Philip Roth

"As Freud's views on the childhood source of mental disorder have permeated our culture, there has been mounted a wide campaign of mother-suspicion and mother-discreditation. From Sidney Howard's play The Silver Cord, in the mid-twenties, to Philip Roth's more recent Portnoy's Complaint, our literature has disseminated the idea that American women alternate a diet of husbands with a diet of sons."

"It isn't that you subordinate your ideas to the force of the facts in autobiography but that you construct a sequence of stories to bind up the facts with a persuasive hypothesis that unravels your history's meaning."

"You rebel against the tribal and look for the individual, for your own voice as against the stereotypical voice of the tribe or the tribe's stereotype of itself. You have to establish yourself against your predecessor, and doing so can well involve what they like to call self-hatred. I happen to think that — all those protestations notwithstanding — your self hatred was real and a positive force in its very destructiveness. Since to build something new often requires that something else be destroyed, self-hatred is valuable for a young person. What should he or she have instead — self-approval, self-satisfaction, self-praise? It's not so bad to hate the norms that keep a society from moving on, especially when the norms are dictated by fear as much as by anything else and especially when that fear is of the enemy forces of the overwhelming majority. But you seem now to be so strongly motivated by a need for reconciliation with the tribe that you aren't even willing to acknowledge how disapproving of its platitudinous demands you were back then, however ineluctably Jewish you may also have felt. The prodigal son who once upset the tribal balance — and perhaps even invigorated the tribe's health — may well, in his old age, have a sentimental urge to go back home, but isn't this a bit premature in you, aren't you really too young to have it so fully developed?"

"They boo you, they whistle, they stamp their feet — you hate it but you thrive on it. Because the things that wear you down are the things that nurture you and your talent."

"Each year she taught him the names of the flowers in her language and in his, and from one year to the next he could not even remember the English. For nearly thirty years Sabbath had been exiled in these mountains, and still he could name hardly anything. They didn't have this stuff where he came from. All these things growing were beside the point there. He was from the shore. There was sand and ocean, horizon and sky, daytime and nighttime — the light, the dark, the tide, the stars, the boats, the sun, the mists, the gulls. There were the jetties, the piers, the boardwalk, the booming, silent, limitless sea. Where he grew up they had the Atlantic. You could touch with your toes where America began. They lived in a stucco bungalow two short streets from the edge of America. The house. The porch. The screens. The icebox. The tub. The linoleum. The broom. The pantry. The ants. The sofa. The radio. The garage. The outside shower with the slatted wooden floor Morty had built and the drain that always clogged. In summer, the salty sea breeze and the dazling light; in September, the hurricanes; in January, the storms. They had January, February, March, April, May, June, July, August, September, November, December. And then January. And then again January, no end to the stockpile of Januaries, of Mays, of Marches. August, December, April — name a month, and they had it in spades. They'd had endlessness. He had grown up on endlessness and his mother — in the beginning they were the same thing. His mother, his mother, his mother, his mother, his mother... and then there was his mother, his father, Grandma, Morty, and the Atlantic at the end of the street. The ocean, the beach, the first two streets in America, then the house, and in the house a mother who never stopped whistlîg until December 1944. If Morty had come alive, if the endlessness had ended naturally instead of with the telegram, if after the war Morty had started doing electrical work and plumbing for people, had become a builder at the shore, gone into the construction business just as the boom in Monmouth County was beginning...Didn't matter. Take your pick. Get betrayed by the fantasy of endlessness or by the fact of finitude. No, Sabbath could only have wound up Sabbath, begging for what he was begging, bound to what he was bound, saying what he did not wish to stop himself from saying."

"Immediate reality is outside that window; so big it is, so much of it, everything entangled in everything else...What large thought Sabbath was struggling to express? Is he asking, "Whatever did happen to my own true life?" Was it taking place elsewhere? But how then can looking out of this window be so gigantically real? Well, that is the difference between the true and the real. We don't get to live in the truth. That's why Nikki ran away. She was an idealist, an innocent, touching, talented illusionist who wanted to live in the truth. Well, if you found it, kid, you're the first. In my experience the direction of life is toward incoherence — precisely what you would never confront. Maybe that was the only coherent thing you could think to do: die to deny incoherence."

"And he couldn't do it. He could not fucking die. How could he leave? How could he go? Everything he hated was here."

"There is truth and then again there is truth. For all that the world is full of people who go around believing they've got you or your neighbor figured out, there really is no bottom to what is not known. The truth about us is endless. As are the lies."

""You'll always be powerless to this girl. You'll never be in charge. There's something there," George told me, "that makes you crazy and always will. If you don't cut the connection for good, in the end that something will destroy you. You're no longer merely answering natural need with her. This is the pathology in its purest form. Look," he told me, "see it as a critic, see it from a professional point of view. You violated the law of aesthetic distance. You sentimentalized the aesthetic experience with this girl — you personalized it, you sentimentalized it, and you lost the sense of separation essential to your enjoyment. Do you know when that happened? … I'm not against it because it's disgusting. I'm against it because it's falling in love. The only obsession everyone wants: 'love.' People think that in falling in love they make themselves whole? The Platonic union of souls? I think otherwise. I think you're whole before you begin. And the love fractures you. You're whole, and then you're cracked open."

"Sex is all the enchantment required. Do men find women so enchanting once the sex is taken out? Does anyone find anyone that enchanting unless they have sexual business with them? Who else are you enchanted by? Nobody."

"The jealously. That poison. And unprovoked. Jealous even when she tells me she's going ice-skating with her eighteen-year-old brother."

"You too need the lecture on the childishness of coupling? Of course it's childish. Family life is, today more than ever, when the ethos is created substantially by the children. It's even worse when there are no children around. Because the childish adult replaces the child. Coupled life and family life bring out everything that's childish in everyone involved. Why do they have to sleep night after night in the same bed? Why must they be on the phone to each other five times a day? Why are they always with each other? The forced deference is certainly childish. The unnatural deference."

"Now, I'm very vulnerable to female beauty, as you know. Everybody's defenseless against something, and that's it for me. I see it and it blinds me to everything else. They come to my first class, and I know almost immediately which is the girl for me. There is a Mark Twain story in which he runs from a bull, and the bull looks up to him when he's hiding in a tree, and the bull thinks, "You are my meat, sir." Well, that "sir" is transformed into "young lady" when I see them in class."

"That body is still new to her, she's still trying it out, thinking it through, a bit like a kid walking the streets with a loaded gun and deciding whether he's packing it to protect himself or to begin a life of crime."

"Turned the wrong way around, the relentless unforeseen was what we schoolchildren studied as “History,” harmless history, where everything unexpected in its own time is chronicled on the page as inevitable. The terror of the unforeseen is what the science of history hides, turning a disaster into an epic."

"Monty was the most overbearing of my uncles, which probably accounted for why he was also the richest."

"“Because what’s history?” he asked rhetorically when he was in his expansive dinnertime instructional mode. “History is everything that happens everywhere. Even here in Newark. Even here on Summit Avenue. Even what happens in his house to an ordinary man—that’ll be history too someday.”"

"He tell us that in a democracy, keeping abreast of current events was a citizen’s most important duty and that you could never start too early to be informed about the news of the day."

"Probably I couldn’t have done any worse—I might well have done a lot better—seeking solace from the two nuns on the Lyons Avenue bus than from someone reveling in the pleasures of the standard, petty corruptions that proliferate wherever people compete for even the tiniest advantages of rank."

"There’s a plot afoot all right, and I’ll gladly name the forces propelling it—hysteria, ignorance, malice, stupidity, hatred, and fear. What a repugnant spectacle our country has become! Falsehood, cruelty, and madness everywhere, and brute force in the wings waiting to finish us off."

"Why must he mistrust his life just when he was more its master than he'd been in years?."

"Should he ever write an autobiography, he'd call it The Life and Death of a Male Body."

"I'm sure the liars as skillful and persistent and devious as you reach the point where it's the one you are lying to, and not you, who seems like the one with the serious limitations."

"Old age isn't a battle; old age is a massacre."

"He went under feeling far from felled, anything but doomed, eager yet again to be fulfilled, but nonetheless, he never woke up. Cardiac arrest. He was no more, freed from being, entering into nowhere without even knowing it. Just as he'd feared from the start."

"In the eighties, a self-assured knucklehead whose unsurpassable hollowness and hackneyed sentiments and absolute blindness to every historical complexity became the object of national worship and, esteemed as a "great communicator" no less, won each of his two terms in a landslide."

"They [the young] are not "no-longers," losing faculties, losing control, shamefully dispossessed from themselves, marked by deprivation and experiencing the organic rebellion staged by the body against the elderly; they are "not-yets," with no idea how quickly things turn out another way."

"[Mr. Michaels:] You try to be a thoughtful person, a reasonable person, an accommodating person, and then this happens. Where is the sens in life?"

"[Isadore:] Every day was endless for Alan because of his curiosity."

"But what he no longer had was a conscience he could live with."

"Surely you haven't lived all these years punishing yourself, despising yourself, for something you didn't do. That's much too harsh a sentence."

"There is an epidemic and he needs a reason for it. [...] That it is pointless, contingent, preposterous, and tragic will not satisfy him. That is is a proliferating virus will not satisfy him."

"What is being done to silence this man? Medieval Jews would have known what to do with him."

"Toni Morrison, Kay Boyle, Philip Roth, Peter Matthiessen, Anne Tyler, and Rosellen Brown read an unknown manuscript and responded with those quotes and marks of approval that appear on book jackets. These were completely unsolicited and I still find it remarkable that these writers, overwhelmed with pleas and manuscripts, picked up Love Medicine and responded. There were a great number of people kind along the way. One hears much more about the egomania and posturing of writers than one does about the devotion that writers have for one another's work."

"Saul Bellow and Philip Roth made the words Jewish and manic synonymous. "What are we doing? What are we doing?" their novels scream at us, from Augie March on."

"Roth’s three favorite topics — Jews, women and New Jersey — all remain socially acceptable targets of irrational public mockery, and Roth was a virtuoso at mocking the combination of all three...His strength lay in those brilliantly rendered characters and voices like his. His weakness was that those voices denigrated just about everyone else. His caricatured women are merely a symptom of this lack of curiosity: It shows up again in Roth’s religious characters, his Israeli characters, his non-Jewish characters, his anyone-who-isn’t-him characters. That’s why Brenda and the many other Jewish New Jersey women in his books, ostensibly so close to home, struck me as so unfamiliar. I didn’t know these women at all, because neither did he...What endures, sadly, is Roth’s lack of imagination, the unempathetic and incurious caricaturing of others that he turned into a virtue — and which now defines much of American public life."

"The cruelest thing anyone can do to Portnoy’s Complaint is to read it twice."

"In high school, I'd devoured the works of Philip Roth, Saul Bellow, and Norman Mailer, moved by stories of men trying to find their place in an America that didn't welcome them."

"I'm a woman and that makes a big difference. It separates me a lot from Bellow and Roth and all those guys. There's such distortion in their writing sometimes, the kind of stuff that gives men a bad name. It really louses them up. I think there's a lot of contempt for their fathers coming out and it doesn't do the books, or them, a lot of good."

"He's a fine writer, but I wouldn't want to shake hands with him."

"I was trying to solve the problem of this book. (My Life as a Man) When it seemed I never would, I stopped and wrote Our Gang; when I tried again and still couldn't write it, I stopped and wrote the baseball book; then while finishing the baseball book, I stopped to write The Breast. It was as though I were blasting my way through a tunnel to reach the novel I couldn't write. Each of one's books is a blast, clearing the way for what's next."

"When I was first in Czechoslovakia, it occurred to me that I work in a society where as a writer everything goes and nothing matters, while for the Czech writers I met in Prague, nothing goes and everything matters. This isn't to say I wished to change places. I didn't envy their persecution and the way in which it heightens their social importance. I didn't even envy them their seemingly more valuable and serious themes. The trivialization, in the West, of much that's deadly serious in the East is itself a subject, one requiring considerable imaginative ingenuity to transform into compelling fiction."

"You ask if I thought my fiction had changed anything in the culture and the answer is no. Sure, there's been some scandal, but people are scandalized all the time; it's a way of life for them. It doesn't mean a thing. If you ask if I want my fiction to change anything in the culture, the answer is still no. What I want is to possess my readers while they are reading my book — if I can, to possess them in ways that other writers don't. Then let them return, just as they were, to a world where everybody else is working to change, persuade, tempt, and control them. The best readers come to fiction to be free of all that noise, to have set loose in them the consciousness that's otherwise conditioned and hemmed in by all that isn't fiction."

"Obviously the facts are never just coming at you but are incorporated by an imagination that is formed by your previous experience. Memories of the past are not memories of facts but memories of your imaginings of the facts."

"Undermining experience, embellishing experience, rearranging and enlarging experience into a species of mythology."

"Just like those who are incurably ill, the aged know everything about their dying except exactly when."

"When you publish a book, it’s the world’s book. The world edits it."

"To become a celebrity is to become a brand name. There is Ivory Soap, Rice Krispies, and Philip Roth. Ivory is the soap that floats; Rice Krispies the breakfast cereal that goes snap-crackle-pop; Philip Roth the Jew who masturbates with a piece of liver."

"This indictment is a kind of fever that flares up from time to time. It flared up after "Defender of the Faith," again after "Goodbye Columbus," and understandably it went way up — to about 107 — after "Portnoy's Complaint." Now there's just a low-grade fever running, nothing to worry about."

"I write fiction and I’m told it’s autobiography, I write autobiography and I’m told it’s fiction, so since I’m so dim and they’re so smart, let them decide what it is or it isn’t."