Joshua Cohen pulls no punches in this damning review of Roth Unbound. Gotta appreciate a critic who can write like this.
Yet another Roth redux, the public radio intellectual and lit professor David Kepesh, changes into a six-foot-tall, 155-pound breast in The Breast; in The Professor of Desire he ventures to Prague and hallucinates a whore who, for $10, will narrate the sex acts she performed on Kafka, and for another $5 will let Kepesh inspect her octogenarian vagina himself. Pierpont tags these books as reactions to The Metamorphosis, but also to Roth’s sojourns behind the iron curtain, which themselves were merely bids to escape his reputation after the release of Portnoy’s Complaint, that classic of filial suffering and fervent wanking: Roth’s “Portnoy readers – even the ones who loved the book, or maybe especially those – viewed him as ‘a walking prick’. When they came up to him in the street, that’s what they saw, it seemed to him, that’s whom they were congratulating.”
The problem with this is not how one congratulates a prick – by wanking it, perhaps – but rather the quotation marks: it is not clear, when it comes to “a walking prick”, who exactly is talking. This vagary plagues every page of Roth Unbound, regardless of attributive punctuation, to the point where Pierpont’s criticism references Roth’s “non-fiction books” as if they were gospels, and assimilates their opinions too. These supposedly impeachable sources are The Facts, which purports to be an autobiography discussed in letters between Zuckerman and Roth; and Patrimony, a memoir of Roth’s father’s death, written in the midst of his decline. Then there are the miscellanies: Shop-Talk, and Reading Myself and Others. The former collects conversations Roth conducted with the likes of Primo Levi and Milan Kundera, in which he proposes interpretations of their works and they, of course, agree. The latter is a Maileresque orgy of vanity featuring interviews of Roth by George Plimpton and Joyce Carol Oates; an essay about writing Portnoy, in which Roth excerpts a speech he delivered to an Anti-Defamation League symposium; an essay on the novelist-critic divide, the bulk of which is given over to a letter Roth wrote but never posted to critic Diana Trilling, dissenting from her review of Portnoy; a self-interview Roth did for Partisan Review that refers to an essay he wrote about himself for Commentary; not to forget his own review of a Broadway play adapted from his earliest stories.