tutorial, commentary, study resources, and web links

Herzog (1964) won several literary prizes when it was first published, and was voted one of the best 100 novels written in English by Time magazine. As in the case of other major novels by Saul Bellow, it has a strong biographical basis. Herzog and Bellow were both Jewish academics and intellectuals from Chicago; they were the same age; and both had been twice married and divorced. Most tellingly, both their second wives had been involved in affairs with a husband’s best friend.

The main feature of the novel which makes it very entertaining is the series of letters that Herzog writes to famous people, living and dead. He shares his hopes and fears with people he has never met (including God) and discusses abstract concepts with philosophers who were writing in the eighteenth century.

Herzog – critical commentary

Historical note

When it first appeared in 1964 Herzog was received generally as a comic novel – a knockabout story of a character who was disoriented and wrote letters to well-known political and historical figures. Herzog interrogates his relatives and friends, gives advice to famous politicians, and poses philosophic questions to writers who have been dead for centuries.

Bellow had invented earlier a new kind of free-wheeling narrator in his previous novel The Adventures of Augie March (1954) and he was perceived as a fresh voice from the well-educated streets of Chicago and New York. His novels offered ideas, rumbustious events plucked from modern American life, and lots of linguistic fun. He seemed willing to take an off-beat, radical approach to characterisation and his subject matter. As his protagonist Moses Herzog announces in the opening paragraph: ‘If I am out of my mind, it’s all right with me’.

But reading Herzog half a century later, it seems that the sense of fun has receded. Now it is quite clear that the novel was written out of a very painful experience of marital breakdown and the bitter consequences of divorce.

Bellow was also carving out what was to become the central issue of his later novels – the history of the Jewish immigrant experience in America. In Herzog he covers two generations – the first who arrived from Russia (and elsewhere) and endured poverty and hardships in order to make a new life for themselves in the New World. Then the second generation, who stood on their shoulders and had the choice of continuing the family’s Jewish traditions, or becoming fully assimilated as Americans

Biography

It’s quite clear on even the most cursory reading of this novel that it was based upon deeply felt personal experiences. Bellow makes very little effort to conceal the proximity of events in his narrative to the details of his own biography. Herzog is born in Canada of Russian Jewish immigrants, lives in Chicago, and becomes an academic, specialising in literature and intellectual history – exactly the same as Bellow himself.

Bellow had been married twice when he wrote the novel. He had also recently discovered that his second wife Sondra had been having an affair with his best friend Jack Ludwig. Many novelists use elements from their own lives as materials for their fiction. The question is – how does this affect our understanding and interpretation of their work?

The first thing to say is that novelists are under no obligation to be truthful, fair, accurate, or even-handed in their use of this autobiographical material. Fiction has its own rules, and novelists are at liberty to use their life experiences in any way they wish.

But the corollary for the reader is that the fictional results must not be taken as an accurate account of the writer’s life. Just as good biography should be an accurate account of events, and should not include fictional inventions, good fiction should not be taken as the base material for biographical interpretation.

However, it has to be said that this is a somewhat purist approach to literary interpretation. Most literary critics and commentators will use any information they have to pass judgement on writers and their work. Many people might argue that Bellow’s depiction of the character Madeleine reveals his deep-seated misogyny and is a form of fictional ‘revenge’ for the personal affront he felt from his wife’s betrayal.

The same could be said for the character of Valentine Gersbach – though interestingly, there is much less venom heaped upon him, and in general he is depicted as a more benign character. It is Madeleine who Herzog thinks he would like to murder, not his love rival Gersbach.

The letters

At the beginning of the novel we are led to believe that Herzog is writing letters to friends and relatives about the break-up of his marriage. Then as he becomes more desperate he starts writing to public figures and historical philosophers, many of whom died centuries earlier.

Then gradually it becomes clear that the letters are never posted, and finally that they are not written at all. The ‘letters’ are Herzog’s internal dialogue with friends, family, and ‘the dead’ – as well as a form of critical dialogue with the intellectual history of which he feels a part. In other words the ‘letters’ function as a metaphor. They represent one of the three strands of the narrative which focus attention relentlessly on Herzog and his state of mind:

• third person omniscient narrator
• Herzog as first person narrator
• Herzog’s letters to others

Herzog’s actions, thoughts, and feelings are sometimes presented by a third person omniscient narrator, but Saul Bellow seamlessly blends this presentation of events with Herzog’s first person account of his experiences, and even his commentary on his own thoughts. These two narrative strands are then supplemented by the ‘thought letters’ – which are presented in the printed text by italics

Philosophy

The principal weakness in Herzog as in many of Bellow’s other novels, is the long-winded ‘philosophising’ that goes on in the protagonist’s search for a resolution to the contradictions he finds in his life. To these speculations he also adds what have been called ‘reading lists’.

These are long references to western writers and philosophers by which Bellow suggests he has a detailed knowledge of political thinking from Greco-Roman classics, through Renaissance thought, to Hegel, Marx, Heidegger, and anyone else worth mentioning in the twentieth century These names are offered up in a thick porridge of vague abstractions – a process which adds up to no more than a form of self-indulgent intellectual name-dropping. Bellow is far more successful when he sticks to deadpan (and very typically American) humour:

I am diligent. I work at it and show steady improvement. I expect to be in great shape on my deathbed.

Will never understand what women want. What do they want? They eat green salad and drink human blood.

Herzog

There is something of an embarrassment for the reader in dealing with Herzog as the protagonist – who is quite clearly a cipher for Saul Bellow and his concerns. Herzog is being offered as something of a loveable rogue – a man who has warm ties to his Jewish immigrant family and its traditions, who has been badly treated by his second wife and friends such as Gersbach and Himmelstein. He is also in the tradition of the holy fool – the naive intellectual with his mind on higher matters who repeatedly makes bad decisions on his own behalf and does absurd things such as painting a piano green.

But by the same token we can say that he is self-obsessed; he is erotically incontinent; he has established his home with money inherited from his father, and spends most of the novel living off his brothers; and it’s even possible to argue that he is something of an intellectual snob. He certainly spends lots of mental energy railing against the beautiful but clever woman who has deceived him (Madeleine). Yet he discounts and feels sceptical about the beautiful and loving, but not-so-clever woman whom he believes wants to ‘snare’ him (Ramona).

There is no shortage of self-criticism in Bellow’s characterisation of Herzog, but it’s also impossible to escape a certain sense of smugness and self-regard, even if his soul-searching is wrapped up in multiple references to western philosophers – or maybe even because it is.

Kafka

There are distinct elements of Franz Kafka at work in Herzog. Both writers feature protagonists in search of justice who at every turn of events seem to make their own predicaments worse. They both create heroes with friends who protest their support but then undermine or betray the protagonist in some way. Both Kafka and Bellow explore the dilemmas of characters who seek to maintain high ethical ideals in a world founded on lying, greed, and deception – characters whose efforts often result in comic misunderstandings or grotesque embarrassment.

Herzog gives himself up to shysters such as Sandor Himmelstein, but when offered genuine sympathy and comforting friendship from Phoebe Sissler and her husband, he runs away from their kindness, thinking it is a ‘mistake’. He is full of contradictions – and he knows it.

Herzog is also like a Kafka figure in that many of his problems have been brought on because of his erotic behaviour. He has had two wives, and chosen for the second a woman who has validated all his worst fears about entrapment and persecution. Madeleine is the vagina dentata writ large. She has stripped him of his material assets and humiliated him sexually by adultery with his best friend. Yet when he is offered comfort and sexual healing by his very attractive lover Ramona, what does he do but run away from her. All this is very neurotic behaviour.

Even his struggles with society at a political level have elements of what we now call the ‘Kafkaesque’. Franz Kafka’s protagonists struggle to understand the byzantine processes of the powers that control them (largely the bureaucracy of the Hapsburg empire). Similarly, Moses grapples hopelessly as an individual with the complexities of a society controlled partly by democracy, and partly by a ‘political machine’ which includes graft, corruption, vote-fixing, and gangsters. Even his own father was a bootlegger.

Moses is also grappling intellectually with issues of the western European philosophic traditions and their inability to grant him some sort of overarching understanding of the modern society in which he lives. He is lost in a world of Locke, Hume, Nietzsche, and Heidegger (so we are asked to believe) but meanwhile he doesn’t have the common sense to know that his wife is having an affair with his best friend.

Moses claims to be seeking resolution and peace of mind in a world full of conflicts – yet he positively embraces difficulties and hardship, even feeling the loss of them when they are not there. And this neurotic behaviour is expressed in distinctly Kafkaesque language and metaphors, including one of Kafka’s favourites – the vulture:

When a man’s breast feels like a cage from which all the dark birds have flown – he is free, he is light. And he longs to have his vultures back again. He wants his customary struggles, his nameless, empty works, his anger, his afflictions, and his sins.

Reflecting on the level of antipathy Herzog feels towards his ex-wife Madeleine who has betrayed him with his best friend, Bellow coins an epigram that could come straight out of Kafka’s diaries or notebooks:

It’s fascinating that hatred should be so personal as to be almost loving. The knife and the wound, aching for each other.

Herzog – study resources

Herzog – Penguin – Amazon UK

Herzog – Penguin – Amazon US

Herzog – Library of America – Amazon UK

Herzog – Library of America – Amazon US

Saul Bellow – Collected Stories – Penguin Classics – Amazon UK

Saul; Bellow – Collected Stories – Penguin Classics – Amazon US

Saul Bellow (Modern Critical Views) – essays and studies – Amz UK

Saul Bellow (Modern Critical Views) – essays and studies – Amz US

Cambridge Companion to Saul Bellow – Amazon UK

Herzog – plot summary

Moses Herzog is a Jewish academic who has moved from a large house in Berkshire to Chicago at the behest of Madeleine, his second wife. When Madeleine suddenly wants a divorce he leaves his home and his job and moves back to New York. City where he starts compulsively writing to people – both living and dead.

He consults a doctor, but there is nothing physically wrong with him. His lover Ramona invites him to take a holiday in her house, but fearing ‘commitment’ he travels instead to stay with some friends at Martha’s Vineyard.

He buys sporty summer clothes and thinks about Wanda, a married woman with whom he had an affair on a trip to Poland. He also reflects on relations with his mother in law and discussions about her with Simkin, his divorce lawyer.

On the train he thinks over Madeleine’s affair with his friend Gersbach and ‘writes’ to her aunt Zelda who has conspired in his deception.

His friend the zoologist Lucas Asphalter reveals Madeleine’s adultery with Gersbach. Herzog recalls analysis under Dr Edvig which spills over to include Madeleine. She becomes ill, goes on wild spending sprees, and finally attacks Herzog physically.

Herzog turns for help to his best friend Gersbach (with whom Madeleine is having the affair). Gersbach lectures him on dignity and suffering. Herzog writes letters to public figures, offering them advice.

He recalls a discussion between Madeleine and his old friend Schapiro about Russian culture. His letter to Schapiro is about political philosophy, but he also complains that Madeleine has been trying to take his place in the academic world. He borrows money from his brother Shura.

After the split with Madeleine, Herzog goes to stay with old friend Sandor Himmelstein, whose attitude becomes more and more critical. Sandor even tries to sell him some insurance., then hits him hard with Jewish sentimentalism.

Herzog arrives chez Libbie and her new husband Sissler in Martha’s Vineyard. They welcome him very warmly, but he immediately thinks the visit is a mistake. He leaves them an apologetic note and flies back home.

In New York he receives news of problems with his daughter who is living with Madeleine and Gersbach. He thinks back to a period when he was married to Daisy, involved with Japanese girl Sono, and preparing to leave them both for Madeleine.

In the early days of his relationship with Madeleine, she is a recent convert to Catholicism and full of guilt about adultery. But she gives up the Church, they get married, and go to live in the country, with the Gersbachs as neighbours. Madeleine squanders money, and they start to argue.

He looks back nostalgically on his first marriage to Daisy and reflects on his Jewish childhood. His father was a first generation immigrant and a small time bootlegger. The family have a drunken lodger and relatives who die back in Russia. Moses affectionately recalls the poverty yet warmth of the family in its early immigrant years.

Ramona phones with an invitation to dinner which he reluctantly accepts. He drifts into writing letters on political philosophy and drafting a proposal for an essay on ‘transcendence’. Then he recalls his relationship with Sono, his Japanese lover. She warns him against Madeleine, and in his imaginary letter to her he admits that she was right.

Ramona showers him with affection and understanding – but deep down he is reluctant. They discuss at length his problems with Madeleine and Gersbach.

He consults lawyer Harvey Simkin who urges him to take Madeleine and Gersbach to court and seek revenge. Herzog visits a courtroom where he witnesses a trial for child murder and he has a form of mild heart attack.

He flies to Chicago and visits his parents’ old house, recalling an argument with his father. Whilst there he secretly retrieves his father’s old pistol.

Fearing his own daughter might be at risk, he drives to Madeleine’s house with murder in mind. But when he sees Gersbackh bathing June, he cannot pull the trigger. He visits Gersbach’s wife Phoebe instead. She is in denial and claims that Gersbach is still living with her

He goes to stay with Lucas Asphalter with whom he discusses attitudes to death. He takes his daughter June out for the day, but becomes involved in a traffic accident. The police arrest him for carrying a loaded gun. Madeleine arrives at the police station, full of hostility. His brother Will is called to post bail.

After borrowing money from Will, he goes to his abandoned house in the Berkshires and sinks into eccentric behaviour. He begins a new series of letters to his psychiatrist, to Nietzsche, and to God.

His brother Will arrives, sees that Herzog is cracking up, and recommends medical care and rest. Herzog refuses and plans to invite his son Marco to stay.

Ramona visits a nearby town. He goes over, invites her to dinner, and begins cleaning up the house. He also finally decides to stop writing letters.

Herzog – principal characters

© Roy Johnson 2017

More on Saul Bellow
More on the novella
More on short stories
Twentieth century literature

tutorial, commentary, study resources, and web links

Humboldt’s Gift (1975) was Saul Bellow’s major follow-up to his two previous best-sellers, Henderson the Rain King (1959) and Herzog (1964). It is also his affectionate yet tongue-in-cheek tribute to his friend the poet and short story writer Delmore Schwartz who died in obscurity in 1966. Bellow had already won three National Book Awards for fiction, but Humboldt’s Gift propelled him in 1976 to both a Pulitzer Prize for Fiction and the Nobel Prize for Literature.

Humboldt’s Gift – critical commentary

Biography

The novel is a fictional memoir of Von Humboldt Fleischer – a Jewish American poet and philosopher of precocious talent. But the narrative is also a double portrait – both of Humboldt and of Charlie Citrine, his one-time friend who is telling the story, writing the memoir, and revealing the serio-comic events in his own life at the same time.

It is generally accepted that the character study of Humboldt Fleischer is based upon the figure of Delmore Schwartz – an American writer whose collection of poems and short stories In Dreams Begin Responsibilities was published in 1938 when he was only twenty-five years old. He was widely admired and at first very successful; but then later his life and reputation went into decline, and he died in poverty, an alcoholic with paranoid delusions.

Saul Bellow was a protegé of Schwartz, and Citrine has many of the features of Bellow’s own life – problematic relationships with ex-wife and mistress, great success as a writer, and a fashionable life as an intellectual who mixes with politicians and celebrities.

Bellow seems to invite readers to make close comparisons between his own biography and the details he supplies of his fictional narrator. Despite this however, readers should keep in mind that in terms of literary interpretation, a clear distinction should be maintained between biographical and textual evidence.

Characterisation

Without doubt, one of Bellow’s strongest points as a novelist is his creation of vibrant and amusing characters, many of whom combine sophisticated intellectual lives with tempestuous passions, rash behaviour, and modes of expression laced with street language and profanity.

Citrine is an intellectual show-off and a dreamer who wishes to keep the memories of his family and friends alive, long after they are dead. Yet he is driven by his sexual desire for young women; he is impractical and fails to see what is going on around him; and he is lost in a metaphysical haze of Rudolf Steiner and Anthroposophy. But he is driven by the need to talk and reveal himself at the same time as discussing his friend Humboldt. His observations are offered in a mixture of rich cultural reference, compressed philosophy, and street talk.

He was a wonderful talker, a hectic nonstop monologuist and improvisator, a champion detractor. To be loused up by Humboldt was really a kind of privilege. It was like being the subject of a two-nosed portrait by Picasso, or an eviscerated chicken by Soutine. Money always inspired him … But his real wealth was literary. He had read many thousands of books. He said that history was a nightmare during which he was trying to get a good night’s rest. Insomnia made him more learned.

Humboldt on the other hand is a man striving for the ideals of beauty and art amidst the harsh environment of modern American capitalism – yet he threatens people with a gun, tries to run his wife over with a car, and ends up in a psychiatric hospital. He too is an unstoppable fountain of talk, wisecracks, and cultural philosophy – even when it is directed against his old friend Citrine:

he went about New York saying bitter things about me and my ‘million dollars.’ “Take the case of Charlie Citrine. He arrived from Madison, Wisconsin, and knocked on my door. Now he’s got a million bucks. What kind of writer or intellectual makes that kind of dough—a Keynes? Okay Keynes, a world figure. A genius in economics, a Prince in Bloomsbury … Married to a Russian ballerina. The money follows. But who the hell is Citrine to become so rich? … There’s something perverse with that guy. After making his dough why does he bury himself in the sticks? What’s he in Chicago for? He’s afraid to be found out.”

One curiosity of characterisation is Bellow’s introduction of named characters who do not appear in the narrative, are not dramatised, and in some cases have no part to play in the drama at all. For instance, Citrine pokes a lot of fun at his sexual rival Flonzely, whom his mistress Renata eventually chooses to marry. Flonzely is named but never appears: Citrine simply make lots of jokes about the fact that he is an undertaker.

A more acute case of the same phenomenon is Richard Durnwald. He is an old friend of Citrine, by whom he is held in great respect. Yet we never learn anything about him; he plays no part in the story; and has no relevance to the themes or the structure of the novel. In a story that is already over-crowded with named characters, one wonders why he is introduced at all.

Weaknesses

The weakest parts of the narrative are the very repetitive passages of Citrine’s ruminations about the state of his soul. It is understandable that he wishes to keep alive memories of his family and friends who are now dead, but the dwelling on Rudolph Steiner and ‘Anthroposophy’ is somehow unconvincing. It does not sit coherently within Citrine’s other interests and his intellectual background.

Since it is very difficult to escape the feeling that Citrine is a fictionalised account of Bellow himself, it is very disconcerting that he is presented as very successful character, very well educated, and enormously popular with women. Small elements of occasional deprecation aside, the overall impression is one of enormous self-congratulation – of a kind very reminiscent of Isaac Bashevis Singer, who also created fictionalised accounts of himself falling into the clutches of love-hungry women at every turn of his stories.

There may be an element of biographical truth in this. Famous male writers may well have lots of female admirers, law suits, and self-inflicted money problems – but they do not necessarily constitute the material of serious fiction,

The other principal weakness – perhaps inherited from the success of his earlier novel The Adventures of Augie March (1953) a work in which Bellow claimed he found his true voice as a writer – is that of amusing but rather improbable incidents. Citrine within the space of two or three days is kidnapped by a gangster, mixes with underworld figures, is harassed in court proceedings, goes to jail, travels from Chicago to New York and Texas then to Madrid, and finally (and very improbably) makes tens of thousands of dollars from a successful movie treatment he has co-written.

Saul Bellow may have had a colourful personal life (awards, wives, divorces) but this sort of intellectualised bohemianism simply isn’t persuasive as serious fiction – even though it is orchestrated to create some very amusing passages.

It also has to be said that the opening scenes of the novel where Citrine is menaced and taught a lesson by the gangster Rinaldo Cantabile are remarkably similar to the beginning of Norman Mailer’s An American Dream which was published ten years earlier in 1965. The parallels and similarities are quite striking. Mailer’s protagonist Stephen Rojack is a war hero, former politician, and television star, and just as Citrine is menaced on the sixtieth floor of a building site, Rojack goes on a frightening challenge around the parapet of a skyscraper.

Similarly, in a later scene of Humboldt’s Gift Citrine and his lover Renata engage in orgasme a pied under the cover of a dining table – a scene which replicates exactly a passage in An American Dream. Mailer was strongly criticised for his depiction of women in his novel, and Bellow has also been the target of feminist claims that the women in Humboldt’s Gift are either sex objects (Renata) or shrieking harpies like his ex-wife Denise.

The question of plagiarism is one that can be decided in the long term, as the critical reputations of Mailer and Bellow stabilize. At the moment (2017) Bellow’s is in the ascendant and Mailer’s in decline.

The sheer exuberance and verbal fecundity of Bellow’s literary style is enormously attractive, and his concerns for tolerance and what are generally known as ‘liberal values’ make him a distinguished and very talented novelist. But he is not beyond criticism.

Chronology

The novel has a very complex sequence of events – primarily because it is presented in the somewhat rambling mixture of Citrine’s memories of Humboldt, recollections of his own boyhood in Chicago, abstract reflections on Anthroposophy, and the narrative of the events of two or three days as he prepares to fly to Europe with his mistress Renata. These are worth tabulating for the purposes of clarification:

• the history of his relationship with Humboldt
• memories of a Chicago boyhood
• reflections on Rudolph Steiner and Anthoposophy
• conflicts with gangsters, lawyers, and an ex-wife

This is a very skilful arrangement of the events in a novel. It encompasses the historical background to its milieu, the presentation of a character, philosophic reflections on the nature of life and death, and a concentrated account of dramatic events over the space of a few days. There are not many novelists who could orchestrate this chronological complexity without resorting to a more clumsy structure.

Bellow keeps these four separate strands of narrative alive at the same time by having them all presented via the very engaging narrative style of his principal character and narrator, Charles Citrine.

Humboldt’s Gift – study resources

Humboldt’s Gift – Penguin Classics – Amazon UK

Humboldt’s Gift – Penguin Classics – Amazon US

Humboldt’s Gift – Library of America – Amazon UK

Humboldt’s Gift – Library of America – Amazon US

Saul Bellow – Collected Stories – Penguin Classics – Amazon UK

Saul; Bellow – Collected Stories – Penguin Classics – Amazon US

Saul Bellow (Modern Critical Views) – essays and studies – Amz UK

Saul Bellow (Modern Critical Views) – essays and studies – Amz US

Cambridge Companion to Saul Bellow – Amazon UK

Humboldt’s Gift – plot summary

Rich and successful writer Charlie Citrine gives an account of Von Humboldt Fleischer – an American poet and philosopher who has recently died. Humboldt was prodigiously intelligent, very widely read, and a great talker, but after a meteoric rise to success as a young man, his later life has collapsed into poverty, neglect, and alcoholism. Humboldt has high-flown, semi-delusional ideas about Art and Politics, and in his hey-day he secured a teaching post for Citrine at Princeton University.

Years later, a very successful Citrine has his Mercedes-Benz sports car vandalised over a gambling debt. He is heavily criticised by his ex-wife Denise for moving back to live in Chicago. He feels guilty about having avoided meeting Humboldt just before his death, and he resents the money he pays in taxes and in divorce settlements on Denise.

Citrine recalls friendships and his love of Chicago’s run-down urban landscape. He is menaced and humiliated by gangster Rinaldo Cantabile, to whom he owes money and towards whom he feels a certain sympathy. They go to the Playboy Club and mix with dubious elements of the underworld. Cantabile reveals that Citrine was boasting at the original poker game, and the humiliation was a lesson in hubris. He also wants Citrine’s help for his wife’s academic aspirations.

Citrine plans to write a study of boredom. He recalls Humboldt’s anger at being snubbed as a Jew, and his ambition to become a tenured professor at Princeton. They exchange blank cheques as a symbol of brotherhood against an uncertain future, and even though Citrine supports Humboldt’s bid for promotion, his friend takes money from Citrine’s account shortly afterwards.

Humboldt manages to wangle a chair at Princeton, but then the funding for it is withdrawn. He cracks up and tries to run over his wife Kathleen in a car. She leaves him and files for divorce. He starts threatening people with a gun, is taken into police custody, and is then sectioned in Bellevue mental hospital. On release he turns against Citrine and hires lawyers and psychiatrists. Citrine too goes into therapy, and his lover Demmie dies in a plane crash.

Citrine is visited by Cantabile, who claims to have his interests at heart but tries to drag him in to all sorts of criminal schemes. Citrine fears that Renata and her mother the ‘Senora’ are trying to trap him into a permanent relationship. He offers further reflections on death and questions his friend Szathman about Renata. Szathman arranged their first date, at which Renata passed out after too many Martinis.

In court Citrine distrusts his own defense lawyers. Denise is critical, yet proposes that they re-marry. Citrine is harassed by divorce judge Urbanovich. He meets Thaxter, his profligate business partner, and they are ‘kidnapped’ by Cantabile. Citrine reproaches Thaxter for his mismanagement of their publishing venture. Cantabile takes them to menace a crooked financier, who has them arrested. Citrine is rescued at the police station by the daughter of his childhood sweetheart.

He visits Naomi Lutz, who criticises him affectionately about his attitude to women. On the flight to New York he recalls George Swiebel’s advice to marry Renata whilst he still has a chance. He discusses Humboldt’s legacy with Orlando Huggins, who is Humboldt’s official executor. Then he collects the remnants of Humboldt’s papers from his uncle Waldemar in a Coney Island nursing home.

Humboldt’s legacy turns out to be no more than a letter to Citrine excusing his bad behaviour and an amateurish treatment for a movie script. Citrine then discovers that his brother is to have open heart surgery. Thaxter calls with news of new publishing contracts. He meets Kathleen, who has been given the same movie-plot gift from Humboldt – but she has actually placed it with agents.

He visits his rich and successful brother Julius on the eve of his heart operation. Julius offers to cut him into property development deals and advises him to be more realistic and self-protective. The operation is successful, so Citrine flies to join Renata at the Ritz in Madrid. However, he is joined by Renata’s mother, who dumps her grandson Robert on him. Renata meanwhile writes from North Africa to say that she has married undertaker Flonzely.

Citrine is running short of money, and he spends his time trying to communicate with people who are dead. Cantabile suddenly arrives with news that the movie scenario has been turned into a very successful film: he wants a stake in the copyright. Citrine flies with him to Paris where they watch the film. They negotiate a deal with lawyers for the film, and Citrine splits the proceeds with Humboldt’s uncle Waldemar. Thaxter is kidnapped in Argentina, and uses the event to generate money for himself. Citrine uses his share of the film money to re-bury Humboldt and his mother.

Humboldt’s Gift – principal characters

© Roy Johnson 2017

More on Saul Bellow
More on the novella
More on short stories
Twentieth century literature