The first section of the book develops Solway's approach to literature, starting from the assumption that genuine criticism requires the intellectual freedom to range at will across the literary landscape rather than restricting one's direction based on what is current, fashionable, or politically correct. Solway argues that advocating a theoretical school - postmodernism, poststructuralism, semiotics, new historicism, Marxist revisionism, or queer theory - generally involves abandoning the real critical project, which is the discovery of one's own undetermined motives, dispositions, and interests as reflected in the secret mirrors embedded in literary texts. Instead Solway pursues what he calls elective criticism, writing that enables the critical writer to freely discover his or her own identity - a concept that he claims cannot reasonably be diluted, relinquished, or deconstructed. In the second section Solway practices what he preaches, exploring a wide range of authors and subjects. His essays include an analysis of Franz Kafka's The Trial as a Jewish joke, a personal memoir of Irving Layton, an interpretation of Erin Moure's "Pronouns on the Main," an examination of language in William Shakespeare's romances, a reading of Robert Browning's "My Last Duchess" that is sympathetic to the Duke, an assertion that James Joyce has more in common with the traditional novelist than with the professional, (post-)modern alienator, and an exploration of Jonathan Swift's sartorial imagery that contends that form is the source of substantive identity.

David Solway is the author of many books of poetry including the award-winning Modern Marriage, Bedrock, Chess Pieces, Saracen Island: The Poetry of Andreas Karavis and The Lover's Progress: Poems after William Hogarth, the latter illustrated by Marion Wagschal and adapted for the stage by Curtain Razors. His work has been anthologized in The Penguin Book of Canadian Verse, McClelland and Stewart's New Canadian Poetry, Border Lines: Contemporary Poetry in English from Copp Clark, and The Bedford Introduction to Literature from St. Martin's Press. Among his publications, Education Lost won the QSPELL Prize for Nonfiction and Random Walks was a finalist for Le Grand Prix du Livre de Montr?al, while his poetry collection Franklin's Passage won the prize. Solway publishes regularly in such journals as The Atlantic Monthly and Canadian Notes & Queries, and is an occasional contributor to the book pages of the National Post. His more specialized writings have appeared in the International Journal of Applied Semiotics, Policy Options: Institute on Research in Public Policy, and the Journal of Modern Greek Studies. Solway recently completed a new collection of poems entitled The Properties of Things and in the past three years has published two political books, The Big Lie: On Terror, Antisemitism and Identity and Hear, O Israel!. David Solway writes regularly for FrontPage Magazine and Pajamas Media, and is a contributing editor for The Metropolitan and Arts & Opinion.

David Solway's profile page

"A brilliant work. Solway takes the theorists on their own terms and, while acknowledging the stimulating contributions of some of the original leaders in literary theory, uses broadsword and rapier whenever needed to expose the inadequacy of what one might well call 'Theory in Practice.' These essays will delight many, infuriate many. Solway is wonderfully amusing even while he is making a deeply serious point, and his love of words is obvious on every page. He is fresh, challenging, dazzling, exhilarating. As a document in literary-critical and literary-theoretical taste in the late twentieth century, Random Walks will prove central." W.J. Keith, University College, University of Toronto "Solway is an engaging writer with a distinctive style and a gift for pithy, arresting, and memorable turns of phrase. Random Walks belongs to the distinguished genre of a writer's collected criticism. As a record of thought, a collection of reactions, an attempt at clarification and provocation, it compares favourably with other works in this genre. It is committed, impassioned, opinionated, and insightful, and writes across the grain of prevailing attitudes and ideas." Iain Higgins, Department of English, University of British Columbia