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For readers like me, who came to the older writers by way of the moderns, Edmund Wilson’s essays were a great stimulus—a provocation and an incitement to an interest in literature. Other critics one came to later would matter more to one’s sense of what critical thought might be and the way a distinctive taste could be expressed. But even as one got to know these critics—Empson, Jarrell, and others—and read and reread them to try to see how they saw what they saw, Wilson was in the background, and this was a comfort: there was always