Abstract

Harold Bloom's The Anxiety of Influence (1973) is now half a century old. Despite being one of the most important contributions to poetic theory in the twentieth century, its formal innovations remain understudied. This essay examines the legacy of The Anxiety of Influence through its relationship to the burgeoning genre of "creative criticism." It looks at the various formal genres that Anxiety draws on, including the fragment, parable, and manifesto, before providing a theory of creative criticism through a reading of Susan Howe's My Emily Dickinson.