It’s funny how one appraisal leads to another, or a conversation . . . or a debate.

William Deresiewicz’s essay-review of Updike for The New Republic has already inspired a favorable response from National Review, that other side of the aisle publication. That’s encouraging, because these days Updike appears to be one of the few subjects that a liberal or conservative can agree upon.

Now Peter J. Leithart (First Things) weighs in with “Painter of Surfaces,” posted online on September 10, 2014, which oddly enough has nothing much to do with Updike’s painterly style.

“No one has to defend Updike’s skill as a writer,” Leithart writes, “and he was surely a success, as Deresiewicz’s rapid-fire summary indicates. . . . Updike’s reputation suffers more because he was, in Deresiewicz’s words, ‘an unembarrassed, unreconstructed middle-American. . . . Updike’s life and work are testaments to the idea that mid-American values, beliefs, and sensibilities are adequate to address and interpret modern experience.’ That cannot be forgiven.

“Nor can Updike’s theological conviction. . . . But he, like the non-judgmental God of his novels, stays on the surface. Updike will be remembered as a chronicler of his times, but Deresiewicz doesn’t convince me that his novels have the depth to be of enduring importance.”

“It’s not cool to like the writing of John Updike,” National Review‘s Michael Potemra declares in “Looking at Updike, Again.” “But it’s the right thing to do.”

Wasn’t that what actor Wilford Brimley told us about eating oatmeal?

Potemra explains that the “anti-feminist rap against Updike deserves, in our current cultural plight, a little more attention. The locus classicus of this opinion was the famous phrase of David Foster Wallace, who quoted a female friend’s gibe that Updike was ‘a penis with a thesaurus.’ Now, David Foster Wallace has basically been canonized as a secular saint, and to be dismissed by him in this fashion amounts to having the phrase NOT. COOL. branded on your forehead.”

Potemra was apparently inspired to reconsider Updike after reading a New Republic book review of Adam Begley’s Updike by William Deresiewicz, whom he quotes:

“Updike—and Mailer, and Roth, and the other men (and women) of their generation—were situated at a complicated juncture in the history of sexuality. They came of age before the revolution, but not so long before that they couldn’t try to join it. Sexual freedom descended on them not as a birthright, but as a miracle. Of course they went a little wild. When the Pill came out in 1960, the oldest member of the baby boom was fourteen. Updike was 28. If he spent a lot of time thinking about sex, it’s not a big surprise. Updike, like his contemporaries, was also too early for feminism. That may not be conducive to the most progressive attitudes . . . but it also means that Updike stood between the old and new Victorianisms.”

Potemra adds, “Deresiewicz is pointing to something important: Updike, as a man of his generation, did not view ideologizing about men and women to be his basic calling in life. It was sufficient for him to watch men and women, to notice, and to record his observations in some of the best prose ever produced by an American writer.”

Film critic A.O. Scott dips one toe in familiar waters and the other in American literature to discuss what he perceives as “The Death of Adulthood in American Culture,” which was published on September 11, 2014.

Both Philip Roth and John Updike are mentioned—Roth, more so than Updike.

“While [Leslie] Fiedler was sitting at his desk in Missoula, Mont., writing his monomaniacal tome [on Love and Death in the American Novel], a youthful rebellion was asserting itself in every corner of the culture. The bad boys of rock ‘n’ roll and the pouting screen rebels played by James Dean and Marlon Brando proved Fiedler’s point even as he was making it. So did Holden Caulfield, Dean Moriarty, Augie March and Rabbit Angstrom—a new crop of semi-antiheroes in flight from convention, propriety, authority and what Huck would call the whole ‘sivilized’ world.

“From there it is but a quick ride on the Pineapple Express to Apatow. The Updikean and Rothian heroes of the 1960s and 1970s chafed against the demands of marriage, career and bureaucratic conformity and played the games of seduction and abandonment, of adultery and divorce, for high existential stakes, only to return a generation later as the protagonists of bro comedies. We devolve from Lenny Bruce to Adam Sandler, from Catch-22 to The Hangover, from Goodbye, Columbus to The Forty-Year-Old Virgin.