Style and Technique

(Comprehensive Guide to Short Stories, Critical Edition)

This is the first of Malamud’s stories to be written from an omniscient point of view. This device more readily evokes a gothic mood, one characterized, that is, by desolate settings and macabre, mysterious, and violent events. The dialogue superbly demonstrates the Yiddish idiom. One example is when Davidov asks Rosen how the grocer died. “On this I am not an expert,” Rosen replies. “You know better than me.” “Say in one word how he died,” Davidov impatiently demands. Rosen answers, “From what he died?—he died, that’s all.” Davidov presses, “Answer, please, this question.” Laconically Rosen responds, “Broke in him something. That’s how.” Davidov asks, “Broke what?” and Rosen retorts, “Broke what breaks.”

Malamud masterfully blends the banal and commonplace with the mystical and the spiritual. Through the first part of “Take Pity,” for example, Rosen speaks with an angel whose appearance, speech, and demeanor are anything but angelic. Davidov behaves like a drab, ordinary, Yiddish-speaking mortal. Rosen also speaks and acts as if, despite his death, he were alive. The reader accepts these characterizations until Malamud reveals, smoothly and without explicit explanations, Davidov’s real identity and Rosen’s true condition.

In “Take Pity,” Malamud facilitates this merger of the real and the unreal by using a spare setting and employing almost cryptic prose. This allows his characters to move...

(The entire section is 442 words.)


(Comprehensive Guide to Short Stories, Critical Edition)

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Field, Leslie A., and Joyce W. Field, eds. Bernard Malamud and the Critics. New York: New York University Press, 1970.

Nisly, L. Lamar. Impossible to Say: Representing Religious Mystery in Fiction by Malamud, Percy, Ozick, and O’Connor. Westport, Conn.: Greenwood Press, 2002.

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Sío-Castiñeira, Begoña. The Short Stories of Bernard Malamud: In Search of Jewish Post-immigrant Identity. New York: Peter Lang, 1998.