A critical evaluation of Philip Roth—the first of its kind—that takes on the man, the myth, and the work Philip Roth is one of the most renowned writers of our time. From his debut, Goodbye, Columbus, which won the National Book Award in 1960, and the explosion of Portnoy's Complaint in 1969 to his haunting reimagining of Anne Frank's story in The Ghost Writer ten years later and the series of masterworks starting in the mid-eighties—The Counterlife, Patrimony, Operation Shylock, Sabbath's Theater, American Pastoral, The Human Stain—Roth has produced some of the great American literature of the modern era. And yet there has been no major critical work about him until now. Here, at last, is the story of Roth's creative life. Roth Unbound is not a biography—though it contains a wealth of previously undisclosed biographical details and unpublished material—but something ultimately more rewarding: the exploration of a great writer through his art. Claudia Roth Pierpont, a staff writer for The New Yorker, has known Roth for nearly a decade. Her carefully researched and gracefully written account is filled with remarks from Roth himself, drawn from their ongoing conversations. Here are insights and anecdotes that will change the way many readers perceive this most controversial and galvanizing writer: a young and unhappily married Roth struggling to write; a wildly successful Roth, after the uproar over Portnoy, working to help writers from Eastern Europe and to get their books known in the West; Roth responding to the early, Jewish—and the later, feminist—attacks on his work. Here are Roth's family, his inspirations, his critics, the full range of his fiction, and his friendships with such figures as Saul Bellow and John Updike. Here is Roth at work and at play. Roth Unbound is a major achievement—a highly readable story that helps us make sense of one of the most vital literary careers of the twentieth and twenty-first centuries.

Philip Roth's richly imagined satiric narrative, The Great American Novel, turns baseball's status as national pastime and myth into an unfettered farce Featuring heroism and perfidy, lively wordplay and a cast of characters that includes the House Un-American Activities Committee. "Roth is better than he's ever been before.... The prose is electric." (The Atlantic) Gil Gamesh is the only pitcher who ever tried to kill the umpire, and John Baal, The Babe Ruth of the Big House, never hit a home run sober. But you've never heard of them -- or of the Ruppert Mundys, the only homeless big-league ball team in American history -- because of the communist plot and the capitalist scandal that expunged the entire Patriot League from baseball memory.

NATIONAL BESTSELLER • Set in a close-knit Newark neighborhood during a terrifying polio outbreak in 1944, a “book [that] has the elegance of a fable and the tragic inevitability of a Greek drama” (The New Yorker)—from the Pulitzer Prize–winning author of American Pastoral. Bucky Cantor is a vigorous, dutiful twenty-three-year-old playground director during the summer of 1944. A javelin thrower and weightlifter, he is disappointed with himself because his weak eyes have excluded him from serving in the war alongside his contemporaries. As the devastating disease begins to ravage Bucky’s playground, Roth leads us through every inch of emotion such a pestilence can breed: fear, panic, anger, bewilderment, suffering, and pain. Moving between the streets of Newark and a pristine summer camp high in the Poconos, Nemesis tenderly and startlingly depicts Cantor’s passage into personal disaster, the condition of childhood, and the painful effect that the wartime polio epidemic has on a closely-knit, family-oriented Newark community and its children.

“I don’t want you to rehabilitate me,” Philip Roth said to his only authorized biographer, Blake Bailey. “Just make me interesting.” Granted complete independence and access, Bailey spent almost ten years poring over Roth’s personal archive, interviewing his friends, lovers, and colleagues, and listening to Roth’s own breathtakingly candid confessions. Cynthia Ozick, in her front-page rave for the New York Times Book Review, described Bailey’s monumental biography as “a narrative masterwork … As in a novel, what is seen at first to be casual chance is revealed at last to be a steady and powerfully demanding drive. … under Bailey’s strong light what remains on the page is one writer’s life as it was lived, and―almost―as it was felt." Though Roth is generally considered an autobiographical novelist—his alter-egos include not only the Roth-like writer Nathan Zuckerman, but also a recurring character named Philip Roth—relatively little is known about the actual life on which so vast an oeuvre was supposedly based. Bailey reveals a man who, by design, led a highly compartmentalized life: a tireless champion of dissident writers behind the Iron Curtain on the one hand, Roth was also the Mickey Sabbath-like roué who pursued scandalous love affairs and aspired “[t]o affront and affront and affront till there was no one on earth unaffronted"—the man who was pilloried by his second wife, the actress Claire Bloom, in her 1996 memoir, Leaving a Doll’s House. Towering above it all was Roth’s achievement: thirty-one books that give us “the truest picture we have of the way we live now,” as the poet Mark Strand put it in his remarks for Roth’s Gold Medal at the 2001 American Academy of Arts and Letters ceremonial. Tracing Roth’s path from realism to farce to metafiction to the tragic masterpieces of the American Trilogy, Bailey explores Roth’s engagement with nearly every aspect of postwar American culture.

A panoramic and accessible guide to one of the most celebrated—and controversial—authors of the twentieth century Philip Roth was one of the most prominent, controversial, and prolific American writers of his generation. By the time of his death in 2018, he had won the Pulitzer Prize, two National Book Awards, and three PEN/Faulkner Awards. In Understanding Philip Roth, Matthew A. Shipe provides a brief biographical sketch followed by an illuminating and accessible reading of Roth's novels, illustrating how the writer constructed one of the richest bodies of work in American letters, capturing the absurdities, contradictions, and turmoil that shaped the United States in the six decades following the Second World War. Questions of Jewish American identity, the irrationality of male sexual desire, the nature of the American experiment—these are a few of the central concerns that run throughout Roth's oeuvre, and across which his early and late novels speak to one another. Moreover, Shipe considers how Roth's fiction engaged with its historical moment, providing a broader context for understanding how his novels address the changes that transformed American culture during his lifetime.

NATIONAL BOOK CRITICS CIRCLE AWARD WINNER • "A tough-minded, beautifully written memoir" (San Francisco Chronicle) about a son watching his elderly father battle with the brain tumor that will kill him—from the Pulitzer Prize–winning author of American Pastoral. Patrimony, a true story, touches the emotions as strongly as anything Philip Roth has ever written. Roth watches as his eighty-six-year-old father—famous for his vigor, charm, and his repertoire of Newark recollections—fights the brain tumor that will kill him. The son, full of love, anxiety, and dread, accompanies his father through each fearful stage of his final ordeal, and, as he does so, discloses the survivalist tenacity that has distinguished his father's long, stubborn engagement with life.

Let it be said, Philip Roth was never uncontroversial. From his first book, Roth scandalized literary society as he questioned Jewish identity and sexual politics in postwar America. Scrutiny and fierce rebukes of the renowned author, for everything from chauvinism to anti-Semitism, followed him his entire career. But the public discussions of race and gender and the role of personal history in fiction have deepened in the new millennium. In his latest book, Jacques Berlinerblau offers a critical new perspective on Roth’s work by exploring it in the era of autofiction, highly charged racial reckonings, and the #MeToo movement. The Philip Roth We Don’t Know poses provocative new questions about the author of Portnoy’s Complaint, The Human Stain, and the Zuckerman trilogy first by revisiting the long-running argument about Roth’s misogyny within the context of #MeToo, considering the most current perceptions of artists accused of sexual impropriety and the works they create, and so resituating the Roth debates. Berlinerblau also examines Roth’s work in the context of race, revealing how it often trafficked in stereotypes, and explores Roth’s six-decade preoccupation with unstable selves, questioning how this fictional emphasis on fractured personalities may speak to the author’s own mental state. Throughout, Berlinerblau confronts the critics of Roth —as well as his defenders, many of whom were uncritical friends of the famous author—arguing that the man taught us all to doubt "pastorals," whether in life or in our intellectual discourse.