| 英文摘要 |
THINKING of admired critic Irving Howe, Morris Dickstein writes: “I’m not the only writer who still hears his voice echoing in my head, wondering at times what he might have thought of this or that book, this or that twist or turn in politics” (234). The informality of the contraction with which this quote begins, the way Dickstein thinks of himself as a “writer,” the pronoun “my” that does not agree in person with the antecedent “writer,” they all exemplify Dickstein’s style of literary criticism. Being a critic is being personal, and being personal is being unpretentious; only thus can a critic be a writer whose judgment touches upon the real world. A Mirror in the Roadway feels like an elegy for such criticism in the face of default academic skepticism that makes belief in the world’s real presence in literary works look naïve. |
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