Editing John Updike (section)

==Literary criticism and art criticism==
Updike was also a critic of [[literary criticism|literature]] and [[art criticism|art]], one frequently cited as one of the best American critics of his generation.<ref>James Atlas, "[http://www.lrb.co.uk/v06/n02/atla01_.html Towards the Transhuman]", ''London Review of Books'', February 2, 1984</ref> In the introduction to ''Picked-Up Pieces,'' his 1975 collection of prose, he listed his personal rules for literary criticism:
[[File:Updike 29.jpg|thumb|200px|right|Updike delivering the 2008 [[Jefferson Lecture]]]]

<blockquote>
#Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt.
#Give enough direct quotation—at least one extended passage—of the book's prose so the review's reader can form his own impression, can get his own taste.
#Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy précis.
#Go easy on plot summary, and do not give away the ending.
#If the book is judged deficient, cite a successful example along the same lines, from the author's œuvre or elsewhere. Try to understand the failure. Sure it's his and not yours?

To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in any ideological battle, a corrections officer of any kind. Never, never&nbsp;... try to put the author "in his place," making of him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys of reading, and all our discriminations should curve toward that end.<ref>"[https://www.newyorker.com/books/page-turner/remembering-updike-the-gospel-according-to-john/ Remembering Updike: The Gospel According to John]", ''The New Yorker'' online</ref></blockquote>

He reviewed "nearly every major writer of the 20th century and some 19th-century authors", typically in ''The New Yorker'', always trying to make his reviews "animated".<ref name="rourke" /> He also championed young writers, comparing them to his own literary heroes including [[Vladimir Nabokov]] and [[Marcel Proust]].<ref>ZZ Packer, "[https://www.newyorker.com/online/blogs/books/remembering-upd/index.html Remembering Updike] {{Webarchive|url=https://web.archive.org/web/20140226102425/http://www.newyorker.com/online/blogs/books/remembering-upd/index.html |date=February 26, 2014 }}", ''The New Yorker'' online</ref> Good reviews from Updike were often seen as a significant achievement in terms of literary reputation and even sales; some of his positive reviews helped jump-start the careers of such younger writers as [[Erica Jong]], [[Thomas Mallon]] and [[Jonathan Safran Foer]].<ref name="mighty pen">Charles McGrath, "[https://www.nytimes.com/2009/02/01/weekinreview/01mcgrath.html John Updike's Mighty Pen]", ''The New York Times'', January 31, 2009</ref>

Bad reviews by Updike sometimes caused controversy.<ref>Alex Carnevale, "[http://gawker.com/5069587/toni-morrison-is-john-updikes-latest-lit-fit-victim Literary Feuds: Toni Morrison is John Updike's Latest Lit-Fit Victim]", October 2008, Gawker.com</ref> In 2008, he gave a "damning" review of [[Toni Morrison]]'s novel ''[[A Mercy]]'',<ref>"[http://www.thefirstpost.co.uk/people,1565,updike-takes-a-swipe-at-toni-morrison,52615 Updike takes a swipe at Toni Morrison]", ''The First Post'', October 29, 2008</ref><ref>John Updike, "[https://www.newyorker.com/arts/critics/books/2008/11/03/081103crbo_books_updike Dreamy Wilderness]", ''The New Yorker'', November 3, 2008</ref> and in 1999 he criticized [[Alan Hollinghurst]]'s novels for being "relentlessly gay in their personnel".<ref>https://observer.com/1999/06/tony-kushner-and-other-gay-writers-criticize-a-john-updike-review/</ref> In response to criticism of the latter remark, he said: "I’d be happy not to discuss [homosexuality]. Hollinghurst made it kind of tough."<ref>https://slate.com/culture/2011/10/john-updike-homophobia-alan-hollinghurst.html</ref>

Updike was praised for his literary criticism's conventional simplicity and profundity, for being an [[aestheticism|aestheticist]] critic who saw literature on its own terms, and for his longtime commitment to the practice of literary criticism.<ref name="mason">Wyatt Mason, "[http://www.harpers.org/archive/2007/12/0081837 Among the reviewers: John Updike and the book-review bugaboo]", ''Harper's'', December 2007</ref>

Much of Updike's art criticism appeared in ''[[The New York Review of Books]]'', where he often wrote about [[Visual art of the United States|American art]].<ref>[http://www.nybooks.com/authors/158 "John Updike"]. ''New York Review of Books''. ''The New York Review of Books''. Retrieved January 30, 2010.</ref> His art criticism involved an aestheticism like that of his literary criticism.<ref name="mason" />

Updike's 2008 [[Jefferson Lecture]], "The Clarity of Things: What's American About American Art?", dealt with the uniqueness of American art from the 18th century to the 20th.<ref name="neh">John Updike, "[http://www.neh.gov/whoweare/Updike/Lecture.html The Clarity of Things] {{Webarchive|url=https://web.archive.org/web/20090201230252/http://neh.gov/whoweare/Updike/Lecture.html |date=February 1, 2009 }}", National Endowment for the Humanities</ref> In the lecture he argued that American art, until the [[expressionism|expressionist movement]] of the 20th century in which America declared its artistic "independence", is characterized by an insecurity not found in the artistic tradition of [[European art|Europe]].

In Updike's own words:<ref name="howard"/>

<blockquote>Two centuries after [[Jonathan Edwards (theologian)|Jonathan Edwards]] sought a link with the divine in the beautiful clarity of things, [[William Carlos Williams]] wrote in introducing his long poem ''[[Paterson (poem)|Paterson]]'' that "for the poet there are no ideas but in things." ''No ideas but in things.'' The American artist, first born into a continent without museums and art schools, took Nature as his only instructor, and things as his principal study. A bias toward the empirical, toward the evidential object in the numinous fullness of its being, leads to a certain lininess, as the artist intently maps the visible in a New World that feels surrounded by chaos and emptiness.<ref name="neh" /></blockquote>