Supercarnal Productions

Anchoring this chapter is Philip Roth’s London life with Bloom and a set of new friends: Al Alvarez, critic, Harold Pinter, playwright, R. B. Kitaj, painter, Michael Herr, journalist, and Edna O’Brien, novelist. Roth enjoyed a culturally rich and satisfying life with Bloom, while working on The Professor of Desire. But he soon sensed the fraying of his relationship as Bloom became increasingly dependent on her daughter, the opera singer Anna Steiger. He soon began to work on adaptations, principally for Bloom but also for himself: one early attempt was his effort to adapt Eugenia Ginzburg’s Journey into the Whirlwind, her Gulag autobiography. Another, new development was Roth’s involvement with Janet Hobhouse, novelist, their affair transposed to The Counterlife. And by the late 1970s, Roth turned to the experiences of an isolated writer in the countryside and the impact of the Holocaust through the possible afterlife of Anne Frank expressed in The Ghost Writer. Roth’s relationship with the New Yorker editor Veronica Geng and the continued importance of his editor Aaron Asher are also formidable figures. Comments on Roth’s enigmatic relationship with his mother (who died suddenly in 1981) end the chapter but not before a detailed accounting of Roth’s many illnesses (including a 1989 quintuple bypass) and the debilitating impact of illness on his physical and mental health.