Kabbalah and Criticism Book

Now, how did I get here? It was like this. . . Prophecy--then the most popular current application of prophecy: "end times" (i.e., Left Behind)--then fundamentalist reading styles--then how else can you read?--then hermeneutics--then kabbalah--and voila, Harold Bloom! (I imagine all roads lead to Harold Bloom eventually).
What's really fascinating here is not, so far, Bloom's deployment of literary concepts, but the idea of close reading as a way of enlivening a full spiritual tradition. That is, you have these texts, you have read them and studied them, you have written about all you can write on them, so then what? Then you begin to read creatively, perversely, mystically. (Then you become Paul Muldoon!) And I like this idea of the spectrum of reading possibilities, and the religious origin of such a spectrum.
Finished. . . Bloom's motives in writing this don't quite line up with my motives in reading this--he plunges into anxiety of influence, insists more often than really seems necessary on the meaninglessness of any individual poem, dignifies the critic, etc--never mind, I just wanted to plunder his ideas on kabbalah as religious reading. My favorite item that I've plundered: the idea of the tragedy of a closed canon (such as the Torah or the Bible), and what that does to creativity among believers. . .