de Philip Roth
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de Philip Roth
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de Philip Roth
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de Philip Roth
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de Philip Roth
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From Publishers Weekly
Written entirely in unascribed dialogue (which provides the challenge of identifying the speakers), this newest novel by the NBCC Award-winning author is a clever comedy of manners that segues--as is the author's wont--into a disquisition on the distinction between literature and life. Most of the conversations are articulate, erotic pillow talk between adulterous lovers: an American writer living in London and his English mistress. She complains about the complications of her domestic life. He mainly listens: "I'm an ecouteur--an audiophiliac. I'm a talk fetishist." The identification with Roth himself is clear; the male speaker refers to "Zuckerman, my character." He also records conversations with other women, his former lovers. Two of them are emigrees from Eastern Europe; like the male speaker/Roth, they are outsiders in English society, where he is very conscious of British anti-Semitism. But the book is more complex than the conversational format suggests. Roth is up to his old tricks; the title has a dual meaning. In a conversation between the male character/Roth and his "wife," he insists that these dialogues are purely imaginary, notes for a novel in progress. Yes, but then another conversation suggests otherwise. Who is being deceived here? It's impossible to say. First serial to Esquire.
Copyright 1990 Reed Business Information, Inc.
Copyright 1990 Reed Business Information, Inc.
From Library Journal
Philip, a successful, middle-aged, and highly opinionated Jewish-American novelist, moves to a small flat in London to work on his new book. He begins seeing a married Englishwoman in his spare time, and soon he has filled a notebook with their pre- and post-coital conversations. When he publishes this document as a novel, his indignant mistress accuses him of deceiving both her and his public. The book ends with Philip's impassioned defense of self-referential fiction. The issue, however, is not self-referential fiction in general but simply Roth's own peculiar version of it, which consists mostly of unabashed editorializing through the mouthpiece of Philip. A textbook example of the novel as soapbox, Deception will appeal only to Roth's most steadfast supporters. Previewed in Prepub Alert, LJ 1/90. --Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright 1990 Reed Business Information, Inc.
Copyright 1990 Reed Business Information, Inc.
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