Throughout his career, Fredric Jameson’s theoretical frameworks have often had more influence than his readings of particular texts. For example, Jameson’s extended readings of Joseph Conrad’s novels—which take up almost a quarter of The Political Unconscious—have not become foundational in the same way that the book’s model for interpretation has. Many critics mention the breadth of cultural material Jameson has discussed, however, scholarly production has rarely concerned itself with this aspect of his career in a sustained fashion. In monographs on Jameson, scholars have instead sought to consider the impact of his work, and contextualize his major theoretical interventions. Nevertheless, several factors emphasize the central significance of literature to Jameson’s Marxist project. He trained primarily in French literature, and he has worked almost entirely within literature departments throughout his long career. Even in his most theoretically focused texts, such as Marxism and Form, Jameson asserts a commitment to the field of literary studies. Within this framework, despite extensive discussions of poetry, music, architecture and film, the novel has remained primary in his reading practice. This thesis contends that Jameson’s idiosyncratic engagements with the literary canon—as well as his predilections and absences when discussing certain periods and forms—have an impact on his theoretical frameworks, particularly in his sense of historical change. By closely attending to Jameson’s literary readings, we also gain a new perspective on his overarching theoretical concepts, one that differs from many previous critical engagements. Through this work, my thesis seeks to articulate the tension between Jameson’s most influential work and the criticism that has surrounded it, while suggesting ways in which his literary interpretation might remain useful for contemporary reading practices.