Like Pushkin and Dostoevsky before him, Philip Roth takes on the subject of the writer’s double, which for Roth is inevitably bound up in Jewishness and identity. This is a bold, inventive and energetic departure from his past novels, a meta-novel, and, like all of his writing, full of ideas, wit, humor and startling observation.
The Counterlife is about people enacting their dreams of renewal and escape, some of them going so far as to risk their lives to alter seemingly irreversible destinies. Every major character (and most of the minor ones) is investigating, debating, and arguing the possibility of remaking the future.
Illuminating these lives in transition and guiding us through all the landscapes, familiar and foreign, where these people are seeking self-transformation, is the mind of the novelist Nathan Zuckerman. His is the skeptical, enveloping intelligence that calculates the price that's paid in the struggle to change personal fortune and to reshape history.
Yet his is hardly the only voice. This is a novel in which speaking out with force and lucidity appears to be the imperative of every life. There is Henry, the forty-year-old New Jersey dentist, who risks a quintuple bypass operation in order to escape the coronary medication that renders him sexually impotent. There is Maria, the wellborn young Englishwoman, who invites the disdain of her family by marrying the American she knows will be lease acceptable in Gloucestershire. There is Lippmann, the Israeli settlement leader, who contends that "everything is possible for the Jew if only he does not give ground."
The action in The Counterlife ranges from a dentist's office in quiet suburban New Jersey to a genteel dining table in a tradition-bound English village, from a Christmas carol service in London's West End to a Sabbath evening celebration in a tiny desert settlement in Israel's occupied West Bank. Wherever they may find themselves, the characters of The Counterlife are tempted unceasingly by the prospect of an alternative existence that can reverse their fate.
The Counterlife was a finalist for the National Book Award and winner of the National Book Critics Circle Award.
With its rich and somber story of local traditions and universal themes, Spring Flowers, Spring Frost is a masterpiece belonging to Kadare’s purest classical vein.
I am doomed to remember a boy with a wrecked voice—not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother's death, but because he is the reason I believe in God; I am a Christian because of Owen Meany.
In the summer of 1953, two eleven-year-old boys—best friends—are playing in a Little League baseball game in Gravesend, New Hampshire. One of the boys hits a foul ball that kills the other boy's mother. The boy who hits the ball doesn't believe in accidents; Owen Meany believes he is God's instrument. What happens to Owen after that 1953 foul ball is extraordinary.