In such early work of Bernard Malamud as the tales collected in The Magic Barrel and the penitential drama of The Assistant, the painful, intractable truths of immigrant Jewish life in America exist as a permanent reproach to the younger generation of writers like Roth, and … Heller, who turned that poverty and suffering, even the Yiddish language itself, into a manic comedy of derision and cultural denial. Malamud rendered the immigrant world with such exactness and honesty that it acquired the fixed quality of fable.
Though Malamud has never stopped writing about Jews (only his first novel, The Natural, did without them almost entirely), quite early in his career the defeated grocers and shoemakers were succeeded by characters drawn from his adult life rather than from his Brooklyn childhood: the English teacher Levin in A New Life; the art historian and painter in Pictures of Fidelman; the novelist Harry Lesser in The Tenants; and the biographer in his new novel, Dubin's Lives. All of them grew up in slums, but by the time we meet them they have all, for better and for worse, left their parents' world behind.
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