World renowned Pulitzer Prize-winning novelist, Philip Roth, passed away at the age of 85. Roth was fearless and he wrote about sex, death, assimilation and fate. His literary agent, Andrew Wylie informed that the writer died of congestive heart failure in New York.
Author of more than 25 books, Roth was a fierce satirist and uncompromising realist, confronting readers in a bold, direct style that scorned false sentiment or hopes for heavenly reward. He was an atheist who swore allegiance to earthly imagination, whether devising pornographic functions for raw liver or indulging romantic fantasies about Anne Frank. In “The Plot Against America,” published in 2004, he placed his own family under the anti-Semitic reign of President Charles Lindbergh. In 2010, in “Nemesis,” he subjected his native New Jersey to a polio epidemic.
He was among the greatest writers never to win the Nobel Prize. But he received virtually every other literary honor, including two National Book Awards, two National Book Critics Circle prizes and, in 1998, the Pulitzer for “American Pastoral.” He was in his 20s when he won his first award and awed critics and fellow writers by producing some of his most acclaimed novels in his 60s and 70s, including “The Human Stain” and “Sabbath’s Theater,” a savage narrative of lust and mortality he considered his finest work.
He identified himself as an American writer, not a Jewish one, but for Roth the American experience and the Jewish experience were often the same. While predecessors such as Saul Bellow and Bernard Malamud wrote of the Jews’ painful adjustment from immigrant life, Roth’s characters represented the next generation. Their first language was English, and they spoke without accents. They observed no rituals and belonged to no synagogues. The American dream, or nightmare, was to become “a Jew without Jews, without Judaism, without Zionism, without Jewishness.” The reality, more often, was to be regarded as a Jew among gentiles and a gentile among Jews.
In the novel “The Ghost Writer” he quoted one of his heroes, Franz Kafka: “We should only read those books that bite and sting us.” For his critics, his books were to be repelled like a swarm of bees.
Feminists, Jews and one ex-wife attacked him in print, and sometimes in person. Women in his books were at times little more than objects of desire and rage and The Village Voice once put his picture on its cover, condemning him as a misogynist. A panel moderator berated him for his comic portrayals of Jews, asking Roth if he would have written the same books in Nazi Germany. The Jewish scholar Gershom Scholem called “Portnoy’s Complaint” the “book for which all anti-Semites have been praying.” When Roth won the Man Booker International Prize, in 2011, a judge resigned, alleging that the author suffered from terminal solipsism and went “on and on and on about the same subject in almost every single book.” In “Sabbath’s Theater,” Roth imagines the inscription for his title character’s headstone: “Sodomist, Abuser of Women, Destroyer of Morals.”
Ex-wife Claire Bloom wrote a best-selling memoir, “Leaving a Doll’s House,” in which the actress remembered reading the manuscript of his novel “Deception.” With horror, she discovered his characters included a boring middle-aged wife named Claire, married to an adulterous writer named Philip. Bloom also described her ex-husband as cold, manipulative and unstable. (Although, alas, she still loved him). The book was published by Virago Press, whose founder, Carmen Callil, was the same judge who quit years later from the Booker committee.
Roth’s wars also originated from within. He survived a burst appendix in the late 1960s and near-suicidal depression in 1987. After the disappointing reaction to his 1993 novel, “Operation Shylock,” he fell again into severe depression and for years rarely communicated with the media. For all the humor in his work — and, friends would say, in private life — jacket photos usually highlighted the author’s tense, dark-eyed glare. In 2012, he announced that he had stopped writing fiction and would instead dedicate himself to helping biographer Blake Bailey complete his life story, one he openly wished would not come out while he was alive. By 2015, he had retired from public life altogether.