Kazin

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Ka•zin

(ˈkeɪ zɪn)
n.
Alfred, 1915–98, U.S. literary critic.
References in periodicals archive ?
"Reading as Feeling" traces the "feeling rules articulated by the Fulbright Program" and internationalized American Studies (59), which sprang from the passionate pedagogy of critics like Alfred Kazin and F.
Baldwin, James, Langston Hughes, Lorraine Hansberry, Emile Capouya, and Alfred Kazin. 2017.
(55) Trilling probably knew that Rahv was corralling for the symposium many of the most accomplished younger Jewish writers and critics such as Delmore Schwartz, Clement Greenberg, Isaac Rosenfeld, Alfred Kazin, and Trilling's friend Louis Kronenberger.
Writing in 1973 in the essential journal of American letters that was Playboy, Alfred Kazin wrestled with a question that has bedeviled so many readers before him and since: Why do so many gifted writers, masterfully astute observers of the human condition, turn foolish the moment they ponder politics?
In Commentary Philip Rahv called the novel "egregiously bad." In the Saturday Review, Maxwell Geismar labeled it "Hemingway's worst." In The New Yorker, Alfred Kazin declared that Hemingway had made "a travesty of himself." Carlos Baker would later summarize the critical reception as a mixture of "boredom and dismay" (xiv-xv).
The "Near East" section incorporates a peculiar classification: two of its three essays deal with Jewish-American writers and thinkers, among them Emma Lazarus, Mordecai Kaplan, Irving Howe, Alfred Kazin, Saul Bellow, Stanley Cavell, and Harold Bloom.
One of them, Irving Kristol, announced one day to Alfred Kazin that he was going right.
Alfred Kazin in his critique of Morte D'Urban expands on Evans's two rationales by affixing Simone Weil's formula of "gravity" and "grace," gravity being the utter mediocrity of reality and grace standing for ideal beauty that can appear only against the background of a horrid daily existence.
Those studied include Lionel Trilling, Dwight Macdonald, Alfred Kazin, William Maxwell, Saul Bellow and, of course, Mailer.
More important, though, are those other walker/writers: Charles Reznikoff, whose poetry she quotes at length, or Alfred Kazin, whose A Walker in the City (1951) is another story of a smart kid from the outer boroughs, beguiled by boulevardiers and books.
Kerouac "writes not so much about things," Alfred Kazin noticed, "as about the search for things to write about." Sal Paradise and Dean Moriarty's adventures are never as "crazy," "fantastic," "mad," "wild," or "tremendous" as Kerouac would have us believe, no matter how "crazy," "fantastic," "mad," "wild," or "tremendous" he tells us they were.