Philip Roth

Philip Roth was born in Newark, New Jersey, in 1933, the son of an insurance salesman and the grandchild of European Jewish immigrants.  He was educated at Bucknell University and the University of Chicago. After spending a year in the army, Roth began publishing short stories in 1956. His first book, Goodbye, Columbus (1959) won the National Book Award, and since then he has published twenty-two books. In the 1990s, Roth won the National Book Critics Circle Award for Patrimony (1991), the PEN/Faulkner Award for Operation Shylock (1993), and the National Book Award for Sabbath's Theater (1995).  American Pastoral (1997) and I Married a Communist (1998), the first two volumes of the American's trilogy that culminates in The Human Stain received the Pulitzer Prize and the Ambassador Book Award respectively.  The narrator of The Human Stain, Nathan Zuckerman, also appears in The Ghost Writer (1979), Zuckerman Unbound (1981), and The Counterlife (1986).  The Human Stain was a PEN/Faulkner Award Winner, a New York Times Editors' Choice, and a Voice Literary Supplement, San Francisco Chronicle, and Los Angles Times Best Book.  Philip Roth also received the Jewish Book Council Award for Distinguished Literary Achievement.

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Goodbye, Columbus, 1959

     Roth's award-winning first book instantly established its author's reputation as a writer of explosive wit, merciless insight, and a fierce compassion for even the most self-deluding of his characters.

     Goodbye, Columbus is the story of Neil Klugman and pretty, spirited Brenda Patimkin, he of poor Newark, she of suburban Short Hills, who meet one summer break and dive into an affair that is as much about social class and suspicion as it is about love. The novella is accompanied by five short stories that range in tone from the iconoclastic to the astonishingly tender and that illuminate the subterranean conflicts between parents and children and friends and neighbors in the American Jewish diaspora.

Letting Go, 1962

     Letting Go is Philip Roth's first full-length novel, published when he was twenty-nine. Set in 1950s Chicago, New York, and Iowa City, Letting Go presents a fictional portrait 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, a spirited, outspoken, divorced mother of two. The complex liaison between Gabe and Martha and Gabe's moral enthusiasm for the trials of others are at the heart of this tragically comic work.

When She Was Good, 1967

     In this funny and chilling novel, the setting is a small town in the 1940s Midwest, and the subject is the heart of a wounded and ferociously moralistic young woman, one of those implacable American moralists whose "goodness" is a terrible disease.

     When she was still a child, Lucy Nelson had her alcoholic failure of a father thrown in jail. Ever since then she has been trying to reform the men around her, even if that ultimately means destroying herself in the process. With his unerring portraits of Lucy and her hapless, childlike husband, Roy, Roth has created an uncompromising work of fictional realism, a vision of provincial American piety, yearning, and discontent that is at once pitiless and compassionate.

Portnoy's Complaint, 1969

     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 obtained in the mother-child relationship.

Our Gang, 1971

     A ferocious political satire in the great tradition, Our Gang is Philip Roth’s brilliantly indignant response to the phenomenon of Richard M. Nixon.

     In the character of Trick E. Dixon, Roth shows us a man who outdoes the severest cynic, a peace-loving Quaker and believer in the sanctity of human life who doesn’t have a problem with killing unarmed women and children in self-defense. A master politician with an honest sneer, he finds himself battling the Boy Scouts, declaring war on Pro-Pornography Denmark, all the time trusting in the basic indifference of the voting public.

The Breast, 1972

     Like a latter-day Gregor Samsa, Professor David Kepesh wakes up one morning to find that he has been transformed. But where Kafka's protagonist turned into a giant beetle, the narrator of Philip Roth's richly conceived fantasy has become a 155-pound female breast. What follows is a deliriously funny yet touching exploration of the full implications of Kepesh's metamorphosis—a daring, heretical book that brings us face to face with the intrinsic strangeness of sex and subjectivity.

The Great American Novel, 1973

     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.

My Life as a Man, 1974

     A fiction-within-a-fiction, a labyrinthine edifice of funny, mournful, and harrowing meditations on the fatal impasse between a man and a woman, My Life as a Man is Roth's most blistering novel.

     At its heart lies the marriage of Peter and Maureen Tarnopol, a gifted young writer and the woman who wants to be his muse but who instead is his nemesis. Their union is based on fraud and shored up by moral blackmail, but it is so perversely durable that, long after Maureen's death, Peter is still trying—and failing—to write his way free of it. Out of desperate inventions and cauterizing truths, acts of weakness, tenderheartedness, and shocking cruelty, Philip Roth creates a work worthy of Strindberg—a fierce tragedy of sexual need and blindness.

The Professor of Desire, 1977

     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 à 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.

The Ghost Writer, 1979

     The Ghost Writer introduces Nathan Zuckerman in the 1950s, a budding writer infatuated with the Great Books, discovering the contradictory claims of literature and experience while an overnight guest in the secluded New England farmhouse of his idol, E. I. Lonoff.

     At Lonoff's, Zuckerman meets Amy Bellette, a haunting young woman of indeterminate foreign background who turns out to be a former student of Lonoff's and who may also have been his mistress. Zuckerman, with his active, youthful imagination, wonders if she could be the paradigmatic victim of Nazi persecution. If she were, it might change his life.

     The first volume of the trilogy and epilogue Zuckerman Bound, The Ghost Writer is about the tensions between literature and life, artistic truthfulness and conventional decency—and about those implacable practitioners who live with the consequences of sacrificing one for the other.

Zuckerman Unbound, 1981

     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 ("Hey, you do all that stuff in that book?"), but he also finds himself the target of admonishers, advisers, and sidewalk 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 Nathan Zuckerman 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!

The Anatomy Lesson, 1983

     At forty, the writer Nathan Zuckerman comes down with a mysterious affliction - pure pain, beginning in his neck and shoulders, invading his torso, and taking possession of his spirit. Zuckerman, whose work was his life, is unable to write a line. Now, his work is trekking from one doctor to another, but none can find a cause for the pain and nobody can assuage it. Zuckerman himself wonders if the pain can have been caused by his own books. And while he is wondering, his dependence on painkillers grows into an addiction to vodka, marijuana, and Percodan.

The Prague Orgy, 1985

     In quest of the unpublished manuscript of a martyred Yiddish writer, the American novelist Nathan Zuckerman travels to Soviet-occupied Prague in the mid-1970s. There, in a nation straightjacketed by totalitarian Communism, he discovers a literary predicament, marked by institutionalized oppression, that is rather different from his own. He also discovers, among the oppressed writers with whom he quickly becomes embroiled in a series of bizarre and poignant adventures, an appealingly perverse kind of heroism.

     The Prague Orgy, consisting of entries from protagonist Nathan Zuckerman's notebooks recording his sojourn among these outcast artists, completes the trilogy and epilogue Zuckerman bound. It provides a startling ending to Roth's intricately designed magnum opus on the unforeseen consequences of art.

The Counterlife, 1986

     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. Wherever they may find themselves, the characters of The Counterlife are tempted unceasingly by the prospect of an alternative existence that can reverse their fate.

     Illuminating these lives in transition and guiding us through the book's evocative landscapes, familiar and foreign, 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 reshape history, whether in a dentist's office in suburban New Jersey, or in a tradition-bound English Village in Gloucestershire, or in a church in London's West End, or in a tiny desert settlement in Israel's occupied West Bank.

The Facts: A Novelist's Autobiography, 1988

     The Facts is the unconventional autobiography of a writer who has reshaped our idea of fiction—a work of compelling candor and inventiveness, instructive particularly in its revelation of the interplay between life and art.

     Philip Roth concentrates on five episodes from his life: his secure city childhood in the thirties and forties; his education in American life at a conventional college; his passionate entanglement, as an ambitious young man, with the angriest person he ever met (the "girl of my dreams" Roth calls her); his clash, as a fledgling writer, with a Jewish establishment outraged by Goodbye, Columbus; and his discovery, in the excesses of the sixties, of an unmined side to his talent that led him to write Portnoy's Complaint.

Deception, 1990

     "With the lover everyday life recedes," Roth writes—and exhibiting all his skill as a brilliant observer of human passion, he presents in Deception the tightly enclosed world of adulterous intimacy with a directness that has no equal in American fiction. At the center of Deception are two adulterers in their hiding place. He is a middle-aged American writer named Philip, living in London, and she is an articulate, intelligent, well-educated Englishwoman compromised by a humiliating marriage to which, in her thirties, she is already nervously half-resigned. The book's action consists of conversation—mainly the lovers talking to each other before and after making love. That dialogue—sharp, rich, playful, inquiring, "moving," as Hermione Lee writes, "on a scale of pain from furious bafflement to stoic gaiety"—is nearly all there is to this book, and all there needs to be.

Patrimony: A True Story, 1991

     Patrimony, a true story, touches the emotions as strongly as anything Philip Roth has ever written. Roth watches as his eighty-six-year-old father—famous for his vigor, charm, and his repertoire of Newark recollections—battles with the brain tumor that will kill him. The son, full of love, anxiety, and dread, accompanies his father through each fearful stage of his final ordeal, and, as he does so, discloses the survivalist tenacity that has distinguished his father's long, stubborn engagement with life.

Operation Shylock: A Confession, 1993

     What if a look-alike stranger stole your name, usurped your biography, and went about the world pretending to be you? In his extraordinary new book, his most ingenious and original work since Portnoy's Complaint, Philip Roth confronts his double, an impostor whose self-appointed task is to lead the Jews out of Israel and back to Europe, a Moses in reverse and a monstrous nemesis to the "real" Philip Roth. Suspenseful, hilarious, hugely impassioned, pulsing with intelligence and narrative energy, Operation Shylock is at once a spy story, a political thriller, a meditation on identity, and a confession. This master novelist has never been more demonically brilliant than in the re-creation of his frightening and mysterious journey through the volatile Middle East. Operation Shylock is Philip Roth's twentieth published book - and perhaps his very best.

Sabbath's Theater, 1995

     As much as he wants to be the Marquis de Sade, he is not. As much as he wants to be seventeen, he is not. As much as he wants to be dead, he is not. He is Mickey Sabbath, the aging, raging powerhouse whose savage effrontery and mocking audacity are at the heart of Philip Roth's new novel. Once a scandalously inventive puppeteer, Sabbath at sixty-four is still defiantly antagonistic and exceedingly libidinous. But after the death of his long-time mistress - an erotic free spirit whose adulterous daring exceeds even his own - Sabbath embarks on a turbulent journey into his past. Bereft and grieving, besieged by the ghosts of those who loved and hated him most, he contrives a succession of farcical disasters that take him to the brink of madness and extinction.

American Pastoral, 1997

     Seymour "Swede" Levov - a legendary high school athlete, a devoted family man, a hard worker, the prosperous inheritor of his father's Newark glove factory - comes of age in thriving, triumphant postwar America. But everything he loves is lost when the country begins to run amok in the turbulent 1960s. Not even the most private, well-intentioned citizens, it seems, gets to sidestep the sweep of history. American Pastoral is the story of a fortunate American's rise and fall - of a strong, confident master of social equilibrium overwhelmed by the forces of social disorder. For the Swede is not allowed to stay forever blissful inside the beloved hundred-and-seventy-year-old stone farmhouse, in rural Old Rimrock, where he lives with his pretty wife - the college sweetheart who was Miss New Jersey of 1949 - and the lively, precocious daughter who is the apple of his eye. The apple of his eye, that is, until she grows up to be a revolutionary terrorist bent on destroying her father's paradise. American Pastoral presents a vivid portrait of how the innocence of Swede Levov is swept away by the times - of how everything industriously created by his family in America over three generations is left in a shambles by the explosion of a bomb in his own bucolic backyard.

I Married a Communist, 1998

     Radio actor Iron Rinn (born Ira Ringold) is a big Newark roughneck blighted by a brutal personal secret from which he is perpetually in flight. An idealistic Communist, a self-educated ditchdigger turned popular performer, a six-foot six-inch Abe Lincoln look-alike, he marries the nation's reigning radio actress and beloved silent-film star, the exquisite Eve Frame (born Chava Fromkin). Their marriage evolves from a glamorous, romantic idyll into a dispiriting soap opera of tears and treachery. And with Eve's dramatic revelation to the gossip columnist Bryden Grant of her husband's life of 'espionage' for the Soviet Union, the relationship enlarges from private drama into national scandal.

     Set in the heart of the McCarthy era, the story of Iron Rinn's denunciation and disgrace brings to harrowing life the human drama that was central to the nation's political tribulations in the dark years of betrayal, the blacklist, and naming names. I Married a Communist is an American tragedy as only Philip Roth can conceive one--fierce and funny, eloquently rendered, and politically accurate.

The Human Stain, 2000 

     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."

The Dying Animal, 2001

     "David Kepesh is white-haired and over sixty, an eminent TV culture critic and star lecturer at a New York college, when he meets Consuela Castillo, a decorous, well-mannered student of twenty-four, the daughter of wealthy Cuban exiles, who promptly puts his life into erotic disorder." "Since the sexual revolution of the 1960s, when he left his wife and child, Kepesh has experimented with living what he calls an "emancipated manhood," beyond the reach of family or a mate. Over the years he has refined that exuberant decade of protest and license into an orderly life in which he is both unimpeded in the world of eros and studiously devoted to his aesthetic pursuits. But the youth and beauty of Consuela, "a masterpiece of volupte," undo him completely, and a maddening sexual possessiveness transports him to the depths of deforming jealousy. The carefree erotic adventure evolves, over eight years, into a story of grim loss."

Shop Talk, 2001

     In Philip Roth's intimate intellectual encounters with an international and diverse cast of writers, they explore the importance of region, politics, and history in their work and trace the imaginative path by which a writer's highly individualized art is informed by the wider conditions of life.

     Milan Kundera and Czechoslovakia, Primo Levi and Auschwitz, Edna O'Brien and Ireland, Aharon Appelfeld and Bukovina, Ivan Klíma and Prague, Isaac Singer and Warsaw, Bruno Schulz and Poland — what is the intricate transaction between the susceptible writer and the provocative time and place? Roth's questions go to the original conditions that stimulate the narrative impulse, and he puts them to writers who are as attuned to the subtleties of literature as to the influence of the surrounding society.

     Also included are appreciative portraits of two of Roth's late friends, each transfixed till the end by his artistic vocation — the writer Bernard Malamud and the painter Philip Guston — as well as several cartoons drawn by Guston, a gift to Roth to illustrate his novella THE BREAST and printed here for the first time. SHOP TALK concludes with Roth's essay "Rereading Saul Bellow," a vivid presentation of Bellow's achievement and, in the spirit of this collection, very much a colleague's reading.

The Plot Against America, 2004

     With "The Plot Against America", Roth enters the area alternate history with aviation hero Charles A. Lindbergh defeating Franklin Roosevelt by a landslide in the 1940 U.S. presidential election. Not only had Lindbergh, in a nationwide radio address, publicly blamed the Jews for selfishly pushing America toward a pointless war with Nazi Germany, but upon taking office as the thirty-third president of the United States, he negotiated a cordial 'understanding' with Adolf Hitler, whose conquest of Europe and virulent anti-Semitic policies he appeared to accept without difficulty.

     Still, the real story in this "what if" novel is that of Roth's own family, which the author gives to us as a genuinely American story.