Herzog

Saul Bellow's Herzog is part confessional, part exorcism, and a wholly unique achievement in postmodern fiction.

Is Moses Herzog losing his mind? His formidable wife Madeleine has left him for his best friend, and Herzog is left alone with his whirling thoughts - yet he still sees himself as a survivor, raging against private disasters and the myriad catastrophes of the modern age. In a crumbling house which he shares with rats, his head buzzing with ideas, he writes frantic, unsent letters to friends and enemies, colleagues and famous people, the living and the dead, revealing the spectacular workings of his labyrinthine mind and the innermost secrets of his troubled heart.

This Penguin Modern Classics edition includes an introduction by Malcolm Bradbury

'Spectacular ... surely Bellow's greatest novel'
Malcolm Bradbury

'A masterpiece ... Herzog's voice, for all its wildness and strangeness and foolishness, is the voice of a civilization, our civilization'
The New York Times Book Review

Saul Bellow was born in 1915. He published his first novel, The Dangling Man , in 1944; this was followed, in 1947, by The Victim . In 1948 a Guggenheim Fellowship enabled Bellow to travel to Paris, where he wrote The Adventures of Augie March , published in 1953. Henderson The Rain King (1959) brought Bellow worldwide fame, and in 1964, his best-known novel, Herzog , was published and immediately lauded as a masterpiece, 'a well-nigh faultless novel' ( New Yorker ).

Bellow's dazzling career as a novelist was celebrated during his lifetime with an unprecedented array of literary prizes and awards, including the Pulitzer Prize, three National Book Awards, and the Gold Medal for the Novel. In 1976 he was awarded a Nobel Prize 'for the human understanding and subtle analysis of contemporary culture that are combined in his work'.

His death in 2005 was met with tribute from writers and critics around the world, including James Wood, who praised 'the beauty of this writing, its music, its high lyricism, its firm but luxurious pleasure in language itself'.