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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.
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-