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16 of 17 people found the following review helpful:
4.0 out of 5 stars
Roth in transition, August 16, 2005
This review is from: The Counterlife (Paperback)
The Counterlife is one of Roth's most unusual and experimental novels, and finds Roth in transition from the spare, elegant books of the Zuckerman Bound trilogy to the more expansive Zuckerman novels of his recent, acclaimed "America" trilogy (American Pastoral, I Married a Communist, and The Human Stain).
In The Counterlife we get the full range of Roth--from the moving but wickedly funny first part Basel, where Nathan Zuckerman narrates the events leading to his brother Henry's death and subsequent funeral, to the second section Judea, where Nathan goes to Israel to try to lure Henry (restored to life and now part of a militant Zionist group) back home to the States, to a later section where Nathan has died, and an estranged Henry attends his funeral, to the final sections with Nathan in England, dealing with anti-Semitism and his wife's family in a brilliant bit of social comedy.
Plot sounds confusing, right? Yet The Counterlife is not a wildly post-modern novel, but a fairly straightforward read. Not all parts of the book work as effectively as the others, and the book is less finished than some of Roth's other work, but there are stretches here that contain some of the best writing Roth has ever done. This is a book deeply concerned with questions of identity and free will--more specifically about the many lives we create for ourselves and the way we often form these lives by reacting with or against other people's conceptions of us.
It's a remarkably thought-provoking and absorbing novel; if I would withhold it from the very top tier of Roth's achievements it's only because it lacks the cohesion and concentration of his best work. Still, a deeply rewarding book, and a must-read for Roth fans.
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17 of 19 people found the following review helpful:
5.0 out of 5 stars
Philip Roth's The Counterlife - A Quest for Identity, November 30, 1998
By A Customer
This review is from: The Counterlife (Paperback)
Philip Roth is one of the most highly acclaimed Jewish-American writers of our time, and The Counterlife confirms his skill as a craftsman and a philosopher on Jewish matters. Roth creates perfect environments for the scrutiny of a subject one frequently encounters in his work: The intellectual secular Jewish male's search for and affirmation of his identity. This theme is woven into each of the novel's five chapters, which are authored in first-person narrative by the fictional writer Nathan Zuckerman. Zuckerman defines identity by weighing secularity against religious fervor, masculinity against femininity, potency against impotency, and Jewish awareness against anti-Semitism. While the novel is set in Zuckerman's fictional world, the chapters each tell separate stories. The situations Zuckerman creates vary, and thus three forms of Jewish identity between which he seems to be caught are examined. Zuckerman experiences the identities of the secular son of traditional Jewish parents, of being a militant Jew's brother, and of the son-in-law grappling with his mother-in-law's anti-Semitism which causes the failure of yet another attempt at family life. Similar themes can be identified in Roth's other works, such as Goodbye, Columbus and Portnoy's Complaint. However, the post-modern structure of The Counterlife allows for their juxtaposition within one novel, thereby offering the reader a spectrum of the protagonist's issues of identity. Roth's prose is explicit, witty, and even funny, making the novel a truely enjoyable and engaging read. In the interest of authenticity, he does not recoil from using obscenities. He mocks Jewish-American militancy and pseudo-religiosity by the creation of Ben-Joseph, the author of the "Five Books of Jimmy," who really misses baseball in Israel and later hijacks an El Al plane for hopeless ends. Nevertheless, Roth does not lose sight of the danger inherent in this militancy. Zuckerman finds his brother's carrying a gun alarming. He detects a loss of "Henry's [his brother's] Henriness," and wonders whether Henry has "developed, postoperatively, a taste for the ersatz in life". A well-rounded novel, and certainly a must for those interested in Jewish-American writing.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
"An Australia for Jews" - a sad core amidst fine satire, April 4, 2003
By A Customer
This review is from: The Counterlife (Paperback)
This is a funny, satirical literary novel about the clownish mid-life crisis of a typical suburban Jewish New Jersey dentist - yes, it's Roth country! But at it's heart, in the Israel section of the book, the farce suddenly dies away: I found the sad, powerful tale of the character "Shuki" unexpectedly moving: Shuki, one of the original European settlers of Israel, who enthusiastically built Israel and fought in the front line through all the troubles, is now an exhausted, world-weary man. He sees all the talented Jews of the world settling in places like the USA, Canada, Britain and France, whereas forty years of unrelenting war have turned Israel (he says) into "an Australia for Jews," a place where the first rate don't emigrate to anymore, only the most hopeless come now, those without the skills or talent to get them into the First World, who must experience a day to day tension so profound it's like a recreation of the pogroms of Russia. Roth's stunning departure from the farcical aspects of his story and Shuki's blunt assessments hit the reader like a succession of boxer's blows, the reader lulled previously by all the fine satire and good story telling. Luckily, the farce returns quickly, and we're off for more crazy adventures with the suburban New Jersey dentist and his writer brother, but this is a unexpectedly a very powerful book, and though it came out a few years ago it is, of course, especially moving right now in these troubled times. Don't miss Roth's other novels if you like this one. I also recommend Dawn Powell's *The Golden Spur*, Simon Raven's *Alms For Oblivion* series, Sandor Marai's *Embers*, the poetry of Philip Larkin and Paul Theroux's *Kowloon Tong*. And all of Shakespeare, Dickens and Austen.
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