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Bellow's first novel, Dangling Man (1944), was about the alienation of a young Chicagoan waiting to be drafted. His second novel, The Victim was published in 1945. In 1948, Bellow went toParis. He had something of an epiphany while walking on the streets ofParisand thinking about his future. 'He remembered a friend from his childhood named Chucky, 'a wild talker who was always announcing cheerfully that he had a super scheme,' and he began to wonder what a novel in Chucky's voice would sound like' (Gussow and McGrath, 2005). At last, The Adventures of Augie March, won the National Book Award for fiction in 1954 and became Bellow's first best seller. It firmly established him as a writer of consequence.

His novels include Seize the Day (1956), Henderson the Rain King (1959), Herzog (1964), Mosby's Memoirs and Other Stories (1968), Mr. Sammler's Planet (1970), and Humboldt's Gift (1975). Both Herzog and Mr. Sammler's Planet were awarded the National Book Award for fiction. Humboldt's Gift won the Nobel Prize in Literature and Bellow was placed in a class with his American predecessors Ernest Hemingway and William Faulkner. In these books, he frequently adapted parts of his own life into his works.Hendersonwas based on Chandler Chapman. Gersbach, the cuckold in Herzog, was a professor named Jack Ludwig, who indeed seduced Bellow's second wife. And Bellow's girlfriend all turned up in his works in different guises.

After he published the novel The Dean's December , his books became shorter and shorter. These books include: Him with His Foot in his Mouth and Other Stories (1984), More Die of Heartbreak (1987), The Bellarosa Connection (1989), A Theft (1989), Something to Remember Me By (1991), and The Actual (1997). With Ravelstein (2000) he returned to long fiction.

1.3 The Introduction of Feminist Ideas

In the feminists' opinion, “in literary works, women are traditionally grouped into two categories: angels and succubi. Milton’s Eve, Goethe’s Margrit, Patmore’s the angel in the house belong to the first category; while Homer’s Circle, Spencer’s Errour, Shakespeare’s Goneril and Regan, Thackery’s Becky Sharp belong to the second one.”(Zhang 2005, pp.65-66) Besides, Beauvoir’s (2004) provides the same idea on this and she said, “Virgins that have never been conquered by men and old women that have broken out of men’s control are often regarded as witches, because women were born to be subordinated. If they don’t accept men’s dominance, they’ll be given to the demon.” Those male writers name the women “angels” for their being beautiful and docile; On the contrary, they call women succubi or witches for their being independent and intelligent. Those are absolutely abstract characteristics men drew from women and they embody the idealized projections of men’s desires and the demonic projections of men’s sexual resentments. In men’s eyes, women have to make themselves beautiful so as to make men happy and perform their duty in the domestic as well as public life. Besides, in traditional patriarchal utterance, the female images are usually described as “angels” and “demons”, which in fact is the expansion of male hegemony. Feminist critics say that the female images in the male awareness, whether they are “angels” or “demon本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。