Abstract

The crisis of capitalism, or what Saul Bellow dubs “the crisis of knowledge”, crystallizes the way he deconstructs and subverts the roots of modern American culture. The concepts of “darkness” and “Malheur” embody the tragic fate of capitalism and the end of history to recall Baudrillard and Fukuyama. Colin Davis relates this intellectual atmosphere to Lyotard’s theory of “after knowledge” and the postmodern condition, Lévinas’s “after ethics” and Althusser’s “after hope”. Fictionally, Bellow epitomizes this cultural backdrop in modern America by addressing the decline of civility, the agony of the artist, the end of humanism and morality in a society which is dominated by the crowd of low culture to cite Williams. Conceding that the novelist identifies “darkness”, “noon”, “Malheur” and “capitalism” with Derrida’s premises of deconstruction and Foucault’s insights about episteme theory and the archeology of knowledge, it becomes then fundamental to underpin how he gives theory and philosophy an overriding role in the purification of humanism from the burden of materialism and capitalistic democracy. Special focus is on Herzog (1964), Mr. Sammler’s Planet (1970), Humboldt’s Gift (1975) and The Dean’s December (1982) as they illustrate Bellow’s gestures of deconstructing the negativity of capitalism.

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