Ihab Hassan - Out of Egypt: Scenes and Arguments of an Autobiography (Crosscurrents Modern Critiques. Third Series)
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Out of Egypt: Scenes and Arguments of an Autobiography (Crosscurrents Modern Critiques. Third Series)
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In Form: Digressions on the Act of Fiction by Ronald Sukenick
Literary Subversions: New American Fiction and the Practice of Criticism By Jerome Klinkowitz
Critical Angles: European Views of Contemporary American Literature By Marc Chnetier
American Theater of the 1960s By Zoltn Szilassy
The Fiction of William Gass: The Consolation of Language By Arthur M. Saltzman
The Novel as Performance: The Fiction of Ronald Sukenick and Raymond Federman By Jerzy Kutnik
The Dramaturgy of Style: Voice in Short Fiction By Michael Stephens
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Out of Egypt
Scenes and Arguments of an Autobiography
Ihab Hassan
Southern Illinois University Press CARBONDALE AND EDWARDSVILLE
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Copyright 1986 by Board of Trustees, Southern Illinois University
All rights reserved
Printed in the United States of America
Edited by Curtis L. Clark Designed by Design for Publishing, Inc.
Library of Congress Cataloging-in-Publication Data Hassan, Ihab Habib, 1925 Out of Egypt. (Crosscurrents/modern critiques. Third series) 1. Hassan, Ihab Habib, 1925- . 2. Critics United StatesBiography. 3. CriticsEgyptBiography. I. Title. PN75.H34A36 1986 809 [B] 85-30379 ISBN 0-8093-1296-4
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Contents
Foreword
vii
Preface
ix
Acknowledgments
xi
1 Beginnings and Ends
1
2 Solitudes: 19251941
29
3 Resolutions: 19411946
66
4 Passages: 19461985
102
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Foreword
From the crosscurrents of developing culture emerge patterns whose significance will be unquestioned many ages hence. The experiments of one generation are canonized by the next, as lower-case speculations are capitalized by succeeding self-interests. Cultural discourse is an evolving organism, with the only constant being change"a tradition of the new," as Harold Rosenberg called it, the result of that famous modern break with tradition now having lasted long enough to produce a tradition of its own.
Forging an appropriate role for the critic in such circumstances is the task to which Ihab Hassan dedicates himself. For him, the critic is far more than a conservator and maker of judgments. A critic's duties are as large as the subject he or she comprehends, and from the start Hassan's vision has been broadly extensive. "The contemporary American novel does not only aver our presence," he announces in his first work, Radical Innocence (Princeton University Press, 1961), "it explores and enlarges the modalities of our being." With the modern soul poised on the eve of Creation, he cautions that ''this is not a time for professors of literature to ignore the judgment of human passions," and in his own work proceeds to investigate not just the state of current literature but the
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deepest thoughts and feelings which inform it. "The important questions before the human race are not literary questions," he acknowledges in Paracriticisms (University of Illinois Press, 1975). "They are questions of consciousnessreason, dream, love."
These questions have led Hassan to explore the consequences of outrage and apocalypse in The Literature of Silence (Knopf, 1967), "a work of testimony and personal criticism," and to ask the radical questions which "engage the totality of our life" in The Dismemberment of Orpheus (Oxford University Press, 1971). In this latter work Hassan discovers his most important theme, that the "imagination may yet prove to be the teleological organ of evolution." The Right Promethean Fire (University of Illinois Press, 1980), which considers imagination, science, and cultural change, is dedicated to this proposition.
It is also "the fragment of an imaginary autobiography," and thus leads directly to the work at hand. From Henry Miller, Hassan has learned that "writing is autobiography, and autobiography is therapy, which is a form of action on the self." As Paul Valry teaches: "there is no theory that is not a fragment, carefully concealed, of some autobiography." If indeed humankind is being transformed by a new universal consciousness of mind, as Hassan's work progressively suggests, it is right that critics address their own evolution as thinking and feeling beings.
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