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In an extraordinary feat of narrative invention, Philip Roth imagines an alternate history where Franklin D. Roosevelt loses the 1940 presidential election to heroic aviator and rabid isolationist Charles A. Lindbergh. Shortly thereafter, Lindbergh negotiates a cordial “understanding” with Adolf Hitler, while the new government embarks on a program of folksy anti-Semitism.
For one boy growing up in Newark, Lindbergh’s election is the first in a series of ruptures that threaten to destroy his small, safe corner of America–and with it, his mother, his father, and his older brother.
"A terrific political novel . . . Sinister, vivid, dreamlike . . . creepily plausible. . . You turn the pages, astonished and frightened.” — The New York Times Book Review
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.
Bucky Cantor is a vigorous, dutiful twenty-three-year-old playground director during the summer of 1944. A javelin thrower and weightlifter, he is disappointed with himself because his weak eyes have excluded him from serving in the war alongside his contemporaries. As the devastating disease begins to ravage Bucky’s playground, Roth leads us through every inch of emotion such a pestilence can breed: fear, panic, anger, bewilderment, suffering, and pain. Moving between the streets of Newark and a pristine summer camp high in the Poconos, Nemesis tenderly and startlingly depicts Cantor’s passage into personal disaster, the condition of childhood, and the painful effect that the wartime polio epidemic has on a closely-knit, family-oriented Newark community and its children.
Philip Roth's brilliant career was launched when the unknown twenty-five-year-old writer won the Houghton Mifflin Literary Fellowship for a collection that was to be called Goodbye, Columbus, and which, in turn, captured the 1960 National Book Award. In the famous title story, perhaps the best college love story ever written, Radcliffe-bound Brenda Patimkin initiates Neil Klugman of Newark into a new and unsettling society of sex, leisure, and loss. Over the years, most of the other stories have become classics as well.
Philip Roth is hailed by many as the reigning king of American fiction. Winner of the National Book Critics Circle Award, this memoir about love, survival and memory is one of his most intimate books, but also one of his most intellectually vigorous. Patrimony is Roth’s elegy to his father, written with piercing observation and wit at the height of his literary prowess.
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 appears to be the imperative of every life. There is Henry, the forty-year-old New Jersey dentist, who risks a quintuple bypass operation in order to escape the coronary medication that renders him sexually impotent. There is Maria, the wellborn young Englishwoman, who invites the disdain of her family by marrying the American she knows will be lease acceptable in Gloucestershire. There is Lippmann, the Israeli settlement leader, who contends that "everything is possible for the Jew if only he does not give ground."
The action in The Counterlife ranges from a dentist's office in quiet suburban New Jersey to a genteel dining table in a tradition-bound English village, from a Christmas carol service in London's West End to a Sabbath evening celebration in a tiny desert settlement in Israel's occupied West Bank. 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.
The Counterlife was a finalist for the National Book Award and winner of the National Book Critics Circle Award.
The fate of Roth's everyman is traced from his first shocking confrontation with death on the idyllic beaches of his childhood summers, through the family trials and professional achievements of his vigorous adulthood, and into his old age, when he is rended by observing the deterioration of his contemporaries and stalked by his own physical woes.
A successful commercial artist with a New York ad agency, he is the father of two sons from a first marriage who despise him and a daughter from a second marriage who adores him. He is the beloved brother of a good man whose physical well-being comes to arouse his bitter envy, and he is the lonely ex-husband of three very different women with whom he's made a mess of marriage. In the end he is a man who has become what he does not want to be.
The terrain of this powerful novel -- Roth's twenty-seventh book and the fifth to be published in the twenty-first century -- is the human body. Its subject is the common experience that terrifies us all.
Everyman takes its title from an anonymous fifteenth-century allegorical play, a classic of early English drama, whose theme is the summoning of the living to death.
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.