Like Rip Van Winkle returning to his hometown to find that all has changed, Nathan Zuckerman comes back to New York, the city he left eleven years before. Alone on his New England mountain, Zuckerman has been nothing but a writer: no voices, no media, no terrorist threats, no women, no news, no tasks other than his work and the enduring of old age.
Walking the streets like a revenant, he quickly makes three connections that explode his carefully protected solitude. One is with a young couple with whom, in a rash moment, he offers to swap homes. They will flee post-9/11 Manhattan for his country refuge, and he will return to city life. But from the time he meets them, Zuckerman also wants to swap his solitude for the erotic challenge of the young woman, Jamie, whose allure draws him back to all that he thought he had left behind: intimacy, the vibrant play of heart and body.
The second connection is with a figure from Zuckerman's youth, Amy Bellette, companion and muse to...
Letting Go is Roth's first full-length novel, published just after Goodbye, Columbus, when he was twenty-nine. Set in 1950s Chicago, New York, and Iowa city, Letting Go presents as brilliant a fictional portrait as we have of a mid-century America defined by social and ethical constraints and by moral compulsions conspicuously different from those of today.
Newly discharged from the Korean War army, reeling from his mother's recent death, freed from old attachments and hungrily seeking others, Gabe Wallach is drawn to Paul Herz, a fellow graduate student in literature, and to Libby, Paul's moody, intense wife. Gabe's desire to be connected to the ordered "world of feeling" that he finds in books is first tested vicariously by the anarchy of the Herzes' struggles with responsible adulthood and then by his own eager love affairs. Driven by the desire to live seriously and act generously, Gabe meets an impassable test in the person of Martha Reganhart,...
David Kepesh wakes up one morning in the hospital, mysteriously altered. Through an endocrinopathic catastrophe of unprecedented proportions, he has been transformed into a 155-pound human female breast. Railing at the incomprehensible, he uses his intelligence to deny and resist the thing he has become. Ultimately, he must accept his fate. Philip Roths The Breast is a funny, fantastical story and a bizarre yet daring exploration of sex and subjectivity.
The Counterlife is a novel unlike any that Philip Roth has written before, a book of astonishing 180-degree turns, a book of conflicting perspectives and points of view, and, by far, Roth's most radical work of fiction.
The Counterlife is about people enacting their dreams of renewal and escape, some of them going so far as to risk their lives to alter seemingly irreversible destinies. Every major character (and most of the minor ones) is investigating, debating, and arguing the possibility of remaking the future.
Illuminating these lives in transition and guiding us through all the landscapes, familiar and foreign, where these people are seeking self-transformation, is the mind of the novelist Nathan Zuckerman. His is the skeptical, enveloping intelligence that calculates the price that's paid in the struggle to change personal fortune and to reshape history.
Yet his is hardly the only voice. This is a novel in which speaking out with force and lucidity...
A middle-aged writer recalls his younger self. At 23, Nathan Zuckerman has had four stories published and a small, flattering Saturday Review up-and-coming-author profile (complete with a photo of him playing with his ex-girlfriend's cat), which he purports to scorn. As genuine and polite as he seems, Zuckerman has already hurt his family with his autobiographical art and ruined his relationship with adultery and honesty. Visiting his reclusive idol (famed for his "blend of sympathy and pitilessness") in the Berkshires, the writer watches himself watching himself and attempts to confront his work and life. Instead he finds himself turning reality into metafiction. A quote he happens upon from Henry James only complicates matters further: "We work in the dark--we do what we can--we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art." Events, however, have their revenge, weaving more out of control than even he can anticipate or ask for. Philip Roth is the master of the uncomfortable, and his alter ego a connoisseur of self-involvement, self-loathing, and self-examination. ("Virtuous reader, if you think that after intercourse all animals are sad, try masturbating on the daybed in E. I. Lonoff's study and see how you feel when it's over.")
From Library Journal
Both these novels follow protagonist Nathan Zuckerman through different times in his life?Ghost Writer, dubbed a "glowing work of fiction" by LJ's reviewer (LJ 9/1/79), introduced the character in his youth, while 1981's Unbound offers him in his mid-30s. Roth's many fans will be happy to see these again. Copyright 1995 Reed Business Information, Inc.
SUMMARY: Gil Gamesh, the only pitcher who ever literally tried to kill the umpire. The ex-con first baseman, John Baal, "The Babe Ruth of the Big House," who never hit a home run sober. If you've never heard of them—or of the Ruppert Mundys, the only homeless big-league ball team in American history—it's because of the Communist plot, and the capitalist scandal, that expunged the entire Patriot League from baseball memory.In this ribald, richly imagined, and wickedly satiric novel, Roth turns baseball's status as national pastime and myth into an occasion for unfettered picaresque farce, replete with heroism and perfidy, ebullient wordplay and a cast of characters that includes the House Un-American Activities Committee.
As a student in college, David Kepesh styles himself “a rake among scholars, a scholar among rakes.” Little does he realize how prophetic this motto will be—or how damning. For as Philip Roth follows Kepesh from the domesticity of childhood into the vast wilderness of erotic possibility, from a ménage a trois in London to the throes of loneliness in New York, he creates a supremely intelligent, affecting, and often hilarious novel about the dilemma of pleasure: where we seek it; why we flee it; and how we struggle to make a truce between dignity and desire.
“Philip Roth is a great historian of modern eroticism. . . . [He] speaks of a sexuality that questions itself; it is still hedonism, but it is problematic, wounded, ironic hedonism. His is the uncommon union of confession and irony. Infinitely vulnerable in his sincerity and infinitely elusive in his irony.” —Milan Kundera
“A thoughtful . . . elegant novel. . . . A fine display of literary skills.” —The New York Times Book Review
A brilliant, lustful man is overloaded with fantasies.
Now in his mid-thirties, Nathan Zuckerman, a would-be recluse despite his newfound fame as a bestselling author, ventures onto the streets of Manhattan in the final year of the turbulent sixties. Not only is he assumed by his fans to be his own fictional satyr, Gilbert Carnovsky, but he also finds himself the target of admonishers, advisers, and literary critics. The recent murders of Robert Kennedy and Martin Luther King, Jr., lead an unsettled Zuckerman to wonder if 'target' may be more than a figure of speech.
In Zuckerman Unbound - the second volume of the trilogy and epilogue Zuckerman Bound - the notorious novelist retreats from his oldest friends, breaks his marriage to a virtuous woman, and damages, perhaps irreparably, his affectionate connection to his younger brother...and all because of his great good fortune.
Philip Roth's 22nd book takes a life-long view of the American experience in this thoughtful investigation of the century's most divisive and explosive of decades, the '60s. Returning again to the voice of his literary alter ego Nathan Zuckerman, Roth is at the top of his form. His prose is carefully controlled yet always fresh and intellectually subtle as he reconstructs the halcyon days, circa World War II, of Seymour "the Swede" Levov, a high school sports hero and all-around Great Guy who wants nothing more than to live in tranquillity. But as the Swede grows older and America crazier, history sweeps his family inexorably into its grip: His own daughter, Merry, commits an unpardonable act of "protest" against the Vietnam war that ultimately severs the Swede from any hope of happiness, family, or spiritual coherence.
From Library Journal
In his latest novel, Roth shows his age. Not that his writing is any less vigorous and supple. But in this autumnal tome, he is definitely in a reflective mood, looking backward. As the book opens, Roth's alter ego, Nathan Zuckerman, recalls an innocent time when golden boy Seymour "the Swede" Levov was the pride of his Jewish neighborhood. Then, in precise, painful, perfectly rendered detail, he shows how the Swede's life did not turn out as gloriously as expected?how it was, in fact, devastated by a child's violent act. When Merry Levov blew up her quaint little town's post office to protest the Viet Nam war, she didn't just kill passing physician Fred Conlon, she shattered the ties that bound her to her worshipful father. Merry disappears, then eventually reappears as a stick-thin Jain living in sacred povery in Newark, having killed three more people for the cause. Roth doesn't tell the whole story blow by blow but gives us the essentials in luminous, overlapping bits. In the end, the book positively resonates with the anguish of a father who has utterly lost his daughter. Highly recommended. -?Barbara Hoffert, "Library Journal" Copyright 1997 Reed Business Information, Inc.
It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished even his most virulent accuser.Coleman Silk has a secret, one which has been kept for fifty years from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman. It is Zuckerman who stumbles upon Silk's secret and sets out to reconstruct the unknown biography of this eminent, upright man, esteemed as an educator for nearly all his life, and to understand how this ingeniously contrived life came unraveled. And to understand also how Silk's astonishing private history is, in the words of The Wall Street Journal, "magnificently" interwoven with "the larger public history of modern America."
"What if" scenarios are often suspect. They are sometimes thinly veiled tales of the gospel according to the author, taking on the claustrophobic air of a personal fantasia that can't be shared. Such is not the case with Philip Roth's tour de force, The Plot Against America. It is a credible, fully-realized picture of what could happen anywhere, at any time, if the right people and circumstances come together.
The Plot Against America explores a wholly imagined thesis and sees it through to the end: Charles A. Lindbergh defeats FDR for the Presidency in 1940. Lindbergh, the "Lone Eagle," captured the country's imagination by his solo Atlantic crossing in 1927 in the monoplane, Spirit of St. Louis, then had the country's sympathy upon the kidnapping and murder of his young son. He was a true American hero: brave, modest, handsome, a patriot. According to some reliable sources, he was also a rabid isolationist, Nazi sympathizer, and a crypto-fascist. It is these latter attributes of Lindbergh that inform the novel.
The story is framed in Roth's own family history: the family flat in Weequahic, the neighbors, his parents, Bess and Herman, his brother, Sandy and seven-year-old Philip. Jewishness is always the scrim through which Roth examines American contemporary culture. His detractors say that he sees persecution everywhere, that he is vigilant in "Keeping faith with the certainty of Jewish travail"; his less severe critics might cavil about his portrayal of Jewish mothers and his sexual obsession, but generally give him good marks, and his fans read every word he writes and heap honors upon him. This novel will engage and satisfy every camp.
"Fear presides over these memories, a perpetual fear. Of course, no childhood is without its terrors, yet I wonder if I would have been a less frightened boy if Lindbergh hadn't been president or if I hadn't been the offspring of Jews." This is the opening paragraph of the book, which sets the stage and tone for all that follows. Fear is palpable throughout; fear of things both real and imagined. A central event of the novel is the relocation effort made through the Office of American Absorption, a government program whereby Jews would be placed, family by family, across the nation, thereby breaking up their neighborhoods--ghettos--and removing them from each other and from any kind of ethnic solidarity. The impact this edict has on Philip and all around him is horrific and life-changing. Throughout the novel, Roth interweaves historical names such as Walter Winchell, who tries to run against Lindbergh. The twist at the end is more than surprising--it is positively ingenious.
Roth has written a magnificent novel, arguably his best work in a long time. It is tempting to equate his scenario with current events, but resist, resist. Of course it is a cautionary tale, but, beyond that, it is a contribution to American letters by a man working at the top of his powers. --Valerie Ryan
Portnoy's Complaint n. [after Alexander Portnoy (1933- )] A disorder in which strongly-felt ethical and altruistic impulses are perpetually warring with extreme sexual longings, often of a perverse nature. Spielvogel says: 'Acts of exhibitionism, voyeurism, fetishism, auto-eroticism and oral coitus are plentiful; as a consequence of the patient's "morality," however, neither fantasy nor act issues in genuine sexual gratification, but rather in overriding feelings of shame and the dread of retribution, particularly in the form of castration.' (Spielvogel, O. "The Puzzled Penis," Internationale Zeitschrift für Psychoanalyse, Vol. XXIV, p. 909.) It is believed by Spielvogel that many of the symptoms can be traced to the bonds obtaining in the mother-child relationship.With a new Afterword by the author for the 25th Anniversary edition.
David Kepesh, ein bekannter New Yorker Kulturkritiker, hat eine Leidenschaft für schöne Frauen. Sein bester Eroberungstrick ist die Examensparty, die er regelmässig bei sich zu Hause gibt. Am Ende landet immer eine seiner Studentinnen in seinem Bett. Auch die schöne Exil-Kubanerin Consuela Castillo hat der 62-jährige College-Dozent verführt. Doch Consuela stellt mit ihrer Jugend und Schönheit all seine Gewissheiten in Frage, und eine quälende sexuelle Besessenheit stürzt ihn in die Abgründe einer verzehrenden Eifersucht. Sechs Jahre später, am Silvesterabend des Jahres 2000, erhält David von Consuela die Nachricht, dass sie an Krebs erkrankt ist. - Mit der Geschichte dieser aussergewöhnlichen Liebe ist dem Autor eine faszinierende Bestandsaufnahme über Liebe und Begehren aber auch über Altern und Sterben gelungen.
Sommer 1998. Der amerikanische Präsident wird wegen einer sexuellen Affäre zum Gegenstand einer Hexenjagd. Ähnlich verfolgt von Heuchlern und Pharisäern fühlt sich Coleman Silk, Professor für Altphilologie an einer noblen Ostküsten-Universität. Erst bezichtigte man ihn des Rassismus - zwei Wörter genügten, um seine lange, brillante Karriere zuschanden zu machen. Dann setzte es sich eine junge Kollegin in den Kopf, ihn als sexistischen alten Lüstling zu entlarven ... - Ein Sittenbild der amerikanischen Gesellschaft zur Zeit der Lewinsky-Affäre.