Regarding Michael Sinding’s earlier post on Frye and the Curriculum, Jonathan Allan makes this interesting observation:
Another aspect of this discussion, perhaps, is the place of Frye’s early “disciples” or critics deeply influenced by Frye. Fredric Jameson in his recent book, Archaeologies of the Future, reluctantly admits the importance of Frye: “Any reflection on genre today owes a debt — sometimes an unwilling one — to Northrop Frye’s Anatomy of Criticism” (257 n.3). The other central example being Harold Bloom whose anxiety of influence seems to have completely taken him over (something Frye noticed already in the late 70s). In his introduction to the latest Princeton edition of the Anatomy, Bloom writes: “I am not so fond of the Anatomy now, as I was more than forty years ago, but I probably absorbed it in ways I can no longer apprehend” (in Anatomy vii). In 2009, in the Hopkins Review, he writes: “Now, at seventy-eight, I would not have the patience to read anything by Frye” (27). Thus, a query that seems to be part of this is why these critics have left Frye behind or distanced their work from Frye’s work.