Style and Technique
Although this story belongs to the tradition of American realism, its technique should be distinguished from the more external, hard-boiled objectivity of realists such as Ernest Hemingway. This story is more concerned with revealing the inward thoughts and feelings of its characters than to present them in a succession of dramatic incidents. Characters’ reactions to events are as important as the events themselves. The story is based on Woody’s memories and mental reflections, but it does not plunge the reader into a stream of consciousness. Thoughts and actions are presented objectively rather than subjectively, through the words of a narrator who refers to Woody in the third person. Such narratorial objectivity may blunt the lyricism of Woody’s plaint, though it absolves him of much of the onus of self-pleading.
Convincing characterizations are achieved through ingenious selection of revelatory detail, such as Morris’s theory of breast cancer, the image of Mrs. Skoglund’s servant wiping the doorknobs with rubbing alcohol after guests had left, or the mention of Woody’s wife still not being able to shop for herself though she had lived alone for fifteen years.
The style is, for the most part, casual and plain. The diction is generally less crude than that of most men such as Morris and Woody, but dialogue is rendered naturally, without obtrusive literary elevation.
The sound of bells is perhaps the most delicately drawn image in the story. Woody believes that their “vibrations and the banging did something for him—cleansed his insides, purified his blood.” Connected as they are with churches, bells recall the religious agony at the center of Woody’s life. They also symbolize the honesty that Woody and his father valued so highly, for, as the narrator says, “A bell was a one-way throat, had only one thing to tell you and simply told it.” Woody’s soul is perhaps best described by the narrator’s epithet, “bell-battered.”
Historical Context
The Great Depression
Central to this narrative is Bellow's depiction of the night when Woody and his father, both living in poverty, journey from Chicago's south side to the wealthy suburb of Evanston in the north. This journey highlights the stark contrast between their world and that of the affluent, mirroring the pronounced divide between rich and poor during the Great Depression.
As with most significant social phenomena, the Depression resulted from several events occurring concurrently. These included the long-term effects of Europe's devastation during World War I and inadequate financial planning by the United States. After the war's conclusion in 1918, the U.S. failed to foresee its emergence as a global financial leader. Although America was prosperous throughout the 1920s, some of that wealth was merely theoretical—reflected in bankbooks and stock trades without sufficient tangible goods production. A pivotal event signaling the onset of the Depression was the New York Stock Market crash on October 29, 1929. Stock prices plummeted, prompting investors to sell their shares at reduced prices to mitigate losses. Many individuals lost their savings as banks collapsed due to significant withdrawals by large depositors. Between 1929 and 1933, the U.S. gross national product nearly halved, dropping from $103 billion to $55 billion. Unemployment, typically below 5 percent, soared to 30 percent at the Depression's peak in 1933, coinciding with Franklin D. Roosevelt's presidency and the introduction of new economic policies. Roosevelt's New Deal comprised various initiatives that provided employment to numerous people.
Globalization in the 1980s
In this narrative, Bellow portrays his main character, Woody Selbst, as a globe-trotter, visiting exotic locales like Kampala, the White Nile, and Japan, as well as significant cities...
(This entire section contains 534 words.)
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such as Istanbul, Jerusalem, and Delphi. Although international travel was feasible at the time, it was not nearly as prevalent as it became in the early 2000s.
Several developments made global travel more accessible to the average person in the final two decades of the twentieth century. One significant factor was the increased involvement of the International Monetary Fund (IMF) in regulating international trade. Established after World War II, the IMF initially focused on interactions among a few developed nations, but an international debt crisis in 1982 spurred it into action. With a robust regulatory entity managing financial exchanges between countries, global engagement grew.
Moreover, communication technologies advanced after the 1980s. The fax machine, which enabled document transmission via phone lines, originated from a device patented in 1862 but only became a practical business tool in the late 1980s. As the fax machine revolutionized international information exchange, the Internet boom transformed business during the 1990s. Within a few years, companies that once relied on verbal communication or couriers could share information quickly and accurately.
As businesses expanded their reach globally, individuals followed suit. The advent of the Internet and cable TV introduced a constant stream of cultural information, reducing the fear and mystery associated with foreign lands. Tourism evolved into a more organized industry, enabling agents worldwide to provide the amenities that international travelers sought. Airlines improved their efficiency in transporting passengers, lowering ticket prices to levels affordable for middle-class Americans. Since the 1980s, international travel has become significantly more accessible and appealing to millions of travelers who once only dreamed of exploring other countries.
Literary Style
Anti-hero
Bellow portrays Morris Selbst as a charming rogue, allowing readers to understand why his son is inclined to forgive his wrongdoings and assist him in changing. Morris might be seen as a hero in the story because he is a relatable main character; he is certainly a hero in the eyes of his son, Woody. However, Morris possesses numerous traits that are less than heroic in the conventional sense. He is vain, petty, deceitful, greedy, and crude, among other unfavorable qualities. By challenging the typical expectations of a hero, Morris serves as an anti-hero, prompting readers to reconsider their own ideas of what makes a hero.
Foil
In traditional stories, the protagonist often has a foil—a character who is the opposite and whose characteristics contrast sharply with the main character. This contrast highlights the protagonist by emphasizing their traits. Essentially, the differences between the two characters make both more distinct to the reader.
Woody serves as a foil to Morris. While Woody is committed to his extended family, Morris leaves his behind for a new life with his mistress. Woody accepts financial help to attend seminary but is uncomfortable with the idea of his father borrowing money from his benefactor. Their differing personalities are vividly illustrated during their visit to the Skoglund mansion, where a physical altercation between them highlights their contrasting natures. This portrayal helps clarify each character's personality for the readers.
Denouement
The French term denouement means “unraveling” and usually refers to the portion of a narrative that follows the climax, where tense situations are resolved and loose ends are tied up. In “A Silver Dish,” the central part of the story revolves around the titular object. The story's climax could be interpreted as the confrontation between Woody and Morris to prevent the theft of the dish; or Woody's expulsion from the seminary and his resolute choice not to blame his father; or perhaps the old man's later admission of taking the dish and his reasoning that it was ultimately beneficial for Woody. No matter how one views the climax, the final scene where Woody climbs into his father’s hospital bed and holds him until his death serves as the story's denouement. While it is not central to the story's main events, it fittingly illustrates the love Woody has for his father and his opposition to his father’s intentions. This closing image communicates the son's love and his wish to stop his father from a particular action.
Compare and Contrast
1930s: An immigrant such as Morris Selbst, who enters the country by leaping off a ship before it docks, can spend his entire life without his presence being recorded by the government.
Today: Government records are interconnected through computers. It is nearly impossible for someone to own a business without multiple government agencies being aware of their existence.
1930s: The World’s Fair in Chicago, known as the “Century of Progress,” attracts over 22 million visitors.
Today: The simplicity of international travel and the wealth of information available on the Internet make world fairs less relevant. The last significant world’s fair, Expo ’98 in Lisbon, Portugal, attracted 11 million attendees.
1930s: Gambling involves placing bets with a bookmaker who has underground ties.
Today: Many states offer casinos, lotteries, and legalized horse racing. People are more likely to fund their bets using a credit card rather than a bookie.
1930s: Cars are considered a luxury, with one car for every three individuals in the United States. Streetcars are the primary mode of transportation in cities.
Today: There is roughly one car for every person over sixteen. Urban areas aim to reduce car ownership and promote public transportation to alleviate traffic congestion and pollution.
1930s: With banks failing, people like Bujak in the story keep their money hidden at home.
Today: Cash is becoming less common as businesses prefer credit or debit card transactions.
Media Adaptations
Saul Bellow was interviewed by Matteo Bellinelli in the video Saul Bellow (1994), which was distributed by Films for the Humanities & Sciences.
An audio interview titled On Art, Literature, and American Life is accessible through the Encyclopedia Americana/CBS News Audio Resource Library.
In 1987, Boston University produced a four-cassette video collection named Conversations with Saul Bellow: Novelist, Author of Short Stories and Plays.
Bibliography and Further Reading
Sources
Bellow, Saul, “The Search for Symbols, a Writer Warns, Misses All the Fun and Fact of the Story,” in the New York Times, February 15, 1959.
Mano, D. Keith, “In Suspense,” in National Review, Vol. 36, Issue 15, August 10, 1984, p. 48.
Pinsker, Sanford, Review of Him with His Foot in His Mouth, in Studies on Short Fiction, Vol. 21, Issue 4, Fall 1984, pp. 404–05.
Wiehe, Janet, Review of Him with His Foot in His Mouth, in Library Review, Vol. 106, Issue 11, June 15, 1984, p. 1251.
Further Reading
Atlas, James, Bellow: A Biography, Random House, 2000.
This extensive literary biography took a decade to complete and is authored by a prominent literary analyst.
Glaysher, Frederick, “A Poet Looks at Saul Bellow’s Soul,” in Saul Bellow and the Struggle at the Center, edited by Eugene Houlahan, AMS Press, 1996, pp. 43–55.
Given that the divide between the spiritual traditions of Christianity and Judaism plays a significant role in the life of this story's main character, readers might find Glaysher's exploration of such spiritual themes intriguing within the context of literary criticism.
Kiernan, Robert F., Saul Bellow, Continuum Publishing, 1989.
Kiernan stands out as one of the rare critics who has dedicated several pages to examining this particular short story.
Porter, Gilbert, Whence the Power? The Artistry and Humanity of Saul Bellow, University of Missouri Press, 1974.
By the time this book was released, Bellow had already been a significant influence in American literature for two decades. Porter delves into his early novels and concludes with a chapter summarizing “Bellow’s Vision.”
