I enjoy reading bad reviews of famous novels - almost as much as I enjoy getting them. It comforts me to know that if a book of mine is called "lugubrious," I will be keeping company with Aldous Huxley.
(Unlike Brave New World, not one of my books has been called "lugubrious," or even "nauseating," but this is probably due to an avoidance of polysyllabic adjectives on the part of contemporary reviewers.)
These books were panned primarily because they broke new ground. Innovative writing is rarely well received in the short run. However, in the long run, these books have stood the test of time, and are now considered classics.
Here are some truly harsh reviews of 20th-century classics assembled by Sean Hutchinson for Publisher's Weekly. If your book has the good fortune to be called "silly," know that you are right up there with Richard Wright.
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(Unlike Brave New World, not one of my books has been called "lugubrious," or even "nauseating," but this is probably due to an avoidance of polysyllabic adjectives on the part of contemporary reviewers.)
These books were panned primarily because they broke new ground. Innovative writing is rarely well received in the short run. However, in the long run, these books have stood the test of time, and are now considered classics.
Here are some truly harsh reviews of 20th-century classics assembled by Sean Hutchinson for Publisher's Weekly. If your book has the good fortune to be called "silly," know that you are right up there with Richard Wright.
______________________________
Really Harsh Early Reviews of 20 Classic 20th-Century Novels
By Sean Hutchinson
Ulysses – James Joyce
Joyce’s magnum opus redefined literature and was a major event upon its release in 1922. Some bought into its radical structure, but others didn’t—including fellow modernist Virginia Woolf. In her diary she called Ulysses “an illiterate, underbred book it seems to me: the book of a self-taught working man, and we all know how distressing they are, how egotistic, insistent, raw, striking, and ultimately nauseating ... never did any book so bore me.”
By Sean Hutchinson
Ulysses – James Joyce
Joyce’s magnum opus redefined literature and was a major event upon its release in 1922. Some bought into its radical structure, but others didn’t—including fellow modernist Virginia Woolf. In her diary she called Ulysses “an illiterate, underbred book it seems to me: the book of a self-taught working man, and we all know how distressing they are, how egotistic, insistent, raw, striking, and ultimately nauseating ... never did any book so bore me.”
The Great Gatsby – F. Scott Fitzgerald
Cited by many as the Great American Novel, Fitzgerald’s inimitable The Great Gatsby remains a staple in classrooms and on bookshelves the world over. Critic and journalist H.L. Mencken, however, called it “no more than a glorified anecdote,” and that “it is certainly not to be put on the same shelf, with, say, This Side of Paradise [Fitzgerald’s debut novel].” In her review for the New York Evening World, critic Ruth Snyder said, “We are quite convinced after reading The Great Gatsby that Mr. Fitzgerald is not one of the great American writers of to-day.”
Cited by many as the Great American Novel, Fitzgerald’s inimitable The Great Gatsby remains a staple in classrooms and on bookshelves the world over. Critic and journalist H.L. Mencken, however, called it “no more than a glorified anecdote,” and that “it is certainly not to be put on the same shelf, with, say, This Side of Paradise [Fitzgerald’s debut novel].” In her review for the New York Evening World, critic Ruth Snyder said, “We are quite convinced after reading The Great Gatsby that Mr. Fitzgerald is not one of the great American writers of to-day.”
Lolita - Vladimir Nabokov
Nabokov’s novel about a literature professor who becomes obsessed with a 12-year-old girl wasn’t without controversy when it was published in 1958. Orville Prescott’s review in the New York Times listed two reasons why Lolita “isn't worth any adult reader's attention.” “The first,” he said, “is that it is dull, dull, dull in a pretentious, florid and archly fatuous fashion. The second is that it is repulsive.” Later in the same review, he called Nabokov’s writing “highbrow pornography.
Nabokov’s novel about a literature professor who becomes obsessed with a 12-year-old girl wasn’t without controversy when it was published in 1958. Orville Prescott’s review in the New York Times listed two reasons why Lolita “isn't worth any adult reader's attention.” “The first,” he said, “is that it is dull, dull, dull in a pretentious, florid and archly fatuous fashion. The second is that it is repulsive.” Later in the same review, he called Nabokov’s writing “highbrow pornography.
Brave New World – Aldous Huxley
The ritualistic and drug-filled dystopian world created by writer Aldous Huxley may have been too much for some when it was first published in 1931, but the New York Herald Tribune may have missed the point of the book altogether when their review called Brave New World “A lugubrious and heavy-handed piece of propaganda.”
The ritualistic and drug-filled dystopian world created by writer Aldous Huxley may have been too much for some when it was first published in 1931, but the New York Herald Tribune may have missed the point of the book altogether when their review called Brave New World “A lugubrious and heavy-handed piece of propaganda.”
Catch-22 – Joseph Heller
Heller’s satirical novel about World War II is so popular that the phrase “Catch-22” has become a ubiquitous modern idiom meaning a type of no-win situation. Heller was in a no-win situation, according to critic Richard Stern, whose New York Times review called the book “an emotional hodgepodge.” He added, “No mood is sustained long enough to register for more than a chapter.”
Heller’s satirical novel about World War II is so popular that the phrase “Catch-22” has become a ubiquitous modern idiom meaning a type of no-win situation. Heller was in a no-win situation, according to critic Richard Stern, whose New York Times review called the book “an emotional hodgepodge.” He added, “No mood is sustained long enough to register for more than a chapter.”
Under the Volcano — Malcolm Lowry
Lowry’s novel—about an alcoholic British consul in Mexico during the Day of the Dead celebration on the eve of World War II—has both dazzled and frustrated readers since its debut in 1947. The New Yorker only reviewed it in its “Briefly Noted” section, saying, “for all [Lowry’s] earnestness he has succeeded only in writing a rather good imitation of an important novel.”
Lowry’s novel—about an alcoholic British consul in Mexico during the Day of the Dead celebration on the eve of World War II—has both dazzled and frustrated readers since its debut in 1947. The New Yorker only reviewed it in its “Briefly Noted” section, saying, “for all [Lowry’s] earnestness he has succeeded only in writing a rather good imitation of an important novel.”
To the Lighthouse – Virginia Woolf
The New York Evening Post’s cleverly snide review of Woolf’s highly abstract Modernist masterpiece managed to praise her and shoot her down all in the same sentence: “Her work is poetry; it must be judged as poetry, and all the weaknesses of poetry are inherent in it.”
The New York Evening Post’s cleverly snide review of Woolf’s highly abstract Modernist masterpiece managed to praise her and shoot her down all in the same sentence: “Her work is poetry; it must be judged as poetry, and all the weaknesses of poetry are inherent in it.”
An American Tragedy – Theodore Dreiser
This sprawling tale of love and deceit's influence has been made into an opera, a musical, a radio program, and more. When the novel was first published in 1925, the Boston Evening Telegraph called its main character, Clyde Griffiths, “one of the most despicable creations of humanity that ever emerged from a novelist’s brain,” and called Dreiser “a fearsome manipulator of the English language” with a style that “is offensively colloquial, commonplace and vulgar.
This sprawling tale of love and deceit's influence has been made into an opera, a musical, a radio program, and more. When the novel was first published in 1925, the Boston Evening Telegraph called its main character, Clyde Griffiths, “one of the most despicable creations of humanity that ever emerged from a novelist’s brain,” and called Dreiser “a fearsome manipulator of the English language” with a style that “is offensively colloquial, commonplace and vulgar.
Invisible Man – Ralph Ellison
Invisible Man won the National Book Award for Fiction in 1953, cementing its reputation as one of the most important books about race and identity ever written. In its 1952 review, however, the Atlantic Monthly thought it suffered from “occasional overwriting, stretches of fuzzy thinking, and a tendency to waver, confusingly, between realism and surrealism.”
Invisible Man won the National Book Award for Fiction in 1953, cementing its reputation as one of the most important books about race and identity ever written. In its 1952 review, however, the Atlantic Monthly thought it suffered from “occasional overwriting, stretches of fuzzy thinking, and a tendency to waver, confusingly, between realism and surrealism.”
Native Son – Richard Wright
Richard Wright’s Native Son is another classic American novel about the African American experience, but the New Statesman and The Nation found the book to be “unimpressive and silly, not even as much fun as a thriller."
Richard Wright’s Native Son is another classic American novel about the African American experience, but the New Statesman and The Nation found the book to be “unimpressive and silly, not even as much fun as a thriller."
Henderson the Rain King – Saul Bellow
Bellow’s uniquely comic and philosophical novel about an American millionaire who unwittingly becomes the king of an African tribe was the author's personal favorite. But it wasn’t a favorite for critic Reed Whittemore. In his review for the New Republic, Whittemore posed this question to himself: “The reviewer looks at the evidence and wonders if he should damn the author and praise the book, or praise the author and damn the book. And is it possible, somehow or other to praise or damn, both? He isn’t sure.”
Read the rest of these really harsh reviews here.
Bellow’s uniquely comic and philosophical novel about an American millionaire who unwittingly becomes the king of an African tribe was the author's personal favorite. But it wasn’t a favorite for critic Reed Whittemore. In his review for the New Republic, Whittemore posed this question to himself: “The reviewer looks at the evidence and wonders if he should damn the author and praise the book, or praise the author and damn the book. And is it possible, somehow or other to praise or damn, both? He isn’t sure.”
Read the rest of these really harsh reviews here.
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