Philip Roth - Everyman

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"I'm thirty-four! Worry about oblivion, he told himself, when you're seventy-five." Philip Roth's new novel is a fiercely intimate yet universal story of loss, regret, and stoicism. The best-selling author of The Plot Against America now turns his attention from "one family's harrowing encounter with history" (New York Times) to one man's lifelong confrontation with mortality. Roth's everyman is a hero whose youthful sense of independence and confidence begins to be challenged when illness commences its attack in middle age. A successful commercial advertising artist, he is the father of two sons who despise him and a daughter who adores him. He is the brother of a good man whose physical well-being comes to arouse his bitter envy. He is the lonely ex-husband of three very different women with whom he has made a mess of marriage. Inevitably, he discovers that he has become what he does not want to be.
Roth has been hailed as "the most compelling of living writers… [His] every book is like a dispatch from the deepest recesses of the national mind." In Everyman, Roth once again displays his hallmark incisiveness. From his first glimpse of death on the idyllic beaches of his childhood summers, through his vigorous, seemingly invincible prime, Roth's hero is a man bewildered not only by his own decline but by the unimaginable deaths of his contemporaries and those he has loved. The terrain of this haunting novel is the human body. Its subject is the common experience that terrifies us all.

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She had only to say Cecilia's name to instantaneously recall the vindictive tirades visited on his mother and father by his first wife, who, fifteen years later, to his horror, turned out to have been not merely abandoned Cecilia but his Cassandra: "I pity this little Miss Muffet coming after me – I genuinely do pity the vile little Quaker slut!"

"You can weather anything," Phoebe was telling him, "even if the trust is violated, if it's owned up to. Then you become life partners in a different way, but it's still possible to remain partners. But lying – lying is cheap, contemptible control over the other person. It's watching the other person acting on incomplete information – in other words, humiliating herself. Lying is so commonplace and yet, if you're on the receiving end, it's such an astonishing thing. The people you liars are betraying put up with a growing list of insults until you really can't help but think less of them, can you? I'm sure that liars as skillful and persistent and devious as you reach the point where it's the one you're lying to, and not you, who seems like the one with the serious limitations. You probably don't even think you're lying – you think of it as an act of kindness to spare the feelings of your poor sexless mate. You probably think your lying is in the nature of a virtue, an act of generosity toward the dumb cluck who loves you. Or maybe it's just what it is – a fucking lie, one fucking lie after another. Oh, why go on – all these episodes are so well known," she said. "The man loses the passion for the marriage and he cannot live without. The wife is pragmatic. The wife is realistic. Yes, passion is gone, she's older and not what she was, but to her it's enough to have the physical affection, just being there with him in the bed, she holding him, he holding her. The physical affection, the tenderness, the comradery, the closeness… But he cannot accept that. Because he is a man who cannot live without. Well, you're going to live without now, mister. You're going to live without plenty. You're going to find out what living without is all about! Oh, go away from me, please. I can't bear the role you've reduced me to. The pitiful middle-aged wife, embittered by rejection, consumed by rotten jealousy! Raging! Repugnant! Oh, I hate you for that more than anything. Go away, leave this house. I can't bear the sight of you with that satyr-on-his-good-behavior look on your face! You'll get no absolution from me – never! I will not be trifled with any longer! Go, please! Leave me alone!"

"Phoebe-"

"No! Don't you dare call me by my name!"

But these episodes are indeed well known and require no further elaboration. Phoebe threw him out the night after his mother's burial, they were divorced after negotiating a financial settlement, and because he did not know what else to do to make sense of what had happened or how else to appear responsible – and to rehabilitate himself particularly in Nancy's eyes – a few months later he married Merete. Since he had broken everything up because of this person half his age, it seemed only logical to go ahead and tidy everything up again by making her his third wife – never was he clever enough as a married man to fall into adultery or to fall in love with a woman who was not free.

It was not long afterward that he discovered that Merete was something more than that little hole, or perhaps something less. He discovered her inability to think anything through without all her uncertainties intruding and skewing her thought. He discovered the true dimensions of her vanity and, though she was only in her twenties, her morbid fear of aging. He discovered her green card problems and her long-standing tax mess with the IRS, the result of years of failing to file a return. And when he required emergency coronary artery surgery, he discovered her terror of illness and her uselessness in the face of danger. Altogether he was a little late in learning that all her boldness was encompassed in her eroticism and that her carrying everything erotic between them to the limit was their only overpowering affinity. He had replaced the most helpful wife imaginable with a wife who went to pieces under the slightest pressure. But in the immediate aftermath, marrying her had seemed the simplest way to cover up the crime.

Passing the time was excruciating without painting. There was the hour-long morning walk, in the late afternoon there was twenty minutes of working out with his light weights and a half hour of doing easy laps at the pool – the daily regime his cardiologist encouraged – but that was it, those were the events of his day. How much time could you spend staring out at the ocean, even if it was the ocean you'd loved since you were a boy? How long could he watch the tides flood in and flow out without his remembering, as anyone might in a sea-gazing reverie, that life had been given to him, as to all, randomly, fortuitously, and but once, and for no known or knowable reason? On the evenings he drove over to eat broiled bluefish on the back deck of the fish store that perched at the edge of the inlet where the boats sailed out to the ocean under the old drawbridge, he sometimes stopped first at the town where his family had vacationed in the summertime. He got out of the car on the ocean road and went up onto the boardwalk and sat on one of the benches that looked out to the beach and the sea, the stupendous sea that had been changing continuously without ever changing since he'd been a bony sea-battling boy. This was the very bench where his parents and grandparents used to sit in the evenings to catch the breeze and enjoy the boardwalk promenade of neighbors and friends, and this was the very beach where his family had picnicked and sunned themselves and where he and Howie and their pals went swimming, though it was now easily twice as wide as it had been then because of a reclamation project recently engineered by the army. Yet wide as it was, it was still his beach and at the center of the circles in which his mind revolved when he remembered the best of boyhood. But how much time could a man spend remembering the best of boyhood? What about enjoying the best of old age? Or was the best of old age just that – the longing for the best of boyhood, for the tubular sprout that was then his body and that rode the waves from way out where they began to build, rode them with his arms pointed like an arrowhead and the skinny rest of him following behind like the arrow's shaft, rode them all the way in to where his rib cage scraped against the tiny sharp pebbles and jagged clamshells and pulverized sea-shells at the edge of the shore and he hustled to his feet and hurriedly turned and went lurching through the low surf until it was knee high and deep enough for him to plunge in and begin swimming madly out to the rising breakers – into the advancing, green Atlantic, rolling unstoppably toward him like the obstinate fact of the future – and, if he was lucky, make it there in time to catch the next big wave and then the next and the next and the next until from the low slant of inland sunlight glittering across the water he knew it was time to go. He ran home barefoot and wet and salty, remembering the mightiness of that immense sea boiling in his own two ears and licking his forearm to taste his skin fresh from the ocean and baked by the sun. Along with the ecstasy of a whole day of being battered silly by the sea, the taste and the smell intoxicated him so that he was driven to the brink of biting down with his teeth to tear out a chunk of himself and savor his fleshly existence.

Quickly as he could on his heels he crossed the concrete sidewalks still hot from the day and when he reached their rooming house headed around back to the outdoor shower with the soggy plywood walls, where wet sand plopped out of his suit when he kicked it off over his feet and held it up to the cold water beating down on his head. The level force of the surging tide, the ordeal of the burning pavement, the bristling shock of the ice-cold shower, the blessing of the taut new muscles and the slender limbs and the darkly suntanned flesh marked by just a single pale scar from the hernia surgery hidden down by his groin – there was nothing about those August days, after the German submarines had been destroyed and there were no more drowned sailors to worry about, that wasn't wonderfully clear. And nothing about his physical perfection that he had any reason not to take for granted.

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