have been a literary masterpiece that demanded intense analysis, it did offer an interesting glimpse into a bygone era and the mind of a particular generation.

A bit of a slow read.

Didn't knock me over.

Some dense description which can be rather good.

The characters and settings are very Jewish. It's set in 1947, the year of the founding of Israel.

Have I missed some allegorical insight?

I'm surprised to see it was published in 1947 and set in New York, yet there's no mention of World War 2. That's strange.

Perhaps the author deliberately chose to focus on a specific aspect of Jewish life and history during that time period, rather than directly addressing the war.

It could be that the dense descriptions are meant to create a vivid and immersive atmosphere, allowing the reader to better understand the characters and their experiences.

However, without more context or a deeper exploration of the themes, it's difficult to fully appreciate the significance of the story.

Maybe a second reading, along with some research on the historical and cultural background, would provide more clarity and reveal the hidden allegorical meanings.

Overall, while it didn't immediately captivate me, there's something about this book that makes me want to dig deeper and see what else it has to offer.

DNF’d on January 28, 2022.

Allbee, “the victim,” was truly a creep right from the very beginning. His actions and behavior were constantly off-putting and made the whole situation extremely uncomfortable.

I, on the other hand, have completely lost patience with Leventhal. He seems to lack the courage or the ability to stand up to Allbee and address the issues at hand. It’s frustrating to see someone so passive in the face of such a difficult situation.

I don’t know what the future holds for this whole mess, but I do know that I can no longer tolerate the way things are going. Something needs to change, and soon.

Hopefully, Leventhal will find the strength within himself to take a stand and deal with Allbee once and for all. Otherwise, this situation is only going to get worse.