In her New York Times column “Match Book,” Nicole Lamy “connects readers with book suggestions based on their questions, their tastes, their literary needs and desires.” Some of those questions, tastes, literary needs and desires are stranger than others.
1.Dear Match Book,
like sympathetic protagonists who become slightly, but not too, unsympathetic
following some kind of loss, then gradually become sympathetic again while
coping with said loss. Close third-person narration preferred, with some epistolary
bits (email only) judiciously sprinkled in. No second person please! A strong
sense of place is a must, though that place need not be named as long as the
protagonist is—or vice versa.
advice would be to write this book yourself, and then check back in after it’s
published so l can recommend it to you.
2.Dear Match Book,
I love trilogies: Olivia Manning’s Fortunes of War, Evelyn Waugh’s Sword of Honour, and more recently, Rachel Cusk’s Outline trilogy. My problem is I can’t stand quartets! The very thought of four books in a series—or their readers—makes me physically ill. And yet I’ve heard great things about Elena Ferrante’s Neapolitan Quartet. Help!
I am terribly sorry to hear about your tetralogical dysfunction, which is barring you off from experiencing the wonders of Ferrante’s Naples and Lawrence Durrell’s Alexandria. Has your therapist already suggested breaking the foursomes into two twosomes? (You do have a therapist, right?)
Alternatively, you could try wetting your feet with books with “four” in the title (e.g., Ian Caldwell and Dustin Thomason’s bibliophile mystery The Rule of Four)? I don’t know. I’m grasping at straws here.
What about Ali Smith’s in-progress Seasonal Quartet? Why don’t you read Winter, Autumn, and the forthcoming Spring, and then pretend that Smith got tired of the project? Next, hole up in a cabin somewhere. After 10 to 15 years, emerge from seclusion, visit a bookstore, and thumb through a copy of Summer. If you don’t retch, you’re cured!
3.Dear Match Book,
Is this a booty call? If so, this is a first for me at Match Book. I am indeed up, but I’d prefer to keep this professional. I can, however, recommend some saucy books to get you through the night. Philip Roth’s Deception and Nicolson’s Baker’s Vox each are dazzling verbal displays that plumb the depths of desire.
4.Dear Match Book,
I earn $400 a day working from home! Want to learn more? But first, do you have any well-observed family dramas to recommend? I loved the latest Ann Tyler.
Domestic drama has been at the core of literature since Greek tragedy, so there is much to choose from. What about the Eca de Queiros’s 19th-century epic The Maias, which tells of forbidden love in a lively Lisbon? Or for something more contemporary, try Barbara Kingsolver’s Unsheltered, her era-spanning chronicle of two New Jersey families.
could think of more, but I’m intrigued by your offer. $400 a day you say? Would
I still have to write this column?
5.Dear Match Book,
A veritable and unrepentant gourmand, I’ve devoured Valerie Luiselli, inhaled Karl Ove Knaussgard, delected Ben Lerner and glutted on Ottessa Moshfegh in the last month alone. I really don’t need a recommendation. I was just writing to communicate how well read I am.
6.Dear Match Book,
books is simply a matter of data analysis. For example, with the right
algorithm I could tell you which novel to read based on the kind of paper
towels you buy.
You’ll never replace me with a machine, Bezos!
Sorry about Queens. And the dick pics.
7.Dear Match Book,
I’m looking for the perfect bathroom read. It doesn’t necessarily have to be thematically related to defecation—though bonus points if it did—just gripping enough to get me through my morning ritual.
I believe the best time to ingest knowledge is when one is expelling waste. The urbane musings of Joseph Epstein are my favorite companion, but perhaps it’s easiest to tell you what’s in our bathroom here at The Times: Clives James’s Cultural Amnesia, his sharp, sardonic portraits of 20th-century intellectual and artistic figures; Marcel Schwob’s Imaginary Lives, a toilet-friendly collection of mesmerizing biographical vignettes; and The Selected Poems of Kay Ryan, whose whimsical, technically proficient verse helps to move things along, so to speak.
There’s also The Penguin Book of Similes, but that’s in Dwight Garner’s personal stall.
8.Dear Match Book,
I’ve always looked forward to reading the latest from Michael Chabon, whom I believe to be our greatest living author. This is an impossible question, but if you could choose just one masterpiece from his incredible oeuvre, what would it be?
tell you each week, I am particularly attached to The Yiddish Policeman’s
9.Dear Match Book,
been hosting a book club on the Victorian novel for several years now. Reading Daniel
Deronda, Our Mutual Friend, and the Barchester novels has taught us
the indispensability of timeless literature and great friends.
problem is I can’t stand one member of the group—let’s call him Uriah. Can you
recommend a “loose baggy monster” that will get him to quit the club?
Part of what makes Victorian literature so compelling are its villains, from Alec d’Urberville to Becky Sharpe. Why don’t you try Wilkie Collins’s The Woman in White? Embrace your inner Count Fosco to lie, scheme, and gaslight the son of a bitch until the mere sight of a triple-decker sends shivers down his spine.
10.Dear Match Book,
recently murdered someone during an unfortunate encounter. I’m coping just
about as well as could be expected and devoting myself to self-care, including
reading literature about the ethics of killing a (former) friend. Any tips?
N.B. The Times in no way condones murder. Having said that, reading is a great way to begin the healing process. I would start with Albert Camus’s haunting existentialist novel The Stranger. Another book to help you come to terms with your homicidal instincts is Fyodor Dostoyevsky’s Crime and Punishment. And finally, for a more recent novel to help you cope with brutally ending another life, try Oyinkan Brathwaite’s delightful satire My Sister, the Serial Killer.
you don’t like these, don’t shoot the recommender! Please, don’t shoot me. I
have a family and a lot of readers dependent on my help.
11.Dear Match Book,
was a world-renowned roller-coaster engineer, but he couldn’t control the
precipitous decline of our marriage….
Dear Thrown for a Loop,
Let me stop you right there. I believe this is a “Modern Love” submission that was sent to me in error.
Image credit: Unsplash/Josh Felise.
Like many people, I was saddened when it was publicized that Philip Roth had quietly announced his retirement in an interview with a French magazine. By chance, the news came near the end of a year during which my attitude toward Roth changed from appreciation to obsession. Before 2012, I had read perhaps 10 of Roth’s books in a decade. This year, I read 15 Roth novels in a row, the literary equivalent of binge-watching multiple seasons of a serial television drama. The more I read, the more I appreciated how Roth writes not only with technical virtuosity and aesthetic mastery, but also with profound spiritual intent. In this way, he reminds me of the 85-year-old Japanese master chef portrayed in the recent documentary Jiro Dreams of Sushi. At the top of their fields and now in their twilight years, both come across as men who vacillate between narcissism and humility, perfectionists for whom life is work and work is life. As a tribute, I offer the following 10 key ideas I gleaned from Roth’s work and career. I hope these inspire fans to revisit his books, detractors to give him another try, and newcomers to read him for the first time.
1. Work hard. With 31 books in 51 years – from Goodbye Columbus (1959) to Nemesis (2010), Roth cranked out copy like Danielle Steele, James Patterson, or Stephen King, not like a precious literary genius. He could have rested on his laurels in any of the last six decades, gone off the grid like Salinger, or found a nice sinecure at a writers’ workshop. But he just kept on writing. Roth was probably at the height of his powers in the late 90s and early 2000s, the years of the masterful trilogy (American Pastoral, I Married a Communist, and The Human Stain) and The Plot Against America. But his recent books are equally elegant, the kind of short novels that demand to be read in one sitting. If you think you work too hard, think about Roth and think again. If you’re satisfied with your accomplishments, think again. Roth’s won the Pulitzer Prize, the National Book Award and the National Book Critics Circle Award (twice each), the PEN/Faulkner Award (three times), and is the only writer to have his canon published by the Library of America while still alive. The protagonist of Everyman quotes the painter Chuck Close as saying “amateurs look for inspiration; the rest of us just get up and go to work.” Indeed.
2. People are animals. Roth’s male characters cannot keep it in their pants. Their lives are filled with sex, mostly adulterous sex, mostly sex with younger women. His titles alone suggest carnality (The Professor of Desire), physicality (The Anatomy Lesson), beastliness (The Dying Animal), ejaculation (The Human Stain) and straight-up sex (The Prague Orgy). In his silliest novel, The Breast, a philandering professor David Kepesh wakes up to discover that he has become a giant mammary. For all the misery their lust causes them and their wives and lovers, these guys rarely seem to learn from – or apologize for — their peccadilloes. While these tales both celebrate and caution against lechery, they are not pornography. Roth’s books lack the soft-core aspect of Haruki Murakami or John Updike or Anne Rice sex scenes. Although many of his characters objectify and mistreat women, it’s reductive to call Roth a misogynist. If anything his characters love women too much, albeit in an oft-misguided way. As Roth writes in Deception, “With the lover, everyday life recedes.” Such characters’ urges seem motivated not by hedonism, but by the desire to slake needs, to find companionship, to stave off mortality. Following the classic writing teacher advice to take away your hero’s central desire – Roth makes his alter-ego Nathan Zuckerman impotent, which only makes him hungrier for sex and more appreciative of its power. In a country where sex is still taboo, Roth’s embrace of such a core biological and psychological compulsion is not merely titillating or salacious, but refreshing.
3. We are alone and want to be known. Despite their busy bedrooms, Roth’s characters are often hermits, recluses, and lone wolves. His three major recurring alter egos – Zuckerman, Kepesh, and “Philip Roth” — are all lonely, as are many of his secondary characters, whether they are young, middle-aged, or old. Yet for all their solitude and secret lives and double lives, they still strive for the love of friends or mentors or heroes or parents or siblings or lovers. Throughout his work, Roth suggests that the deepest human longing is the desire to be known, not merely biblically, but intellectually, emotionally, and existentially. Yet we are all fundamentally mysteries to each other. As Zuckerman says in The Human Stain: “For all that the world is full of people who go around believing they’ve got you or your neighbor figured out, there really is no bottom to what is not known. The truth about us is endless. As are the lies.” Another character in the same novel speaks to the dilemma at the heart of Roth’s characters and perhaps of all humanity: “afraid of being exposed, dying to be seen.”
4. The flesh is weak. This is true for Roth’s characters not only in their lasciviousness, but also in their fascination with their own physical frailty and mortality. Like an episode of Law and Order or The Wire or Midsomer Murders, nearly every Roth novel features at least one death. His work is also filled with illnesses – cancer, strokes, chronic pain — and a multitude of scenes at hospitals, funeral homes, and cemeteries. All this death – and the possibility of death — raises the dramatic stakes and adds to the existential malaise and weightiness. In The Human Stain, Zuckerman describes a crowd at a concert as “an entity of sensate flesh and warm red blood, separated from oblivion by the thinnest, most fragile layer of life.” And it’s not only old people who confront death. In Nemesis, a polio epidemic strikes kids. In The Plot Against America, the narrator’s adolescent cousin loses a leg in World War II. “The Life and Death of the Male Body” — a phrase from Everyman — seems to sum up Roth’s oeuvre. But it’s not all gloom. For all their physical frailty, Roth’s characters want to live, to love, and often, to write until their last breath.
5. Beware of ideology. In Roth’s world, personal tragedy and political tragedy go hand in hand and ideologies like communism, fascism, terrorism – and their antitheses — have deadly consequences. I Married A Communist is the biography of a radio host who falls victim to McCarthyism. The Plot Against America imagines an alternate reality where America flirts with fascism and Nazi Germany under President Charles Lindbergh. Pulitzer Prize-winner American Pastoral is the story of a homegrown female terrorist. In The Human Stain, an aging professor battles with political correctness and professional persecution at the university as well as neo-Puritanism in the era of Clinton and Lewinsky. In The Prague Orgy, Zuckerman goes to Eastern Europe, where the secret police track his every move. And in many of his novels, Roth speaks of the horrors of a century of American militarism, from World War I and II to Vietnam and Korea to Afghanistan and Iraq. And according to a character in The Human Stain, human history consists of two types: “the ruthless and the defenseless.” Overall, the message seems to be that any mass political movement – on the left or on the right, radical or reactionary, secular or religious – poses grave danger to life, liberty, and the pursuit of happiness. A eulogy in The Human Stain celebrates “the American individualist,” suggesting that people are better off when they think for themselves.
6. Prejudice is alive and well. Along with his distrust of ideology, Roth’s fiction critiques the pervasive Anti-Semitism and racism in America. Roth’s protagonists are mostly secular or atheist or agnostic Jews, but they still identify as Jewish, and perhaps more important, others label them as Jews. Roth was born in 1933, the year Hitler came to power, a historical fact that lingers in his books. Sometimes it’s a major plot point, as in The Plot Against America, which includes forced resettlement of Jews, or in The Ghostwriter when Zuckerman meets a woman he believes is Anne Frank, or I Married A Communist, which links anti-Semitism and McCarthyism. Not that Roth spares Jews from his critical eye. The Zionist rabbi in The Counterlife and the rabbi in The Plot Against America who colludes with the Lindbergh regime are two of his most villainous and least sympathetic characters. And his narrators often vent their frustration with the strictures of Judaism. Zuckerman is often called a traitor for his fictional depictions of Jews. In Portnoy’s Complaint, the narrator’s mother thinks he’s eating non-Kosher food in the bathroom, when in fact he’s masturbating. And there’s one aching moment in The Plot Against America where a young boy sees his mother on the bus through the world’s eyes: “It was then that I realized…that my mother looked Jewish. Her hair, her nose, her eyes – my mother looked unmistakably Jewish. But then so must I, who so strongly resembled her. I hadn’t known.” In one of his finest books, The Human Stain, Roth adds the issue of racism through Coleman Silk, an African-American professor who “passes” as white and pretends to be Jewish to his family, friends, and colleagues. While overt anti-Semitism and racism may be less common in 2012 than it was in Roth’s youth – and an African-American is our president – Roth implies that we shouldn’t congratulate ourselves on our tolerance. Given America’s history of racism and religious persecution and more recent treatment of Muslims since 9/11 and the wars in Afghanistan and Iraq, the constitutional claim that “all men are created equal” is more of a hope than a reality.
7. New Jersey is beautiful. There’s no deeper prejudice than the native New Yorker’s snobbery about New Jersey, a prejudice I share despite a dad from Hoboken, a girlfriend from East Brunswick, and a lot of time spent in the Garden State over the last two years. But let’s be honest. New Jersey deserves a lot of its bad rap: the traffic and toxic smells on the turnpike, the Guidos and Guidettes down the shore, the violence and poverty in Newark and Camden. Even the musical celebrities – Frank Sinatra, Bruce Springsteen, and Bon Jovi — are mercilessly cheesy. Yet in Roth’s eyes, New Jersey is beautiful, if not aesthetically, then emotionally. And as Roth points out in The Human Stain, New Jersey was originally called New Caesarea, a name surely suggestive of an empire. Not that Roth romanticizes Jersey: the squalor and decay of his once idyllic native Newark is recurrent, but he portrays it as a real place with complexities and contradictions, virtues and flaws. While his Jersey-born characters often escape to the culture of New York or the tranquility of the Berkshires, and Roth himself has lived in Connecticut and New York sine 1972, you can’t take the Jersey out of the kid or the books. When he dies, I hope the state finds an appropriate way to honor him. No disrespect to Woodrow Wilson, Vince Lombardi, and Thomas Edison, but I hope it’s not the Philip M. Roth Rest Stop. Then again, it might be fitting. Like that quintessential Jersey car – the Ford Mustang — that first came out in 1964, back when Roth had only two books to his name — Roth is an American classic whose styles change, but is always recognizable as itself.
8. There’s a fine line between reality, fiction, and fantasy. Many writers blur the boundary between fiction and their own lives. Roth takes this to an extreme. His characters are writers, professors, and artists who might as well be writers, and even a recurring “character” named Philip Roth. (Fortunately, Roth has the good sense to focus more on their personal lives than their literary lives). His favorite settings include his native Newark, Chicago (where he went to graduate school), and the fictional Athena College, which reads like a small town New England fusion of the schools where Roth studied and taught (Bucknell, Chicago, and Princeton). Even his more outlandish premises (The Breast, The Plot Against America) are grounded in reality. While Roth may have some literary gas left in his tank, he’s clearly concerned with events of this world. There’s no danger of him writing Nathan Zuckerman: Vampire Hunter.
9. The Power of Three. Roth’s stories are filled with grace and grandeur, fast-paced plots, and high stakes drama. He writes both linear and non-linear narratives, often with seamlessly overlapping layers of memory and reflection. While he favors first person narration, he also experiments: deception is written entirely in dialogue, essentially a play without stage directions. And beyond his subject, there is the majesty of his prose, lush but never dense, intellectual but never pretentious. His sentences can be one word or contain 23 verbs, like a sentence in The Plot Against America. One paragraph in I Married A Communist uses the word betrayed or “betrayal” 23 times. And like a character in The Human Stain, his best friend seems to be the dictionary. Full analysis of Roth’s prose would take a dissertation, so I’ll look at one signature move. Open any page of Roth at random and you’re almost guaranteed to find at least one triplet. One word repeated three times in a single sentence. The same word in three consecutive sentences. A sentence with three nouns or three adjectives or three verbs. A sentence with three adverbs or three prepositions or three proper names. Three consecutive sentences that begin with the same word or phrase (anaphora). Three consecutive sentences that consist of a single word. Three consecutive sentences of dialogue. Three consecutive questions. And permutations and combinations of all the above. One of Roth’s favored techniques is to describe a character’s outfit in terms of three items of clothing. Even when he quotes other writers – such as Shakespeare, Emily Dickinson, or Anton Chekhov — he uses passages that feature triplets. Roth mentions this technique in Exit Ghost, which confirmed my suspicion that he writes triplets on purpose. Yet despite its ubiquity the technique never gets stale, because Roth’s command of grammar, syntax, and punctuation – especially em dashes, colons, and semi-colons — gives him a seemingly limitless number of ways to write triplets. After I noticed the technique, I started marking triplets with a 123 in the margins – and then using triplets in my own prose (as you might have noticed). As Joan Didion once said: “Nothing is too heavy to lift.”
10. Know when to quit. Roth’s retirement announcement was not entirely surprising. Now a few months shy of his 80th birthday, he hadn’t published a book since Nemesis in 2010, and in Roth time, two years is an eternity. He also hinted at his literary exit in 2011, when he told The Financial Times: “I’ve stopped reading fiction. I don’t read it at all. I read other things: history, biography. I don’t have the same interest in fiction that I once did.” Then again Roth has read plenty of fiction, including all of his own, which is more than most people, myself included, can say.
Image credit: Bill Morris/billmor[email protected]