Philip Roth S Portnoy S Complaint

The groundbreaking novel from the Pulitzer Prize–winning author of American Pastoral that originally propelled its author to literary stardom: told in a continuous monologue from patient to psychoanalyst, this masterpiece draws us into the turbulent mind of one lust-ridden young Jewish bachelor named Alexander Portnoy. "Deliciously funny...absurd and exuberant, wild and uproarious...a brilliantly vivid reading experience." —The New York Times Book Review "Touching as well as hilariously lewd.... Roth is vibrantly talented." —New York Review of Books 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.

- Presents the most important 20th century criticism on major works from The Odyssey through modern literature - The critical essays reflect a variety of schools of criticism - Contains critical biographies, notes on the contributing critics, a chronology of the author's life, and an index - Introductory essay by Harold Bloom"

The publication of Portnoy’s Complaint in 1969 provoked instant, powerful reactions. It blasted Philip Roth into international fame, subjected him to unrelenting personal scrutiny and conjecture, and shocked legions of readers—some delighted, others appalled. Portnoy and other main characters became instant archetypes, and Roth himself became a touchstone for conflicting attitudes toward sexual liberation, Jewish power, political correctness, Freudian language, and bourgeois disgust. What about this book inspired Richard Lacayo of Time to describe it as “a literary instance of shock and awe,” and the Modern Library to list it among the 100 best English-language novels of the twentieth century? Bernard Avishai offers a witty exploration of Roth’s satiric masterpiece, based on the prolific novelist's own writings, teaching notes, and personal interviews. In addition to discussing the book’s timing, rhetorical gambit, and sheer virtuousity, Avishai includes a chapter on the Jewish community’s outrage over the book and how Roth survived it, and another on the author’s scorching treatment of psychoanalysis. Avishai shows that Roth’s irreverent novel left us questioning who, or what, was the object of the satire. Hilariously, it proved the serious ways we construct fictions about ourselves and others.

Philip Roth's richly imagined satiric narrative, The Great American Novel, turns baseball's status as national pastime and myth into an unfettered farce Featuring heroism and perfidy, lively wordplay and a cast of characters that includes the House Un-American Activities Committee. "Roth is better than he's ever been before.... The prose is electric." (The Atlantic) Gil Gamesh is the only pitcher who ever tried to kill the umpire, and John Baal, The Babe Ruth of the Big House, never hit a home run sober. But you've never heard of them -- or of the Ruppert Mundys, the only homeless big-league ball team in American history -- because of the communist plot and the capitalist scandal that expunged the entire Patriot League from baseball memory.

A critical evaluation of Philip Roth—the first of its kind—that takes on the man, the myth, and the work Philip Roth is one of the most renowned writers of our time. From his debut, Goodbye, Columbus, which won the National Book Award in 1960, and the explosion of Portnoy's Complaint in 1969 to his haunting reimagining of Anne Frank's story in The Ghost Writer ten years later and the series of masterworks starting in the mid-eighties—The Counterlife, Patrimony, Operation Shylock, Sabbath's Theater, American Pastoral, The Human Stain—Roth has produced some of the great American literature of the modern era. And yet there has been no major critical work about him until now. Here, at last, is the story of Roth's creative life. Roth Unbound is not a biography—though it contains a wealth of previously undisclosed biographical details and unpublished material—but something ultimately more rewarding: the exploration of a great writer through his art. Claudia Roth Pierpont, a staff writer for The New Yorker, has known Roth for nearly a decade. Her carefully researched and gracefully written account is filled with remarks from Roth himself, drawn from their ongoing conversations. Here are insights and anecdotes that will change the way many readers perceive this most controversial and galvanizing writer: a young and unhappily married Roth struggling to write; a wildly successful Roth, after the uproar over Portnoy, working to help writers from Eastern Europe and to get their books known in the West; Roth responding to the early, Jewish—and the later, feminist—attacks on his work. Here are Roth's family, his inspirations, his critics, the full range of his fiction, and his friendships with such figures as Saul Bellow and John Updike. Here is Roth at work and at play. Roth Unbound is a major achievement—a highly readable story that helps us make sense of one of the most vital literary careers of the twentieth and twenty-first centuries.

This new biography of the controversial, influential, and prize-winning American novelist Philip Roth, a writer with an international reputation for inventive, original novels from Portnoy's Complaint to American Pastoral and The Plot Against America, is based on new access to archival documents and new interviews with Roth's friends and associates.

Let it be said, Philip Roth was never uncontroversial. From his first book, Roth scandalized literary society as he questioned Jewish identity and sexual politics in postwar America. Scrutiny and fierce rebukes of the renowned author, for everything from chauvinism to anti-Semitism, followed him his entire career. But the public discussions of race and gender and the role of personal history in fiction have deepened in the new millennium. In his latest book, Jacques Berlinerblau offers a critical new perspective on Roth’s work by exploring it in the era of autofiction, highly charged racial reckonings, and the #MeToo movement. The Philip Roth We Don’t Know poses provocative new questions about the author of Portnoy’s Complaint, The Human Stain, and the Zuckerman trilogy first by revisiting the long-running argument about Roth’s misogyny within the context of #MeToo, considering the most current perceptions of artists accused of sexual impropriety and the works they create, and so resituating the Roth debates. Berlinerblau also examines Roth’s work in the context of race, revealing how it often trafficked in stereotypes, and explores Roth’s six-decade preoccupation with unstable selves, questioning how this fictional emphasis on fractured personalities may speak to the author’s own mental state. Throughout, Berlinerblau confronts the critics of Roth —as well as his defenders, many of whom were uncritical friends of the famous author—arguing that the man taught us all to doubt "pastorals," whether in life or in our intellectual discourse.