Introduction of Herzog Herzog is the most critically acclaimed book by Saul Bellow. It was this book that brought in light Saul Bellow’s shrewdness in analyzing our culture, intricacies of the human mind, perceptibility of drastic and tragic episodes infused with philosophical conversations, with a witty tongue and penetrating insight into the unexplained workings of our thoughts that makes us act, or prevent us from acting, and that can be called the dilemma of our age. Herzog’s many themes are highlighted by its unique structure and the style it was written in. There were many an appreciation as well as criticism that were received by Bellow for the style in which the book was written. Chester E. Eisinger, in his overview of Bellow for the Reference Guide to American Literature, argues that the structure of the novel provides “a vehicle beautifully appropriate for the self-communing protagonist”. The book was fairly recognized as Bellow’s most Jewish book. Julianne Moynahhan observes that it has every qualification of Jewish wit, humor, intellectual and moral passion, approach to European social thought and foreign literatures. She interprets that like most Jewish prophets he wanted a change of heart and that he feels himself burdened with the responsibility of testifying to the continued existence of values. She highlights the paradox that his balance, if it is to come, must come from instability which the novel, in its almost perfect narrative art, makes us see the truth and wisdom of that paradox, not only for Herzog himself but for all of us at this point of modern history. Qiutao Fan observes Herzog’s character as an obsessed individual with an intellectual crisis and briefs about how he thinks he can intellectually resolve all of the hardships in his life, by merely being aware of it intellectually. Moreover, he illustrates Herzog’s grasping at lofty ideas to avoid dealing with his own practical problem. Leila Hojjati, University of Liverpool, dwells on the changing the manner of universal and traditional narrative confession as well as its one-sided perception of reality. The concept of polyphonic confession, is observed by her as well as Masayuki Teranishi where they conclude Herzog as a polyphonic novel in which plural voices coexist through the speech and thought presentation involved in the characterization of the protagonist. In the light of the literary and social theory of confession as developed by Mikhail Bakhtin and Michel Foucault respectively, examining Bellow’s novels they argues that as distinguished from social and cultural contexts, the context of art opens up a new space for the emergence of a more dynamic and reciprocal mode of truthtelling in Bellow’s writings.