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      • The novels Herzog (1964) and Humboldt’s Gift (1975) became major commercial successes. Bellow is considered one of the innovators of the American novel. He based his books on people in their environment. Every now and then, Chicago served as a backdrop for Bellow’s stories.
      www.nobelprize.org/prizes/literature/1976/bellow/facts/
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  2. en.wikipedia.org › wiki › Saul_BellowSaul Bellow - Wikipedia

    His best-known works include The Adventures of Augie March, Henderson the Rain King, Herzog, Mr. Sammler's Planet, Seize the Day, Humboldt's Gift, and Ravelstein. Bellow said that of all his characters, Eugene Henderson, of Henderson the Rain King, was the one most like himself. [6]

  3. May 4, 2015 · Herzog” is the book that made Saul Bellow famous. He was forty-nine years old when it came out, in 1964. He had enjoyed critical esteem since the publication of his first novel, “Dangling Man,”...

    • Louis Menand
  4. His fiction exposes some of the century’s major cultural events and preoccupations: the urban experience of European immigrants; the socio-cultural ascendance of an influential Jewish middle-class; the ideological seductions of Marxism and Modernism; the tensions between residual European intellectual culture and emergent popular culture; the ...

    • Herzog by Saul Bellow, Philip Roth (Introduction)
    • The Adventures of Augie March by Saul Bellow.
    • Henderson the Rain King by Saul Bellow.
    • Seize the Day by Saul Bellow, Cynthia Ozick.
  5. Apr 5, 2005 · Saul Bellow worked as a writer and literary critic. He made his debut with the novel Dangling Man in 1944, but his big breakthrough came nine years later with The Adventures of Augie March. The novels Herzog (1964) and Humboldt’s Gift (1975) became major commercial successes.

  6. May 1, 2015 · Armed with superhuman steadiness, self-possession and charm, he’d put a new American vernacular to dazzling use in The Adventures of Augie March (1953) and then been crowned as the reigning champ...

  7. Dec 12, 1976 · A novel moves back and forth between the world of objects, of actions, of appearances, and that other world from which these “true impressions” come and which moves us to believe that the good we hang onto so tenaciously – in the face of evil, so obstinately – is no illusion.

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