Sentences — June 18, 2008, 4:16 pm

Shop Talk

rothindignationPhilip Roth’s new novel—not Exit Ghost, which appeared last October, but Indignation, which will arrive this fall—was sent to reviewers in April for an early look. After I read it, I found myself wondering how it will be reviewed. Not whether the judgments will be positive or negative—as is the case with most serious books, we can assume the novel will collect opinions that shuttle between extremes of sympathy and hostility. Rather, I am curious over the methodology of its future reader-evaluators. How much of Roth’s prior work they will feel they should read before passing judgment on his latest effort?

Roth’s productivity, with its now-annual alarms, begs that a critic ask a few cumbersome questions that apply when approaching the work of any number of contemporary authors. Oates, Updike, Munro, Marías, Kundera, Coetzee, McEwan, T. C. Boyle, Amis, Pynchon, DeLillo, Rushdie: when reviewing the work of such generative authors, how familiar should the critic be with such writers’ earlier output? Should one have read, when sitting down to review Saturday or The Empress of Florence or My Sister, My Love, their writers’ other books? If not, why? If so, how many?

With Roth, a reader familiar with only Goodbye Columbus and Portnoy’s Complaint will necessarily form a very different picture of the preoccupations, tendencies, and techniques of the author in question than will a reader intimate with The Counterlife and Operation Shylock (or, alternately, The Breast and “The Prague Orgy”—one can, with Roth, produce a baker’s dozen of such pairs).

A knowledge of the first pair (Columbus/Complaint) alone would lead one to describe Roth as an attentive domestic realist, a trusting realist, one who employs various modes of literary realism (the lyric; the satiric) to probe various conventions of human behavior. The second pair (Counterlife/Shylock), though, would suggest a very different writer, one fascinated with form but not fully trusting of it, one who makes form as much a part of his story as character—who makes form, if not quite a character in the novel, a leading characteristic of the novel. And the last pair (Breast/Orgy) might suggest another author still, a miniaturist, one seeking to depict people trapped by impossible circumstances, whether fanciful or political.

Much as the historian assigned to review, say, Saul Friedlander’s two-volume Nazi Germany and the Jews would be expected to have read a library of similar studies to be deemed a reliable arbiter, a critic assigned a novel by an established writer should bring to bear not merely a knowledge of The Novel but a knowledge of that particular writer’s engagement with the form. And although Roth and the writers listed above, owing to decades of industry, have made a broad knowledge of their work impractical to acquire, such knowledge, precisely because of its increasing rarity, becomes, for a critic, that much more essential to possess.

It is not that knowledge of this kind indemnifies the critic against shortsightedness; rather, it protects him against worse sins: apathy and ignorance.

Single Page

More from Wyatt Mason:

From the February 2010 issue

The untamed

Joshua Ferris’s restless-novel syndrome

Sentences May 1, 2009, 2:41 pm

Weekend Read: The Last Post

Sentences April 29, 2009, 4:12 pm

A Certain, Wandering Light

Get access to 164 years of
Harper’s for only $39.99

United States Canada



September 2014

Israel and Palestine

= Subscribers only.
Sign in here.
Subscribe here.

Washington Is Burning

= Subscribers only.
Sign in here.
Subscribe here.

On Free Will

= Subscribers only.
Sign in here.
Subscribe here.

They Were Awake

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content


Arab artists take up — and look past — regional politics
“When everyday life regularly throws up images of terror and drama and the technological sublime, how can a photographer compete?”
“Qalandia 2087, 2009,” by Wafa Hourani
“There was torture by the previous regime and by the current Iraqi regime,” Dr. Amin said. “Torture by our Kurdish government, torture by Syrians, torture by the U.S.”
Visiting His Own Grave © Anadolu Agency/Getty Images
The Tale of the Tape·

= Subscribers only.
Sign in here.
Subscribe here.

“Heroin isn’t the weakness Art Pepper submits to; it’s the passion he revels in.”
Photograph (detail) © Laurie Pepper
The Soft-Kill Solution·

= Subscribers only.
Sign in here.
Subscribe here.

"Policymakers, recognizing the growing influence of civil disobedience and riots on the direction of the nation, had already begun turning to science for a response."
Illustration by Richard Mia
New Books
New Books·

= Subscribers only.
Sign in here.
Subscribe here.

“Almond insists that watching football does more than feed an appetite for violence. It’s a kind of modern-day human sacrifice, and it makes us more likely to go to war.”
Photograph by Harold Edgerton

Chance that a movie script copyrighted in the U.S. before 1925 was written by a woman:

1 in 2

Engineers funded by the United States military were working on electrical brain implants that will enable the creation of remote-controlled sharks.

Malaysian police were seeking fifteen people who appeared in an online video of the Malaysia-International Nude Sports Games 2014 Extravaganza, and Spanish police fined six Swiss tourists conducting an orgy in the back of a moving van for not wearing their seatbelts.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!


In Praise of Idleness


I hope that after reading the following pages the leaders of the Y. M. C. A. will start a campaign to induce good young men to do nothing. If so, I shall not have lived in vain.

Subscribe Today