The Anxiety of Influence
Authors: Harold Bloom
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Overview
This book offers a new theory of poetry, exploring the psychological dynamics of literary influence. I argue that poetic creation is driven by the later poet’s anxiety at the overwhelming presence of their predecessors. This ‘anxiety of influence’ is a constant in literary history, shaping the work of all poets, from the Romantics to the modernists. I identify six stages in this Oedipal struggle, outlining how poets attempt to deviate from, engage with, and ultimately transcend the influence of their ‘strong’ precursors. More than just a literary theory, my work offers a framework for understanding creativity itself – the interplay of tradition and originality, the burden of the past, and the potential for achieving a unique voice. This book speaks to anyone interested in the creation of literature, the dynamics of influence, and the nature of originality. It offers new insights into familiar works of poetry and challenges conventional interpretations. Ultimately, this book is a meditation on the act of reading itself, as a creative misprision.
Book Outline
1. Clinamen or Poetic Misprision
The anxiety of influence begins with a necessary swerve from poetic tradition. This swerve, which I call clinamen, is a ‘misreading’ or ‘misinterpretation’ of the precursor poet’s work. This misprision is not a value judgment, but a description of the creative process by which poets distinguish themselves from their predecessors, clearing imaginative space for their own work. Clinamen is often subtle and even unconscious, but it is the first step in the poet’s struggle for originality.
Key concept: “Clinamen, or Poetic Misprision” designates the way poets deviate from their predecessors, not by denying their influence, but by ‘misreading’ or ‘misinterpreting’ them in a creative act of revision. This ‘swerve’ allows the new poet to find their own voice while still acknowledging the weight of tradition.
2. Tessera or Completion and Antithesis
Once a poet has swerved from their precursor, they enter a stage of completion and antithesis. In this stage, the later poet seeks to fulfill what they perceive as the unsaid or incomplete in the precursor’s work, but in doing so, they inevitably introduce their own opposing vision. This creates a dynamic tension between the two poets, a kind of Oedipal struggle in which the later poet seeks to both honor and overthrow the fatherly figure of the precursor.
Key concept: “Tessera, or Completion and Antithesis,” explores the second stage, where the later poet attempts to ‘complete’ the precursor’s vision while simultaneously setting up an opposing vision in antithesis. This complex dynamic of completion and subversion is central to understanding the relationship between poetic generations.
3. Kenosis or Repetition and Discontinuity
Repetition, while appearing to be the ultimate form of poetic subservience, becomes the means for achieving a necessary discontinuity with the past. The later poet, burdened by the anxiety of influence, finds liberation not in avoiding repetition but by embracing it in a new way. This emptying out or kenosis allows for a more authentic engagement with poetic language and form, as the poet seeks to make the precursor’s words their own.
Key concept: “Kenosis, or Repetition and Discontinuity” marks the point where the later poet attempts to break free from the overwhelming influence of the precursor by embracing repetition, but with a difference. This ‘emptying’ allows for a kind of discontinuous continuity with tradition.
4. Daemonization or The Counter-Sublime
In this stage, the later poet directly confronts the overwhelming presence of the precursor by engaging in a process of daemonization. This involves finding a weakness or limitation in the precursor’s work, a blind spot that allows the later poet to assert their own originality. It’s a complex process of negation and transformation, where the precursor’s influence is acknowledged, even as it is being challenged and ultimately surpassed.
Key concept: “Daemonization, or The Counter-Sublime” describes the later poet’s attempt to overcome the anxiety of influence by demonizing the precursor, by finding a flaw or limitation in their work that allows the later poet to assert their own originality.
5. Askesis or Purgation and Solipsism
The later poet, seeking a more profound originality, attempts to purge themselves of the precursor’s influence. This process of askesis involves a degree of solipsism, a turning inward to the self and away from the external world and the influence of literary tradition. The poet, in this stage, becomes increasingly aware of their own limitations, but also of the potentially limitless power of their own imagination.
Key concept: “Askesis, or Purgation and Solipsism,” is the stage of self-purgation, where the later poet seeks to repress the precursor’s influence and create a more original vision. This often involves a turn towards solipsism, as the poet seeks to purify their own imaginative world.
6. Apophrades or The Return of the Dead
The final stage in this cycle is not a complete liberation from influence, but a recognition that the dead return. The precursor’s voice, however transformed or transcended, will inevitably reappear in the later poet’s work. This return, however, should not be seen as a defeat. It signals a final acceptance of the relationship between the poet and their precursor, a recognition of the continuity of the poetic tradition.
Key concept: “Apophrades, or The Return of the Dead,” the final stage of the anxiety of influence, where the precursor’s influence returns, but in a transfigured form. This is not a simple repetition, but a complex interplay between the living and the dead, as the later poet incorporates the precursor’s voice into their own.
Essential Questions
1. How does the concept of ‘anxiety’ function in Harold Bloom’s theory of poetic influence?
At the heart of Bloom’s argument lies the concept of ‘poetic influence’ as a kind of anxiety. He argues that poets, particularly strong poets, inherit this anxiety from their predecessors, leading to a constant struggle for originality. This anxiety is not debilitating but generative, driving the creation of new forms and ideas.
2. What are the six revisionary ratios, and how do they shape the development of a strong poet?
Bloom outlines six stages through which a poet might engage with the anxiety of influence: Clinamen, Tessera, Kenosis, Daemonization, Askesis, and Apophrades. These stages represent different strategies for confronting, assimilating, and ultimately transcending the influence of prior poets. Each stage contributes to the later poet’s development and ultimate creation of a unique voice.
3. What distinguishes a ‘strong poet’ from other poets in Bloom’s view?
Bloom’s primary focus is on ‘strong poets,’ those who demonstrate an acute awareness of their predecessors and engage with influence in creative and transformative ways. While all poets experience the anxiety of influence, strong poets exhibit a greater consciousness of this dynamic, leading to more innovative and individualistic work.
Key Takeaways
1. Influence as a Source of Creativity
Bloom argues that originality in poetry doesn’t arise from a void but from a deep engagement with tradition. The ‘anxiety of influence’ compels poets to define their artistic identity against the looming presence of their predecessors, resulting in a creative ‘misreading’ that allows for both continuity and innovation.
Practical Application:
In product design, this can be seen as understanding the evolution of a product category and identifying opportunities to both build upon and differentiate from successful predecessors. A new smartphone, for example, should acknowledge the advancements of previous models while offering novel features or design elements.
2. Originality as ‘Misreading’
Bloom challenges the traditional notion of originality as pure invention. He posits that poetic creation is fundamentally relational, a dynamic interplay between the poet and their precursors. Recognizing and understanding this dynamic is crucial for appreciating the evolution of literary tradition and the emergence of individual styles.
Practical Application:
In the context of AI and Machine Learning, understanding the ‘anxiety of influence’ can help engineers and researchers develop new algorithms or models. By studying existing approaches and identifying their limitations or areas for improvement, they can build upon the existing knowledge base while striving for novel contributions to the field.
3. The Oedipal Nature of Influence
Bloom’s analysis of the six revisionary ratios reveals the inherently psychological dimension of poetic influence. The later poet’s struggle is not only with form and language but also with their own anxieties and desires for recognition, culminating in a complex relationship with the ‘fatherly’ figures of literary tradition.
Practical Application:
This takeaway has implications for mentorship and leadership in any field. Effective mentors understand the delicate balance between providing guidance and fostering independence. By recognizing their mentees’ anxieties and encouraging them to find their own voices, they can help them navigate the challenges of influence and originality.
Suggested Deep Dive
Chapter: Clinamen or Poetic Misprision
This chapter introduces Bloom’s central concept of ‘clinamen’ and lays the groundwork for his theory of poetic influence. For AI engineers, understanding ‘clinamen’ – the creative misreading or misinterpretation of a precursor – could provide a framework for developing algorithms capable of generating innovative solutions by deviating from established patterns in data.
Memorable Quotes
Clinamen or Poetic Misprision. 19
“Clinamen, or Poetic Misprision” designates the way poets deviate from their predecessors, not by denying their influence, but by ‘misreading’ or ‘misinterpreting’ them in a creative act of revision.
Tessera or Completion and Antithesis. 49
“Tessera, or Completion and Antithesis,” explores the second stage, where the later poet attempts to ‘complete’ the precursor’s vision while simultaneously setting up an opposing vision in antithesis.
Kenosis or Repetition and Discontinuity. 77
“Kenosis, or Repetition and Discontinuity” marks the point where the later poet attempts to break free from the overwhelming influence of the precursor by embracing repetition, but with a difference.
Daemonization or The Counter-Sublime. 99
“Daemonization, or The Counter-Sublime” describes the later poet’s attempt to overcome the anxiety of influence by demonizing the precursor, by finding a flaw or limitation in their work that allows the later poet to assert their own originality.
Askesis or Purgation and Solipsism. 115
“Askesis, or Purgation and Solipsism,” is the stage of self-purgation, where the later poet seeks to repress the precursor’s influence and create a more original vision.
Comparative Analysis
“The Anxiety of Influence” shares its intellectual terrain with other seminal works of criticism, such as T.S. Eliot’s “Tradition and the Individual Talent” and Northrop Frye’s “Anatomy of Criticism.” While these critics also grapple with the role of tradition in shaping literary creation, Bloom’s work diverges through its intensely psychological focus. Where Eliot sees an impersonal “depersonalization” and Frye a system of archetypes, Bloom posits an Oedipal struggle between poets, where influence becomes a kind of anxious inheritance. This emphasis on the individual talent’s fraught relationship with its precursors marks the book’s unique contribution to literary theory, though some might argue that its psychoanalytic approach risks reducing complex artistic processes to simplistic formulas.
Reflection
“The Anxiety of Influence” stands as a significant work in literary criticism, offering a compelling framework for understanding the dynamics of literary history and the development of individual talent. Bloom’s central argument, that poetic creation is fueled by the anxiety of influence, resonates deeply, prompting us to reconsider our notions of originality and tradition. While his psychoanalytic approach, particularly his reliance on Freudian paradigms, might seem limiting to some, it provides a nuanced lens through which to examine the complex psychological forces at play in artistic creation. Bloom’s erudite and often polemical style makes for a challenging but rewarding read, pushing us to engage with literature on a deeper, more analytical level. Whether or not one agrees with all of his conclusions, Bloom’s work remains essential for anyone seeking to understand the intricacies of literary influence and the timeless dialogue between poets across generations.
Flashcards
What is the ‘anxiety of influence’?
The anxiety a poet experiences in the face of their precursors, leading them to ‘misread’ or ‘misinterpret’ earlier works in order to clear space for their own.
What are the ‘revisionary ratios’?
The six stages by which a poet grapples with the anxiety of influence: Clinamen, Tessera, Kenosis, Daemonization, Askesis, and Apophrades.
What is ‘Clinamen’?
A ‘misreading’ or ‘misinterpretation’ of a precursor’s work, which allows for the later poet’s own originality to emerge.
What is ‘Tessera’?
A simultaneous ‘completion’ and ‘subversion’ of the precursor’s work. The later poet attempts to fulfill the precursor’s vision while also establishing their own opposing perspective.
What is ‘Kenosis’?
A deliberate ‘emptying out’ or purging of the precursor’s influence, achieved through a seemingly paradoxical embrace of repetition with a difference.
What is ‘Daemonization’?
The later poet’s attempt to overcome the anxiety of influence by finding flaws or limitations in the precursor’s work.
What is ‘Askesis’?
A stage of self-purgation, often characterized by a turn inwards and a heightened sense of solipsism, as the later poet seeks to purify their own imagination from the influence of the precursor.
What is ‘Apophrades’?
The return of the precursor’s influence in a transfigured form, marking a final acceptance of the interconnectedness of poetic tradition.