James Douglas Graham Wood (born 1 November 1965 in Durham, England)[2] is an English[A] literary critic, essayist and novelist.

Wood was The Guardian's chief literary critic between 1992 and 1995. He was a senior editor at The New Republic between 1995 and 2007. As of 2014, he is Professor of the Practice of Literary Criticism at Harvard University[3] and a staff writer at The New Yorker magazine. He lives in America.

Early life and family

Born to Dennis William Wood (born 1928), a Dagenham-born minister and professor of zoology at Durham University, and Sheila Graham Wood, née Lillia, a schoolteacher from Scotland,[4][2] Wood was raised in Durham in an evangelical wing of the Church of England, an environment he describes as austere and serious.[5] He was educated at Durham Chorister School and Eton College, both on music scholarships. He read English Literature at Jesus College, Cambridge, where in 1988 he graduated with a First.[2]

In 1992 he married Claire Messud, an American novelist.[2] They live in Cambridge, Massachusetts, with their two children (a son, Lucian, and a daughter, Livia).



After Cambridge, Wood "holed up in London in a vile house in Herne Hill, and started trying to make it as a reviewer". His career began reviewing books for The Guardian.[6] In 1990 he won Young Journalist of the Year at the British Press Awards.[2] From 1991 to 1995 Wood was the chief literary critic of The Guardian, and in 1994 served as a judge for the Booker Prize for fiction.[2] In 1995 he became a senior editor at The New Republic in the United States.[2] In 2007 Wood left his role at The New Republic to become a staff writer at The New Yorker. Wood's reviews and essays have appeared frequently in The New York Times, The New Yorker, the New York Review of Books, and the London Review of Books where he is a member of its editorial board. He and his wife, the novelist Claire Messud, are on the editorial board of the literary magazine The Common, based at Amherst College.[7]


Wood began teaching literature in a class he co-taught with the late novelist Saul Bellow at Boston University. Wood also taught at Kenyon College in Ohio, and since September 2003 has taught half time at Harvard University, first as a Visiting Lecturer and then as Professor of the Practice of Literary Criticism.

Lecturing without a PhD, he feels, is "rather remarkable."[8]


Like the critic Harold Bloom, Wood advocates an aesthetic approach to literature, rather than more ideologically driven trends that are popular in contemporary academic literary criticism. In an interview with The Harvard Crimson Wood explains that the "novel exists to be affecting...to shake us profoundly. When we're rigorous about feeling, we're honoring that." The reader, then, should approach the text as a writer, "which is [about] making aesthetic judgments."

Wood is noted for coining the genre term hysterical realism, which he uses to denote the contemporary conception of the "big, ambitious novel" that pursues vitality "at all costs." Hysterical realism describes novels that are characterised by chronic length, manic characters, frenzied action, and frequent digressions on topics secondary to the story. In response to an essay Wood wrote on the subject, author Zadie Smith described hysterical realism as a "painfully accurate term for the sort of overblown, manic prose to be found in novels like my own White Teeth".[9]

Others on Wood

In reviewing one of his works Adam Begley of the Financial Times wrote that Wood "is the best literary critic of his generation".

Martin Amis described Wood as "a marvellous critic, one of the few remaining." Fellow book reviewer and journalist Christopher Hitchens was also fond of James Wood's work, in one case giving his students a copy of Wood's review of the Updike novel Terrorist, citing it as far better than his own.[10]

In the 2004 issue of n+1 the editors criticised both Wood and The New Republic, writing:

Poor James Wood! Now here was a talent—but an odd one, with a narrow, aesthetician's interests and idiosyncratic tastes... In the company of other critics who wrote with such seriousness, at such length, in such old-fashioned terms, he would have been less burdened with the essentially parodic character of his enterprise.[11]

James Wood wrote a reply in the Fall 2005 issue, explaining his conception of the "autonomous novel," in response to which the n+1 editors devoted a large portion of the journal's subsequent issue to a roundtable on the state of contemporary literature and criticism.


He was a recipient of the 2010/2011 Berlin Prize Fellowship from the American Academy in Berlin.

Selected works

  • Wood, James (1999). The broken estate : essays on literature and belief. New York: Random House. 
    • Bulgarian edition: Wood, James (2010). Kak dejstva literaturata. Kralica Mab. 
  • — (2004). The irresponsible self : on laughter and the novel. New York: Farrar, Straus and Giroux. 
  • — (2008). How fiction works. New York: Farrar, Straus and Giroux. 
  • — (2012). The fun stuff. New York: Farrar, Straus and Giroux. 
  • — (2015). The nearest thing to life. Brandeis University Press. 


:A Wood has written the following: "I have made a home in the United States, but it is not quite Home. For instance, I have no desire to become an American citizen. Recently, when I arrived at Boston, the immigration officer commented on the length of time I've held a Green Card. 'A Green Card is usually considered a path to citizenship,' he said, a sentiment both irritatingly reproving and movingly patriotic. I mumbled something about how he was perfectly correct, and left it at that. [...] The poet and novelist Patrick McGuinness, in his forthcoming book Other People's Countries (itself a rich analysis of home and homelessness; McGuinness is half-Irish and half-Belgian) quotes Simenon, who was asked why he didn't change his nationality, 'the way successful francophone Belgians often did'. Simenon replied: 'There was no reason for me to be born Belgian, so there’s no reason for me to stop being Belgian.' I wanted to say something similar, less wittily, to the immigration officer: precisely because I don't need to become an American citizen, to take citizenship would seem flippant; leave its benefits for those who need a new land."[12]


  1. ^ "The Art of Persuasion, an Interview with Critic James Wood". Electric Lit. 30 June 2015. I have two middle names, Douglas and Graham, and I needed to earn a living writing paperback roundup reviews, little more than 50 words. I thought this hackwork should exist in a different realm from what I was trying to do as a fiction reviewer, so for a while I was writing under James Wood and Douglas Graham. 
  2. ^ a b c d e f g "WOOD, James Douglas Graham", Who's Who 2012, A & C Black, 2012; online edn, Oxford University Press, December 2011 ; online edn, November 2011, Accessed 21 Aug 2012
  3. ^ "Department of English " James Wood". harvard.edu. Retrieved 19 August 2014. 
  4. ^ "Head of the class". The Economist. 9 February 2013. 
  5. ^ Wood, James (3 October 1996). "Child of Evangelism". London Review of Books. 18 (19). pp. 3–8. 
  6. ^ So, Jimmy (21 December 2012). "James Wood Gets Personal". The Daily Beast. 
  7. ^ "About". The Common. 
  8. ^ Dimento, Joseph L. (24 October 2003). "The Critical View: New professor hopes to bring fresh perspective to English department". The Harvard Crimson. 
  9. ^ Smith, Zadie (13 October 2001). "This is how it feels to me". The Guardian. London. Retrieved 17 August 2008. 
  10. ^ Christopher Hitchens on Books & Ideas
  11. ^ "Designated Haters". n+1. Summer 2004. 
  12. ^ Wood, James (20 February 2014). "On Not Going Home". London Review of Books. 36 (4). pp. 3–8. 

External links