{"title":"Annual Bibliography of Philip Roth Criticism and Resources—2019","authors":"Brittany Hirth","doi":"10.1353/prs.2020.0020","DOIUrl":"https://doi.org/10.1353/prs.2020.0020","url":null,"abstract":"","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Here We Are: My Friendship with Philip Roth","authors":"V. Triay","doi":"10.1353/prs.2020.0019","DOIUrl":"https://doi.org/10.1353/prs.2020.0019","url":null,"abstract":"","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49315179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Philip Roth's engagement with William Shakespeare has been a steady and intense career-long affair. Hermione Lee, in remarks delivered on the occasion of Roth's eightieth birthday, observed that Roth's use of Shakespeare extends at least as far back as Portnoy's Complaint (1969). "Roth has Shakespeare deep in his head," Lee averred, and of this there can be no doubt. What can be questioned, however, is the upward-charting trajectory of Roth's use of Shakespeare. Even a cursory reading of Roth reveals that the more he aged, and the more his career progressed, the more he invoked Shakespeare, demonstrated in the series of novels beginning with Operation Shylock (1993), crescendoing in Sabbath's Theater (1995), and culminating in Exit Ghost (2007) and The Humbling (2009). Roth's greater use of Shakespeare in the later stages of his career—greater in the dual senses of frequency and engagement—can be ascribed, this article argues, to Roth's growing involvement with Jewish identity and human mortality.
{"title":"\"The Uncontrollability of Real Things\": Operation Shylock, Sabbath's Theater, and Philip Roth's Falstaffian Theology of Judaism","authors":"D. Goodman","doi":"10.1353/prs.2020.0013","DOIUrl":"https://doi.org/10.1353/prs.2020.0013","url":null,"abstract":"ABSTRACT:Philip Roth's engagement with William Shakespeare has been a steady and intense career-long affair. Hermione Lee, in remarks delivered on the occasion of Roth's eightieth birthday, observed that Roth's use of Shakespeare extends at least as far back as Portnoy's Complaint (1969). \"Roth has Shakespeare deep in his head,\" Lee averred, and of this there can be no doubt. What can be questioned, however, is the upward-charting trajectory of Roth's use of Shakespeare. Even a cursory reading of Roth reveals that the more he aged, and the more his career progressed, the more he invoked Shakespeare, demonstrated in the series of novels beginning with Operation Shylock (1993), crescendoing in Sabbath's Theater (1995), and culminating in Exit Ghost (2007) and The Humbling (2009). Roth's greater use of Shakespeare in the later stages of his career—greater in the dual senses of frequency and engagement—can be ascribed, this article argues, to Roth's growing involvement with Jewish identity and human mortality.","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44208140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Howard Hughes, Philip Roth, and a 1949 anti-communist movie contextualize Roth's 1998 novel I Married a Communist and the politics of cinema and American writing during the McCarthy period. With films like Red Menace and I Was a Communist for the FBI, producers were eager to release "red scare" movies to promote a right-wing agenda and educate the public on communist dangers. Audiences were equally fascinated and frightened to learn of spies in their midst. The popularity of the genre suggests that Roth might have seen several of these anticommunist films, and similarities in plot and character between the 1949 I Married a Communist and Roth's novel immediately connect the two. Commie noir films, Roth as a young film critic, and film history also come into play with such details as over fifty anti-communist films produced in Hollywood in just over five years. The movie and the book elaborate this situation in addition to the criminalization of politics.
{"title":"I Married a Communist: The Book! The Movie! The Commie Threat!","authors":"I. Nadel","doi":"10.1353/prs.2020.0011","DOIUrl":"https://doi.org/10.1353/prs.2020.0011","url":null,"abstract":"ABSTRACT:Howard Hughes, Philip Roth, and a 1949 anti-communist movie contextualize Roth's 1998 novel I Married a Communist and the politics of cinema and American writing during the McCarthy period. With films like Red Menace and I Was a Communist for the FBI, producers were eager to release \"red scare\" movies to promote a right-wing agenda and educate the public on communist dangers. Audiences were equally fascinated and frightened to learn of spies in their midst. The popularity of the genre suggests that Roth might have seen several of these anticommunist films, and similarities in plot and character between the 1949 I Married a Communist and Roth's novel immediately connect the two. Commie noir films, Roth as a young film critic, and film history also come into play with such details as over fifty anti-communist films produced in Hollywood in just over five years. The movie and the book elaborate this situation in addition to the criminalization of politics.","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46727557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This note highlights how Philip Roth used his short prefaces called "Special Messages" for The Franklin Library editions of his works to foreground his authorial intentions and provide readers with brief but telling glimpses into some of the historical and personal experiences that spurred his imagination and influenced his fiction.
{"title":"A Note on Philip Roth's Franklin Library \"Special Messages\"","authors":"B. McDonald","doi":"10.1353/prs.2020.0016","DOIUrl":"https://doi.org/10.1353/prs.2020.0016","url":null,"abstract":"ABSTRACT:This note highlights how Philip Roth used his short prefaces called \"Special Messages\" for The Franklin Library editions of his works to foreground his authorial intentions and provide readers with brief but telling glimpses into some of the historical and personal experiences that spurred his imagination and influenced his fiction.","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42109618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This article argues that Philip Roth's I Married a Communist (1998) presents readers with a politics of the beneficiary, whose upward mobility is at once a personal triumph and aided by several benefactors who embody the redistributive logic of the welfare state. Rather than pitting the individual against the community, Roth advocates a humble mode of social climbing whereby the individual depends on external support while developing the capacity to critique de-individualizing ideological and cultural pressures. In order to elucidate the connection between the individual's dependence on others and their growing skepticism, this article brings into conversation Roth's autobiographical writing, Bruce Robbins's work on upward-mobility stories, and Theodor Adorno's theory of negative dialectics.
{"title":"Winner of the 2018 Siegel/McDaniel Award: Upward Mobility and Zuckerman's (Negative) Dialectics in I Married a Communist","authors":"D. Dufournaud","doi":"10.1353/prs.2020.0012","DOIUrl":"https://doi.org/10.1353/prs.2020.0012","url":null,"abstract":"ABSTRACT:This article argues that Philip Roth's I Married a Communist (1998) presents readers with a politics of the beneficiary, whose upward mobility is at once a personal triumph and aided by several benefactors who embody the redistributive logic of the welfare state. Rather than pitting the individual against the community, Roth advocates a humble mode of social climbing whereby the individual depends on external support while developing the capacity to critique de-individualizing ideological and cultural pressures. In order to elucidate the connection between the individual's dependence on others and their growing skepticism, this article brings into conversation Roth's autobiographical writing, Bruce Robbins's work on upward-mobility stories, and Theodor Adorno's theory of negative dialectics.","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41474969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This essay establishes a productive critical dialogue between Philip Roth's and John Updike's representations of Prague under communism in The Prague Orgy (1985) and "Bech in Czech" (1987), respectively. Focusing on two central threads in both works—the intertwining of literature and politics, on the one hand, and Prague as a Jewish city, on the other—this essay argues that in mapping Prague, Roth and Updike revisit their protagonists' emblematic concerns, as well as reflect on the role of the writer and literature under different political systems, questioning George Steiner's conception of literature in the process.
{"title":"Writing Prague: Philip Roth's and John Updike's Literary Takes on the Czech Capital","authors":"Martyna Bryla","doi":"10.1353/prs.2020.0014","DOIUrl":"https://doi.org/10.1353/prs.2020.0014","url":null,"abstract":"ABSTRACT:This essay establishes a productive critical dialogue between Philip Roth's and John Updike's representations of Prague under communism in The Prague Orgy (1985) and \"Bech in Czech\" (1987), respectively. Focusing on two central threads in both works—the intertwining of literature and politics, on the one hand, and Prague as a Jewish city, on the other—this essay argues that in mapping Prague, Roth and Updike revisit their protagonists' emblematic concerns, as well as reflect on the role of the writer and literature under different political systems, questioning George Steiner's conception of literature in the process.","PeriodicalId":37093,"journal":{"name":"Philip Roth Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46780554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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