A Margin of Hope by Irving Howe offers a reflective examination of his evolving role as a literary critic, his complex relationship with Jewish identity, and the disillusioning trajectory of socialism in the twentieth century. Howe's personal journey through these themes reveals a persistent grappling with ideals of morality, identity, and political possibility. Each theme is woven into the fabric of his intellectual and personal life, creating a tapestry that reflects the broader cultural and political shifts of his time.

Literary Criticism and Ambivalence Toward Modernism

Irving Howe's stance as a literary critic is characterized by a rejection of rigid methodological frameworks, favoring instead a moralist approach to literature. Although he admired individual New Critics like Allen Tate and John Crowe Ransom, Howe criticized New Criticism for its narrow textual focus that neglected the social and historical contexts of literary works. His critique underscores his belief in criticism as a humanist discourse, open-ended and engaged with broader cultural conversations.

Howe's moralism also informed his ambivalence toward literary modernism. Initially aligned with the radical politics of the 1930s, he viewed avant-garde culture as a counter to bourgeois values. However, the Bollingen Prize controversy, which awarded the prize to Ezra Pound, a politically reactionary figure, prompted Howe to reevaluate modernism's tenet of 'art for art's sake.' This shift in perspective led Howe to refocus his literary interests on the Emersonian tradition within nineteenth-century American literature, seeking a more humanistic approach.

Struggles with Jewish Identity

Howe's engagement with his Jewish identity emerges as a central theme in A Margin of Hope. Initially, he, like many of his generation, subsumed ethnic and religious identifications under the broader ideology of socialist universalism. Yet, the horrors of the Holocaust reawakened a latent awareness of his Jewish roots, though articulating the meaning of his Jewishness remained challenging. Despite his secular and at times antireligious stance, Howe became an admirer of Israel post-1967, albeit a critical one.

Howe's reconciliation with his heritage found expression in his dedication to preserving secular Yiddish culture, culminating in his romanticized portrayal of Eastern European Jewish immigrants in World of Our Fathers. This work celebrates a past populated by sensitive radicals and nascent New Dealers, highlighting Howe's idealization of a Jewish cultural legacy.

The Disillusionment of Socialism

The most poignant theme in A Margin of Hope is Howe's reflection on the disillusionment with socialist ideals. He articulates a narrative of hope and despair, noting the unique terribleness of the twentieth century, where radical dreams consistently faltered, especially in the United States. His observations on American politics—marked by corruption, opportunism, and disillusionment—reflect a profound skepticism about the viability of a politically realistic and morally firm radical movement.

Despite his disillusionment, Howe did not completely abandon socialist ideals. He sought to maintain a 'socialist kernel' while discarding the 'Marxist shell,' advocating for socialism on moral grounds. His vision of socialism centered on democracy within the workplace, reducing socio-economic inequalities, and fostering a humane society through cooperation and fraternity. He contends that liberty is indispensable for struggling towards equality, warning that equality without liberty leads to a new form of enslavement. He envisions socialism serving as an ethical compass, offering alternative visions for society.

Rejecting Stalinism and Navigating Anticommunism

Howe's Trotskyist background immunized him against the Stalinism that captivated many intellectuals in the 1930s. He believed that the struggle against Stalinism on the international Left was a crucial and ongoing political battle. Post-World War II, Howe supported American policies aimed at containing Soviet expansionism and was a vocal critic of the New Left in the 1960s, whose direction he saw as an affront to...