Lexington Books
Pages: 292
•
Trim: 6 x 9
978-1-4985-1180-3 • Hardback • September 2017 • $116.00 • (£89.00)
978-1-4985-1182-7 • Paperback • June 2019 • $47.99 • (£37.00)
978-1-4985-1181-0 • eBook • September 2017 • $45.50 • (£35.00)
Andy Connolly teaches in the English Department at Hostos Community College, CUNY.
Acknowledgments
Introduction
Chapter 1: Preamble: Zuckerman’s Agonies in the Earlier Novels
Chapter 2: “Redface”: Liberal Politics and Literary Style in I Married a Communist
Chapter 3: Shattering of the Liberal Consensus in American Pastoral
Chapter 4: “Nothing lasts, and yet nothing passes”: Race and Ethnicity in The Human Stain
Chapter 5: Exit Ghost: “A book about knowing where to go for your agony”
Chapter 6: The Beginning as End: Unending Trauma in The Plot against America
Bibliography
About the Author
Students of Philip Roth’s writings will value this full-length study by Connolly (Hostos Community College, CUNY) along with A Political Companion to Philip Roth, ed. by Claudia Franziska Brühwiler and Lee Trepanier (CH, Jan'18, 55-1662), in which Connolly has an essay on Roth’s novel The Human Stain. (That essay focuses on the American "underclass"; in the present volume, the chapter devoted to The Human Stain focuses on race and ethnicity). Here Connolly concentrates on five Roth novels, departing from while acknowledging the formalist preoccupations by New Criticism interpreters. Indeed, the oscillations of Roth’s character Zuckerman across the novels reveals Roth’s tensions—tensions over aesthetic responsibility to the imagination and social engagement—anticipating and accompanying the cultural wars of post-1960s social movements and the anxieties tempering Roth’s Jewish consciousness. The egalitarianism Roth’s father hoped would result from the New Deal heavily influenced his author son, and Connolly examines the impact on Roth and his critics of Lionel Trilling, Arthur Schlesinger, LBJ’s Great Society programs, and the reactions of neoconservatives to the world Zuckerman inhabits. This sound critique is prodigiously referenced. . . .
Summing Up: Recommended. Graduate students, researchers, faculty.
— Choice Reviews
Connolly is a brilliant guide through the many. . . aspects of Roth’s later fiction that make him such a compelling author, particularly to those interested in American politics and history. That specific readership will find in Connolly’s book a captivating analysis of the complex relationship between Roth’s artistic, political, and historical viewpoints, forcing the reader to reconsider his or her way of engaging with the worlds of Zuckerman.— VoegelinView
Andy Connolly breaks new ground in Philip Roth and the American Liberal Tradition by taking Roth’s fiction wholly back into the world of American political culture from which his art comes, from the New Deal to the current fractured political scene. In fresh, perceptive, and deeply informed close readings of the later novels, Connolly challenges the ways we have thought about Philip Roth. His superb scholarship shows persuasively how the decline of the liberal consensus concerning American society inflects Roth’s often conflicted engagement with matters of historical fact, the place of the artist, and the forms of fiction.— Debra Shostak, College of Wooster
Connolly’s ambitious study considers the uneasy relationship between Roth’s formal experimentation and his historical consciousness. Via the perspectives of literary formalism and new historicism, Philip Roth and the American Liberal Tradition raises new questions about the vexed status of Roth’s literary technique—as exemplified by his use of narrative subjectivity—in conversation with his representation of American history and politics. Organized according to major historical episodes in the U.S. from 1930 to 2004, the book covers significant ground in revealing what political and historical forces—forces reflected through Roth’s masterful use of narrative uncertainty—have contributed to a sense of American identity. With a special focus on the Zuckerman novels and The Plot Against America, this book is a meaningful contribution to Roth studies in its rigor, relevance, and grace.— Aimee Pozorski, Central Connecticut State University
In Philip Roth and the American Liberal Tradition, Andy Connolly offers a highly insightful reading of Roth later novels. This book makes a vital contribution to Roth Studies, as it smartly illuminates how Roth's work engages the central political questions that shaped liberalism in the post-1945 era. Over the course of this study, Connolly constructs a compelling portrait of Roth's political thought; the book offers smart readings of some of Roth's most important novels (American Pastoral,The Plot Against America) while also presenting a thoughtful history of American liberalism in the second half of the twentieth century. An important book for not only Roth scholars, but also anyone interested in the development of liberal thought over the past sixty years.— Matthew Shipe, Washington University in St. Louis
Philip Roth and the American Liberal Tradition. AndyConnolly. Lexington Books, 2017.Since January 2017, some of us may have felt the urge to revisit,either in our minds or physically, the National Mall inWashington, D.C., “to convince [ourselves] that nothing hadchanged other than that” Donald J. Trump is now in office(Roth, 2004, 5). And we may still have felt just like PhilipRoth’s homonymous narrator in The Plot Against America(2004): afraid. Andy Connolly’s Philip Roth and the AmericanLiberal Tradition does not include any references to thecurrent state of American politics, yet the present echoesaudibly and reminds the reader how insightful an observer ofAmerican politics, culture, and history we find in Philip Roth.At the same time, though, Connolly warns us against the kindof exploitative readings that reduce Roth’s work to thecontexts he works with, disregarding art and the author’sformalist viewpoint. Instead, Connolly outlines how, “as a result of Roth’s deeply ambiguousrelationship to principled notions concerning the autonomy of the literary text from extendingissues of context, the historical is something that simultaneously recedes from and returns toview in his writing” (Connolly, 2017, 2).Said ambiguity is hard to navigate for readers drawn to contextualist readings, particularly inRoth’s later novels, namely in the so-called American trilogy narrated by his writer-protagonistNathan Zuckerman, in the latter’s final appearance in Exit Ghost (2007), and in The Plot.Connolly dedicates a chapter to each of these novels, linking them with the history of Americanliberalism, while he simultaneously shows us that Roth, the writer, is neither a chronicler nor a“mere” political thinker: “The blurring of the boundaries between ‘reality’ and fiction in Roth’swork … involves a certain inter-penetration of the author’s private imagination—rebellious anddefiant though it is—with the ‘outer landscape’ that is constituted by larger historicalphenomena,” Connolly explains (2017, 58). The more the writer tries to reinvent life as fiction,the more the tidal wave of history complicates his task.After (re-)acquainting the reader with Roth’s—thus many claim—alter ego, Nathan Zuckerman,and the author’s continued, increasing contention with history as “a place of great uncertaintyin which causality and meaning are highly difficult to determine” (Connolly, 2017, 17), Connollyturns in chapter 2 to the second part of the American trilogy, I Married A Communist (1998).Instead of following the path of many a discussion of the novel in the context of the McCarthy1/3era, Connolly illuminates the character of Murray Ringold as a fictionalization of Lionel Trillingand how he embodies the boundaries of the impassioned voice of reason. In an engagingreading of the character and his intellectual counterpart, Connolly also addresses the parallelsbetween Trilling and Roth, their shared “understanding of the deceptions that are at play in therelationship between people’s committed faith in moral absolutes and ideological purities, onthe one hand, and the disorderly state of their individual lives on the other” (Connolly, 2017,100). Yet as Connolly convincingly demonstrates throughout the book, Roth questions whetherany of us can claim objectivity and sobriety when faced with the tumults of life—and if thosewho do, may not simply be deceiving themselves.Betrayals and deceptions are a recurring motif in Roth’s writing; the alleged national selfdeceptionof the liberal post-war consensus becomes central to American Pastoral (1997) andthus to chapter 3 of Connolly’s treatise. He lays out how the idylls of one of the centralcharacters, “Swede” Levov’s view of a “factory as a home to the thriving, non-alienated labor ofvigorous male workers reflects a distinctly exaggerated version of post-war assumptions aboutthe classless structure of American society” (Connolly, 2017, 139). In particular, Connollyexposes the racial and gender conflicts that, in a superficial reading, remain hidden behind thepastoral façade that gets shaken by the turmoil of 1960s politics. Roth’s unreliable narrator,Zuckerman, fools his reader into momentarily believing Roth to be an equally nostalgic soul asthe Swede while, all along, he has been playing again with the uncertainty of reality.In chapter 4, Connolly turns to The Human Stain (2000) and thus enters the culture wars onAmerican campuses, a nexus which is further complicated by issues of race and class. In acompelling analysis, Connolly combines an informed view of the rise of identity politics with theplight of the central character, an African American professor of classics who passes as whiteand, ironically, comes under attack due to allegations of racism. Even more interesting than thediscussion of racial politics, Connolly zooms in on socially disadvantaged characters,considering their struggles in light of the presidency of Bill Clinton and his economic policy thatstood in stark contrast to post-war liberal ideas.Connolly’s discussion of Exit Ghost in chapter 5 renders it impossible for the reader (at leastfor this one) to shake off thoughts of the present. Earlier, Connolly delineates how liberalismlost its claim on a unifying national narrative to the Republican Party and the conservativemovement. As a consequence, the GOP became an obvious choice for a majority of voters in2000, 2004, and 2016. Considering the turn in voter appeal, Connolly dissects the scenesbetween Zuckerman and a young couple, both aspiring writers, who watch in disbelief theelection results of 2004. Connolly may warn against such simplistic parallels, Roth himself maydespair faced with them, but the present-day reader can hardly resist to echo Zuckerman’sobservation: “For all their sharpness and articulateness and savoir-faire … they’d had no ideawho the great mass of Americans were, nor had they seen so clearly before it was not thoseeducated like themselves who would determine the country’s fate but the scores of millionsunlike them and unknown to them who had given Bush a second chance” (Roth, 2007, 87).Finally, chapter 6 analyzes the novel going furthest back in history to the roots of the New Dealwhich, again, against the writer’s will, catapults us back to the last presidential election and its2/3consequences. Connolly shows how The Plot Against America “uses fiction to uncover certainrepressed historical experiences, which serve to expose some of the contradictions that arecovered over by the soft idyll that made up the Roth family’s dreamy conception of Jewishcommunity life during the New Deal” (Connolly, 2017, 259). Specifically, Connolly outlines howthe New Deal offered Jews and other minorities a route to assimilation and cultural integrationyet furthered a belief in national oneness that concealed the fragility of the same. As always inRoth’s oeuvre, the pastoral is a dangerous fiction and those holding onto it are usually only astep away from the abyss of history.The Plot has been quoted frequently as prophetic, lending its title to several commentaries onthe 2016 election outcome. Roth had already refuted any suggestions that his novel may beread as a roman à clef on the Bush presidency, and he would again fend off any suggestionsof foresight. Instead, he pointed out a major difference between 2016 and his dystopian visionof anti-Semitist aviator beating Roosevelt in the presidential election: “Charles Lindbergh, in lifeas in my novel, may have been a genuine racist and an anti-Semite and a white supremacistsympathetic to Fascism, but he was also—because of the extraordinary feat of his solo trans-Atlantic flight at the age of 25—an authentic American hero 13 years before I have himwinning the presidency. … Trump, by comparison, is a massive fraud, the evil sum of hisdeficiencies, devoid of everything but the hollow ideology of a megalomaniac” (McGrath). Inspite of having abandoned writing, the author has not lost his delight in provocation.Parallels to the present are not the only reason why we should keep Roth’s oeuvre in the frontrows of our book shelves—many more become apparent in Connolly’s treatise: Connolly is abrilliant guide through the many other aspects of Roth’s later fiction that make him such acompelling author, particularly to those interested in American politics and history. Thatspecific readership will find in Connolly’s book a captivating analysis of the complexrelationship between Roth’s artistic, political, and historical viewpoints, forcing the reader toreconsider his or her way of engaging with the worlds of Zuckerman.— Claudia Bruhwiler, University of St.Gallen, Switzerland