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Woody Allen;s singularity as an important filmmaker results largely from his unique approach to philosophical problems. The New Yorker pieces, for example, are frequently devoted to reducing classic philospohic profundities to nonsensical, jargon-riden aphorisms.

In the spring of 1982, under the auspices of the Paul Anthony Brick Lecture Committee, we were able to interview Professor Brooks. Much to our delight, what began as a highly formal occasion — with tapes and microphones strategically placed chairs — swiftly developed into a relaed and far-ranging discussion of matters launched by the topic of his three lectures: the contemporary state of literary criticism.