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In the 1990s Philip Roth won America’s four major literary
awards in succession: the National Book Critics Circle
Award for Patrimony (1991), the PEN/Faulkner Award for
Operation Shylock (1993), the National Book Award for Sabbath’s
Theater (1995), and the Pulitzer Prize in fiction for
American Pastoral (1997). He won the Ambassador Book
Award of the English-Speaking Union for I Married a Communist
(1998); in the same year he received the National
Medal of Arts at the White House. Previously he won the
National Book Critics Circle Award for The Counterlife
(1986) and the National Book Award for his first book,
Goodbye, Columbus (1959). In 2000 he published The Human
Stain, concluding a trilogy that depicts the ideological ethos
of postwar America. For The Human Stain Roth received
his second PEN/Faulkner Award as well as Britain’s W. H.
Smith... [More...] [Edit review] [Delete review]

As the American century draws to an uneasy close, Philip Roth gives us a novel of unqualified greatness that is an elegy for all our century's promises of prosperity, civic order, and domestic bliss. Roth's protagonist is Swede Levov, a legendary athlete at his Newark high school, who grows up in the booming postwar years to marry a former Miss New Jersey, inherit his father's glove factory, and move into a stone house in the idyllic hamlet of Old Rimrock. And then one day in 1968, Swede's beautiful American luck deserts him.

For Swede's adored daughter, Merry, has grown from a loving, quick-witted girl into a sullen, fanatical teenager—a teenager capable of an outlandishly savage act of political terrorism. And overnight Swede is wrenched out of the longer-for American pastoral and into the indigenous American berserk. Compulsively readable, propelled by sorrow, rage, and a deep compassion for its characters, this is Roth's masterpiece. [Edit review] [Delete review]

1. What is the effect of being told the story through Zuckerman? Are we led to believe aspects of the story are a projection of Zuckerman's fantasies about a character who caught his imagination?

2. Zuckerman sees the Swede's life as an illustration of the Jewish "desire to go the limit in America with your rights, forming yourself as an ideal person who gets rid of the traditional Jewish habits and attitudes, who frees himself of the pre-America insecurities and the old, constraining obsessions so as to live unapologetically as an equal among equals" [p. 85]. How does Roth illustrate this thought? The Swede tries very hard to form himself as this ideal person. Does the story imply that such a life, such a reinvention of the self, is ultimately impossible?

3. There could hardly be two more different personality types than the Swede and his brother, Jerry. What do Jerry's positive traits tell us about the Swede's negative ones? Why have the two of them chosen... [More...] [Edit review] [Delete review]

1

The Swede. During the war years, when I was still a grade school boy, this was a magical name in our Newark neighborhood, even to adults just a generation removed from the city's old Prince Street ghetto and not yet so flawlessly Americanized as to be bowled over by the prowess of a high school athlete. The name was magical; so was the anomalous face. Of the few fair-complexioned Jewish students in our preponderantly Jewish public high school, none possessed anything remotely like the steep-jawed, insentient Viking mask of this blue-eyed blond born into our tribe as Seymour Irving Levov.

The Swede starred as end in football, center in basketball, and first baseman in baseball. Only the basketball team was ever any good-twice winning the city championship while he was its leading scorer-but as long as the Swede excelled, the fate of our sports teams didn't matter much to a student body whose elders, largely undereducated and overburdened, venerated academic... [More...] [Edit review] [Delete review]