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TIME: Almanac 1993
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TIME Almanac 1993.iso
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032690
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0326471.000
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1992-08-30
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BOOKS, Page 78Lost in the Fun House
By R.Z. SHEPPARD
DECEPTION
By Philip Roth
Simon & Schuster; 208 pages; $18.95
In his previous book The Facts: A Novelist's Autobiography,
Philip Roth tried, not for the first time, to settle the
confusion about how he transforms his unexciting life as a
writer into lively fiction. Deception replays the subject yet
again in a novel composed entirely of dialogues. The central
conversations are between a New Jersey-born, London-based
writer named Philip and a married Englishwoman. The setting is
the writer's bedless studio, where the talk is about their love
affair, family and work. Nonverbal communications apparently
take place on desk, chair or floor.
The cozy exchanges are contained in Philip's notebook.
Eventually he has to convince his wife that this pillowless
pillow talk is between him and an imaginary mistress who
appears in a novel in progress. The wife does not buy it. She
insists that the woman in the notebook is the living, panting
model for her husband's creative effort. His exasperated
explanation: "I have been imagining myself, outside of my
novel, having a love affair with a character inside my novel."
More tricks. It has been ages since Roth wrote
missionary-position fiction. When he did -- Goodbye, Columbus;
Letting Go; When She Was Good -- he got into trouble outside
his novels. He was accused of being a self-hating Jew, of
having had an unnatural relationship with his baseball glove,
of betraying friends. The conventional novel proved too damned
intimate; Roth's talent for making life fizz up on the page was
too convincing for comfort. Since then, he has developed a
feisty art of self-defense -- and the defense never rests.
As in the past, Roth does it with the literary equivalent
of fun-house mirrors. The Roth-like character in Deception is
a distortion of Roth, the man in the book-jacket photo whose
intense gaze can penetrate 18 inches of solid Philistine.
Readers attempting to nail the real Roth end up with a tinkling
of broken images.
These academic distractions can ruin the entertainment. The
lovers' talk is smart, witty and direct -- an eavesdropper's
fantasy. The posterotic mood is sophisticated; the mature pair
give each other plenty of latitude and genuine affection. There
are other voices in other rooms: a Czech woman and her husband,
who accuses Philip of making him a cuckold. More confusion and
explanations.
Unsurprisingly, famous Philip's interests dominate the
conversations. He has problems with his novel, with his readers
and the casual style of British anti-Semitism. Overly
sensitive, testy and ever the self-conscious ironist, he
confronts life as a series of misunderstandings.
The talking-head format allows Roth to play to his strengths
of critical intelligence and pitch-perfect ear. Few writers can
touch him when it comes to the illusion of natural dialogue or
the comic possibilities latent in high-mindedness. Deception
is not a full orchestration of Roth's abilities but a chamber
version. Stripped of narrative, the voices are free to play off
each other. They may also offer the most delicious deception
of all. Could this skeletal novel be just loosely stitched
exercises from Roth's notebooks? Mirrors, mirrors on the wall,
who's the falsest of them all?
_________________________________________________________
THE OTHER PHILIP
In 1960, at age 27, Philip Roth won the National Book Award
with his first novel Goodbye, Columbus. Ten years later, he
earned fame and notoriety with Portnoy's Complaint. He has
written 16 other books, including the trilogy Zuckerman Bound.
Like his hero, he was born in New Jersey, gained notoriety as
a novelist and worked for a while in London. Roth now lives
mainly in Manhattan with British actress Claire Bloom.