Contrary to universally held beliefs that the literary influence of precursors can provide a purely benevolent and inspirational platform for aspiring writers, Bloom credits this influence also with the opposite effect. He contends that it can prove detrimental, that this influence instills in young writers a type of unease, apprehension, or anxiety as they psychologically struggle against past literary forebears to create something definitive and original and achieve literary recognition and success. Bloom equates this struggle to the Freudian family drama; particularly to the Oedipal complex and relationship of son to father, where the emerging writer is cast as the 'son' in a battle against the 'father'; a literary precursor. Bloom claims that this forces poets or authors into a type of 'creative misprision'; where they must distort the works of their literary masters in an attempt to create something revolutionary and innovative. The authors who triumph over this struggle are deemed 'strong', with some even receiving acclaim to the extent where the contemporary has the potential to transcend time, with some literary predecessors being read in terms of their contemporary successor. In contrast, writers who cannot prevail over this anxiety of influence are deemed 'weak', with their works regarded as markedly derivative and reminiscent of the works of earlier literary masters. Some great poets in which Bloom draws upon, who have overcome this anxiety of influence include Wordsworth, Shelley and Wallace Stevens.