Conrad Aiken’s literary reputation is based on his poetry, for which he received the Pulitzer Prize in 1930, the National Book Award in 1954, and the Bollingen Prize in 1956. Despite these major awards, his reputation seems fixed among the most major of minor poets, a position that virtually all of his critics agree is too low. Of his fiction, the short stories “Silent Snow, Secret Snow” and “Mr. Arcularis” are often anthologized and discussed, although few of his others are ever mentioned. His reputation as a novelist is even more tenuous; none of his novels is in print in the early twenty-first century, and few critical articles have been published about any of them. When his first novel, Blue Voyage, appeared, its initial reputation as an experimental novel and its personal revelations about Aiken’s interior life brought the book some notoriety. Subsequent critical opinion, however, has treated Blue Voyage as an inferior version of James Joyce’s A Portrait of the Artist as a Young Man (1916) or Ulysses (1922). Great Circle, Aiken’s second novel, was praised by literary critics as a psychological case study and was admired by neurologist Sigmund Freud himself for its Freudian overtones. Aiken’s last three novels received little praise or attention. A Heart for the Gods of Mexico was not even published in the United States until the collected edition of his novels appeared. Aiken himself considered King Coffin a failure; he admits in Ushant that his last novels were unsuccessful and says that he does not mind his relative obscurity, but in a letter to his friend Malcolm Cowley he wrote, “Might I also suggest for your list of Neglected Books a novel by c. aiken called Great Circle, of which the royalty report, to hand this morning, chronicles a sale of 26 copies in its second half year?” Later critics, like Aiken’s contemporaries, saw the major value of his novels in their experimental nature, their Freudian images, and their amplification of the themes of Aiken’s poetry.