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For more than thirty years, Fredric Jameson has been one of the most productive, wideranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theoristsT. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukcs, and JeanPaul Sartrework that was, at the time, largely neglected in the Englishspeaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its makingin particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the AngloAmerican tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.One year after Marxism and Form, Princeton published Jameson's The PrisonHouse of Language (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.
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