By Elaine B. Safer
Explores the comedian units Roth makes use of to satirize his instances, the Jewish neighborhood, and himself.
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Extra info for Mocking the Age: The Later Novels of Philip Roth (S U N Y Series in Modern Jewish Literature and Culture)
Pipik, as mentioned above, publicizes a program to relocate Jews from Israel—where the Arabs will never accept them—to Eastern Europe, where—the impostor claims—people would welcome their Jews back to their old homes. The novel has an array of divergent characters create a multivoiced text where different ideologies compete. Louis B. Smilesburger is the Mossad agent who may—or may not—be the master puppeteer who has been pulling all the strings. He has funded Pipik’s movement and has plotted to inveigle Philip Roth into his schemes.
I know characters rebelling against their author has been done before, but . . 9 He also fits postmodernism to his comic design by including semiautobiographical information about his life in his writing. This opens the postmodern novelist’s game of mingling real and imaginary characters, while the reader vainly tries to perceive the differences. In The Facts: A Novelist’s Autobiography, Roth has Zuckerman—in a closing letter to the author—write that Roth does not give Josie, his first wife, her due in his fiction: “Josie .
He will never have a second chance. He has led an empty life (like most of James’s protagonists and—more recently for the reader—like the highly Jamesian butler in Ishiguro’s Remains of the Day). ” The comic irony escalates because the young writer Zuckerman imagines the isolated life of a writer as an ideal to be pursued (Ghost Writer 18). ” The episode gradually becomes highly farcical. Zuckerman puts down James’s story because he hears voices upstairs and wants to eavesdrop on the conversation between Professor Lonoff and his student Amy Bellette.
Mocking the Age: The Later Novels of Philip Roth (S U N Y Series in Modern Jewish Literature and Culture) by Elaine B. Safer