Gore Vidal stands as a singular figure in American literature, defying easy categorization and embracing multiple writing forms throughout his illustrious career. From his groundbreaking debut novel Williwaw to his work in television, film, and most notably, his essays, Vidal's contributions to various literary genres are vast and varied. In particular, his prowess as an essayist showcases his incisive wit and intellectual rigor, making The Selected Essays of Gore Vidal an essential collection for readers who appreciate sharp commentary and a wide-ranging exploration of cultural and literary topics.

Vidal's Multifaceted Literary Career

Gore Vidal demonstrated his literary talents early on, establishing himself as a serious writer with his first novel, Williwaw (1946), which boldly tackled the then-taboo subject of homosexuality. Yet Vidal's ambitions were not confined to novels alone; he ventured into multiple literary realms, including television writing in the 1950s and even contributing to the screenplay for the cinematic epic Ben-Hur (1959). Alongside his writing, Vidal became a formidable presence as a political commentator, often appearing on television talk shows during the 1960s and 1970s.

Despite these diverse pursuits, it is in the essay form that Vidal's literary talents truly shine. Vidal's essays are a testament to his mastery of a genre that is inherently personal and digressive, allowing for a unique blend of intellectual exploration and stylistic flair. The Selected Essays of Gore Vidal, edited by Jay Parini, offers a carefully curated collection that highlights the best of Vidal's work and recurring themes throughout his career.

Critique of Academic Criticism

In the first section of the collection, "Reading the Writers," Vidal examines a range of literary matters from the 1950s to the 1990s. A recurring theme in these essays is Vidal's caustic critique of academic criticism, particularly the New Criticism movement, which sought to analyze literary works as isolated artifacts removed from historical and cultural contexts. Vidal's disdain for what he perceived as the "absolutist" nature of academic criticism is evident in his essay "Novelists and Critics of the 1940’s," where he writes, "They tend . . . to be absolutists. They believe that by a close examination of 'the text,' the laws and the crafty 'strategies' of its composition will be made clear and the findings will provide 'touchstones' for a comparative criticism of other works."

Vidal's comments underscore his belief that academic critics, driven by institutional pressures to publish, often engage in superficial analysis that lacks genuine insight. He argues that such criticism creates a self-referential loop, imprisoning academics and their students in a rhetoric that is ultimately unproductive. Despite his criticisms, Vidal acknowledges that the academic study of literature has expanded the literary canon, thanks in part to feminist studies and the rediscovery of neglected works by authors such as Catharine Maria Sedgwick and Rebecca Harding Davis.

Vidal's Role as a Literary Critic

Vidal's own achievements as a critic are noteworthy. He recognized the talents of writers like Tennessee Williams, Paul Bowles, and Carson McCullers long before they were acknowledged as modern masters. His catholic tastes allowed him to bridge the divide between high and low art, evident in essays like "The Top Ten Best-Sellers According to the Sunday New York Times as of January 7, 1973," where he critiques the influence of Hollywood on popular literature. His analysis of Herman Wouk's The Winds of War exemplifies his ability to identify the pitfalls of appropriating clichéd themes.

Vidal's criticism is distinguished by his wide-ranging literary knowledge, enabling him to offer nuanced evaluations. While many celebrated Aleksandr Solzhenitsyn's August 1914 , Vidal critically assessed the work, noting its overreliance on Tolstoy. Such candid observations, free...