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Human Stain Audio, Cassette – Audiobook, Unabridged

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Product Details

  • Audio Cassette
  • Publisher: Houghton Mifflin; Unabridged edition (May 17, 2000)
  • Language: English
  • ISBN-10: 0618059466
  • ISBN-13: 978-0618059461
  • Product Dimensions: 6.2 x 4.2 x 2.6 inches
  • Shipping Weight: 12 ounces
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (250 customer reviews)
  • Amazon Best Sellers Rank: #661,629 in Books (See Top 100 in Books)

Editorial Reviews Review

Athena College was snoozing complacently in the Berkshires until Coleman Silk--formerly "Silky Silk," undefeated welterweight pro boxer--strode in and shook the place awake. This faculty dean sacked the deadwood, made lots of hot new hires, including Yale-spawned literary-theory wunderkind Delphine Roux, and pissed off so many people for so many decades that now, in 1998, they've all turned on him. Silk's character assassination is partly owing to what the novel's narrator, Nathan Zuckerman, calls "the Devil of the Little Place--the gossip, the jealousy, the acrimony, the boredom, the lies."

But shocking, intensely dramatized events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication," and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibility, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble," and a melancholy voluptuousness. "I'm back in the tornado," Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.

In a short space, it's tough to convey the gale-force quality of Silk's rants, or the odd effect of Zuckerman's narration, alternately retrospective and torrentially in the moment. The flashbacks to Silk's youth in New Jersey are just as important as his turbulent forced retirement, because it turns out that for his entire adult life, Silk has been covering up the fact that he is a black man. (If this seems implausible, consider that the famous New York Times book critic Anatole Broyard did the same thing.) Young Silk rejects both the racism that bars him from Woolworth's counter and the Negro solidarity of Howard University. "Neither the they of Woolworth's nor the we of Howard" is for Coleman Silk. "Instead the raw I with all its agility. Self-discovery--that was the punch to the labonz.... Self-knowledge but concealed. What is as powerful as that?"

Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband (a sketchy guy who seems to have wandered in from a lesser Russell Banks novel), scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux is intriguingly (and convincingly) nutty, and any number of minor characters pop in, mouth off, kick ass, and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

Roth almost never fails to surprise. After a clunky beginning, in which crusty Nathan Zuckerman is carrying on about the orgy of sanctimoniousness surrounding Clinton's Monica misadventures, his new novel settles into what would seem to be patented Roth territory. Coleman Silk, at 71 a distinguished professor at a small New England college, has been harried from his position because of what has been perceived as a racist slur. His life is ruined: his wife succumbs under the strain, his friends are forsaking him, and he is reduced to an affair with 34-year-old Faunia Farley, the somber and illiterate janitor at the college. It is at this point that Zuckerman, Roth's novelist alter ego, gets to know and like Silk and to begin to see something of the personal and sexual liberation wrought in him by the unlikely affair with Faunia. It is also the point at which Faunia's estranged husband Les Farley, a Vietnam vet disabled by stress, drugs and drink, begins to take an interest in the relationship. So far this is highly intelligent, literate entertainment, with a rising tension. Will Les do something violent? Will Delphine Roux, the young French professor Silk had hired, who has come to hate him, escalate the college's campaign against him? Yes, but she now wants to make something of his Faunia relationship too. Then, in a dazzling coup, Roth turns all expectations on their heads, and begins to show Silk in a new and astounding light, as someone who has lived a huge lie all his life, making the fuss over his alleged racism even more surreal. The book continues to unfold layer after layer of meaning. There is a tragedy, as foretold, and an exquisitely imagined ending in which Zuckerman himself comes to feel both threatened and a threat. Roth is working here at the peak of his imaginative skills, creating many scenes at once sharply observed and moving: Faunia's affinity for the self-contained remoteness of crows, Farley's profane longing for a cessation to the tumult in his head, Zuckerman delightedly dancing with Silk to the big band tunes of their youth. He even brings off virtuoso passages that are superfluous but highly impressive, like his dissection of the French professor's lonely anguish in the States. This is a fitting capstone to the trilogy that includes American Pastoral and I Married a Communist--a book more balanced and humane than either, and bound, because of its explosive theme, to be widely discussed. 100,000 first printing.
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

More About the Author

In the 1990s Philip Roth won America's four major literary awards in succession: the National Book Critics Circle Award for Patrimony (1991), the PEN/Faulkner Award for Operation Shylock (1993), the National Book Award for Sabbath's Theater (1995), and the Pulitzer Prize in fiction for American Pastoral (1997). He won the Ambassador Book Award of the English-Speaking Union for I Married a Communist (1998); in the same year he received the National Medal of Arts at the White House. Previously he won the National Book Critics Circle Award for The Counterlife (1986) and the National Book Award for his first book, Goodbye, Columbus (1959). In 2000 he published The Human Stain, concluding a trilogy that depicts the ideological ethos of postwar America. For The Human Stain Roth received his second PEN/Faulkner Award as well as Britain's W. H. Smith Award for the Best Book of the Year. In 2001 he received the highest award of the American Academy of Arts and Letters, the Gold Medal in Fiction, given every six years "for the entire work of the recipient." In 2005 The Plot Against America received the Society of American Historians Award for "the outstanding historical novel on an American theme for 2003--2004." In 2007 Roth received the PEN/Faulkner Award for Everyman.

Customer Reviews

With each novel that I read of Philip Roth's, I become more of a fan.
Although I was interested in the storyline, I could barely tolerate the pompous nature of Roth's writing style - he is obviously infatuated with his vocabulary.
"For better or worse," Zuckerman tells us, assuming his identity, "I can only do what everyone does who thinks that they know. I imagine."

Most Helpful Customer Reviews

125 of 130 people found the following review helpful By A Customer on November 8, 2000
Format: Hardcover
The Human Stain completes Philip Roth's thematic American trilogy, a meditation on the historical forces in the latter half of the twentieth century that have destroyed many innocent lives. In this trilogy, Roth takes devastating aim at the "American dream" and its empty promises of prosperity, freedom and everlasting happiness.
The trilogy began with American Pastoral, which some believe to be the high point in Roth's career. American Pastoral explored the effects of late-sixties radicalism on the idyllic life of Swede Levov and his family. I Married a Communist, the second book of the trilogy, was somewhat of a disappointment after the near-perfect American Pastoral, but it was still an engrossing story about the McCarthy era, a portrait of a country in which paranoia had displaced reason, allowing rumor and innuendo to run rampant and ruin lives.
The Human Stain closes the trilogy and brings us to the year 1998. The United States is awash in the Clinton-Lewinsky scandal and citizens feel the "ecstasy of sanctimony;" they are ready to accuse, blame and punish a very good president for what amounts to nothing more than the sexual peccadilloes almost every person becomes involved in at some time during his life.
On its surface, The Human Stain condemns the political correctness of McCarthyism that effectively turns college campuses away from creative thought and toward middle-aged, white, male oppression at any cost. Does this make The Human Stain a campus satire? Yes, but it is so much more and those who think it is not are simply missing the book's deepest level. It is, at its heart, a sad and poignant statement on the very essence of human nature, a statement that, in Roth's talented hands, becomes utterly convincing.
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65 of 72 people found the following review helpful By Brooke276 on May 5, 2000
Format: Hardcover
More than an attack on the all-too-familiar topic of political correctness, Roth's new novel manages to encompass the entire culture of self-righteousness and MORAL correctness (which always assumes a more insidious form than the political). While some of the character developments are often less than compelling, the central story of Coleman Silk always remains strong and utterly fascinating. A key point, and often overlooked in reviews, is Roth's revelation (still unknown to many at this late date) of the ambiguity and arbitrary nature of racial classification. If Silk is to be considered black despite being as light as any white man, what does that do to our sense of "innate" and "immutable" racial features? As with morality, holding rigid ideological beliefs about race does little but lead to tragic misunderstandings and a failure to perceive complexity. Despite some detours, Roth is an exceptional writer, always insightful and willing to tackle contemporary controversies without fear. Some might be distracted by the allusions to the Clinton-Lewinsky affair, but it does serve its purpose: intelligent, important men are often brought down by their sexual impulses, but such acts should never outweigh other aspects of character and achievement. That we need to be reminded of this time after time is quite sad, but Roth would rather we not forget it. Overall, neither "liberal" nor "conservative" in the conventional sense, but an indictment of a hypocritical society bent on using obfuscation and euphemism to create an environment where, to paraphrase Roth, "what is being said is not what is really going on."
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22 of 23 people found the following review helpful By I LOVE BOOKS on May 5, 2008
Format: Paperback
Let me just start with the silliest comment: the only way to find out whether you like this book or not, is by reading it. Most reviews here and on reflect ambivalent feelings. After turning the last page, mine was not altogether negative, but not entirely positive either. This was also my first book by Philip Roth.

Ageing but vigorous professor Coleman Silk is accused of racism in the classroom and forcefully rejecting it (in vain), he chooses to retire after a long, fulfilling and esteemed teaching career. His tale is told by his friend, writer Nathan Zuckerman. Hardly acknowledging each other for years, a friendship begins and Zuckerman tries to understand the multiple facets defining Silk's personality. Unbeknownst to him, he will later discover a secret that Silk has kept for decades, a secret which his life had been, and still is, based on.

Looping around the main theme, there are other characters who are connected with Silk and bear relevance. In the background, Coleman's parents and siblings. Their beginnings, the struggles to send all their children to proper schools for the best education possible. We then have his wife, a strong, independent personality who died during the `racism ordeal', and their four adult children (it's 1998 by then). Silk's bursting rage and pain towards these two -to him- related events (the accusations and his wife's death), find a degree of comfort through the acquaintance -later developing into something much more- of Faunia, a janitor in the Athena college where he used to teach. Faunia, a tormented soul herself, does not seem to be left alone by her ex-husband, Les, who keeps stalking her after a terrible tragedy struck at their home some years previously.
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