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American Pastoral (American Trilogy #1)

American Pastoral (American Trilogy #1)

3.9 66
by Philip Roth

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Winner of the Pulitzer Prize
Now a major motion picture starring Ewan McGregor, Jennifer Connelly, and Dakota Fanning

Here is Philip Roth's masterpiece—an elegy for the American century's promises of prosperity, civic order, and domestic bliss. Roth's protagonist is Swede Levov, a legendary athlete at his Newark high school,


Winner of the Pulitzer Prize
Now a major motion picture starring Ewan McGregor, Jennifer Connelly, and Dakota Fanning

Here is Philip Roth's masterpiece—an elegy for the American century's promises of prosperity, civic order, and domestic bliss. Roth's protagonist is Swede Levov, a legendary athlete at his Newark high school, who grows up in the booming postwar years to marry a former Miss New Jersey, inherit his father's glove factory, and move into a stone house in the idyllic hamlet of Old Rimrock. And then one day in 1968, Swede's beautiful American luck deserts him.

For Swede's adored daughter, Merry, has grown from a loving, quick-witted girl into a sullen, fanatical teenager—a teenager capable of an outlandishly savage act of political terrorism. And overnight Swede is wrenched out of the longed-for American pastoral and into the indigenous American berserk. Compulsively readable, propelled by sorrow, rage, and a deep compassion for its characters, American Pastoral gives us Philip Roth at the height of his powers.

Editorial Reviews

From the Publisher
"One of Roth's most powerful novels ever...moving, generous and ambitious...a fiercely affecting work of art." —Michiko Kakutani, The New York Times

"Dazzling...a wrenching, compassionate, intelligent novel...gorgeous." —Boston Globe

"At once expansive and painstakingly detailed.... The pages of American Pastoral crackle with the electricity and zest of a first-rate mind at work." —San Francisco Chronicle

Albert Mobilio

Because in this, my one life, I can only spend so much time meditating upon Philip Roth's sexual hang-ups and identity issues, I've approached that ongoing self-obsession, which he regularly parses into novel-sized chunks, with wariness. Now along comes American Pastoral, a novel about three generations of family life and, in particular, the rupture between a father and daughter that embodies the social upheaval of the '60s. A big-picture book, it aspires to naturalist traditions that pit irresistible social forces against hapless souls. Clearly, this time around Roth wants to dodge the much-leveled charge of navel gazing.

At least as much as he can. American Pastoral successfully shoulders its weighty public theme of American optimism undone by a propensity for the extreme. It also rounds up Roth's usual subjects -- Jewish assimilation, bourgeois pretension and the shiksa's fatal allure. His perennial alter ego, Nathan Zuckerman, can't help but make an appearance at his high school reunion. It was in high school during the 1940s that Zuckerman got to know Seymour Levov, a blond, supremely confidant athletic hero nicknamed "the Swede," upon whom the Jews of Newark heaped adoration. In his physical prowess and simple ease of being -- "no striving, no ambivalence, no doubleness" -- the Swede represented "a oneness with America" for these first- and second-generation immigrants.

After learning of Seymour's death at the reunion, Zuckerman decides to write about him. The golden boy of Weequahic took over his father's profitable business, married an Irish Catholic former Miss New Jersey and moved to a posh 100-acre spread far from decaying Newark. It's the postwar American dream, until he slams smack up against another pure product of America: To protest the Vietnam War, the Swede's teenage daughter blows up a small-town post-office, accidentally killing a popular local doctor. She goes into hiding for 25 years, during which time the Swede is tortured, first by not knowing how she is, and then by knowing all too well the madness that has consumed her life.

Roth's faithful, often piercing apprehension of the jagged emotional transactions between parent and child form this book's true achievement. (Perhaps, since it was revealed in Claire Bloom's recent memoir that Roth ordered her teenage daughter out of the house, the childless Roth wants to prove he knows from parenthood.) Sadly though, this is another novel by a marquee author that suffers from intimidated or inactive editors. There are long sections of conversation (one features the Swede's bulldog of a father interrogating his Catholic future daughter-in-law about anti-Semitism), that just go on and on. Structurally, the book is poorly shaped. Roth doesn't circle back to the 90-page preamble featuring Zuckerman, the ending feels arbitrary and the gratifying if bracing payoff that American Pastoral vigorously promises throughout is denied. But, if you want a Philip Roth book that isn't just another bulletin from his life, this one is that and more. -- Salon

Publishers Weekly - Publisher's Weekly
The protagonist of Roth's new novel, a magnificent meditation on a pivotal decade in our nation's history, is in every way different from the profane and sclerotic antihero of Sabbath's Theater (for which Roth won the National Book Award in 1995). It's as though, having vented his spleen and his libido in Mickey Sabbath, Roth was then free to contemplate the life of a man who is Sabbath's complete opposite. He relates the story of Seymour "Swede" Levov with few sex scenes and no scatological sideshows; the deviant behavior demonstrated here was common to a generation, and the shocks Roth delivers are part of our national trauma. This is Roth's most mature novel, powerful and universally resonant. Swede Levov's life has been charmed from the time he was an all-star athlete at Newark's Weequahic high school. As handsome, modest, generous and kind as he is gifted, Swede takes pains to acknowledge the blessings for which he is perceived as the most fortunate of men. He is patriotic and civically responsible, maritally faithful, morally upstanding, a mensch. He successfully runs his father's glove factory, refusing to be cowed by the race riots that rock Newark, marries a shiksa beauty-pageant queen, who is smart and ambitious, buys a 100-acre farm in a classy suburb-the epitome of serene, innocent, pastoral existence-and dotes on his daughter, Merry. But when Merry becomes radicalized during the Vietnam War, plants a bomb that kills an innocent man and goes underground for five years, Swede endures a torment that becomes increasingly unbearable as he learns more about Merry's monstrous life. In depicting Merry, Roth expresses palpable fury at the privileged, well-educated, self-centered children of the 1960s, who in their militant idealism demonstrated ferocious hatred for a country that had offered their families opportunity and freedom. After three generations of upward striving and success, Swede and his family are flung "out of the longed-for American pastoral and into everything that is its antithesis and its enemy-into the fury, the violence and the desperation of the counterpastoral-into the American berserk." Roth's pace is measured. The first two sections of the book are richly textured with background detail. The last third, however, is full of shocking surprises and a message of existential chaos. "The Swede found out that we are all in the power of something demented,'' Roth writes. And again: "He had learned the worst lesson that life could teach-that it makes no sense." In the end, his dream and his life destroyed by his daughter and the decade, Swede finally understands that he is living through the moral breakdown of American society. The picture is chilling.
Kirkus Reviews
Roth's elegiac and affecting new novel, his 18th, displays a striking reversal of form—and content—from his most recent critical success, the Portnoyan Sabbath's Theater (1995).

Its narrator, however, is a familiar Rothian figure: writer Nathan Zuckerman (of The Ghost Writer, et al.)—and in case you're wondering whether he still seems to be his author's alter ego, Nathan is now in his early 60s, recovering from both cancer surgery and a longtime affair with an English actress. Essentially retired, Nathan is approached by a high-school classmate's older brother—and the well-remembered hero of his youth: Seymour "Swede" Levov, once a blue-eyed athletic and moral paragon who strode through life with ridiculous ease, now nearing 70 and crushed by outrageous misfortunes. Swede asks his help writing a tribute to his late father, and soon thereafter dies himself. Piqued by the enigma of a seemingly perfect life (superb health, a successful family business, marriage to a former beauty queen) inexplicably gone wrong, Zuckerman "dream[s] a realistic chronicle" that reconstructs Swede's life—compounded of information gleaned from others who knew him, and centering in the 1960s when Swede's life began to unravel. His only daughter Meredith ("Merry") had rebelled against her parents' and her culture's complacency, protested against the war in Vietnam, claimed responsibility for a terrorist bombing in which innocent people were killed, and gone "underground" as a fugitive. Most of the scenes Zuckerman/Roth imagines, therefore, are intensely emotional conversations in which the conflicting claims of social solidarity and individual integrity are debated with pained immediacy. Here, and in more conventionally expository authorial passages, meditativeness and discursiveness predominate over drama. Nevertheless, passion seethes through the novel's pages.

Some of the best pure writing Roth has done. And Swede Levov's anguished cry "What the hell is wrong with doing things right?" may be remembered as one of the classic utterances in American fiction.

Product Details

Knopf Doubleday Publishing Group
Publication date:
Nathan Zuckerman Series
Edition description:
Reprinted Edition
Sales rank:
Product dimensions:
5.20(w) x 8.00(h) x 1.00(d)

Read an Excerpt


The Swede. During the war years, when I was still a grade school boy, this was a magical name in our Newark neighborhood, even to adults just a generation removed from the city's old Prince Street ghetto and not yet so flawlessly Americanized as to be bowled over by the prowess of a high school athlete. The name was magical; so was the anomalous face. Of the few fair-complexioned Jewish students in our preponderantly Jewish public high school, none possessed anything remotely like the steep-jawed, insentient Viking mask of this blue-eyed blond born into our tribe as Seymour Irving Levov.

The Swede starred as end in football, center in basketball, and first baseman in baseball. Only the basketball team was ever any good-twice winning the city championship while he was its leading scorer-but as long as the Swede excelled, the fate of our sports teams didn't matter much to a student body whose elders, largely undereducated and overburdened, venerated academic achievement above all else. Physical aggression, even camouflaged by athletic uniforms and official rules and intended to do no harm to Jews, was not a traditional source of pleasure in our community-advanced degrees were. Nonetheless, through the Swede, the neighborhood entered into a fantasy about itself and about the world, the fantasy of sports fans everywhere: almost like Gentiles (as they imagined Gentiles), our families could forget the way things actually work and make an athletic performance the repository of all their hopes. Primarily, they could forget the war.

The elevation of Swede Levov into the household Apollo of the Weequahic Jews can best be explained, I think, by the war against the Germans and the Japanese and the fears that it fostered. With the Swede indomitable on the playing field, the meaningless surface of life provided a bizarre, delusionary kind of sustenance, the happy release into a Swedian innocence, for those who lived in dread of never seeing their sons or their brothers or their husbands again.

And how did this affect him-the glorification, the sanctification, of every hook shot he sank, every pass he leaped up and caught, every line drive he rifled for a double down the left-field line? Is this what made him that staid and stone-faced boy? Or was the mature-seeming sobriety the outward manifestation of an arduous inward struggle to keep in check the narcissism that an entire community was ladling with love? The high school cheerleaders had a cheer for the Swede. Unlike the other cheers, meant to inspire the whole team or to galvanize the spectators, this was a rhythmic, foot-stomping tribute to the Swede alone, enthusiasm for his perfection undiluted and unabashed. The cheer rocked the gym at basketball games every time he took a rebound or scored a point, swept through our side of City Stadium at football games any time he gained a yard or intercepted a pass. Even at the sparsely attended home baseball games up at Irvington Park, where there was no cheerleading squad eagerly kneeling at the sidelines, you could hear it thinly chanted by the handful of Weequahic stalwarts in the wooden stands not only when the Swede came up to bat but when he made no more than a routine putout at first base. It was a cheer that consisted of eight syllables, three of them his name, and it went, Bah bah-bah! Bah bah bah . . . bah-bah! and the tempo, at football games particularly, accelerated with each repetition until, at the peak of frenzied adoration, an explosion of skirt-billowing cartwheels was ecstatically discharged and the orange gym bloomers of ten sturdy little cheerleaders flickered like fireworks before our marveling eyes . . . and not for love of you or me but of the wonderful Swede. "Swede Levov! It rhymes with . . . 'The Love'! . . . Swede Levov! It rhymes with . . . 'The Love'! . . . Swede Levov! It rhymes with . . . 'The Love'!"

Yes, everywhere he looked, people were in love with him. The candy store owners we boys pestered called the rest of us "Hey-you-no!" or "Kid-cut-it-out!"; him they called, respectfully, "Swede. Parents smiled and benignly addressed him as "Seymour. The chattering girls he passed on the street would ostentatiously swoon, and the bravest would holler after him, "Come back, come back, Levov of my life!" And he let it happen, walked about the neighborhood in possession of all that love, looking as though he didn't feel a thing. Contrary to whatever daydreams the rest of us may have had about the enhancing effect on ourselves of total, uncritical, idolatrous adulation, the love thrust upon the Swede seemed actually to deprive him of feeling. In this boy embraced as a symbol of hope by so many-as the embodiment of the strength, the resolve, the emboldened valor that would prevail to return our high school's servicemen home unscathed from Midway, Salerno, Cherbourg, the Solomons, the Aleutians, Tarawa-there appeared to be not a drop of wit or irony to interfere with his golden gift for responsibility.

But wit or irony is like a hitch in his swing for a kid like the Swede, irony being a human consolation and beside the point if you're getting your way as a god. Either there was a whole side to his personality that he was suppressing or that was as yet asleep or, more likely, there wasn't. His aloofness, his seeming passivity as the desired object of all this asexual lovemaking, made him appear, if not divine, a distinguished cut above the more primordial humanity of just about everybody else at the school. He was fettered to history, an instrument of history, esteemed with a passion that might never have been if he'd broken the Weequahic basketball record-by scoring twenty-seven points against Barringer-on a day other than the sad, sad day in 1943 when fifty-eight Flying Fortresses were shot down by Luftwaffe fighter planes, two fell victim to flak, and five more crashed after crossing the English coast on their way back from bombing Germany.

The Swede's younger brother was my classmate, Jerry Levov, a scrawny, small-headed, oddly overflexible boy built along the lines of a licorice stick, something of a mathematical wizard, and the January 1950 valedictorian. Though Jerry never really had a friendship with anyone, in his imperious, irascible way, he took an interest in me over the years, and that was how I wound up, from the age of ten, regularly getting beaten by him at Ping-Pong in the finished basement of the Levovs' one-family house, on the corner of Wyndmoor and Keer-the word "finished" indicating that it was paneled in knotty pine, domesticated, and not, as Jerry seemed to think, that the basement was the perfect place for finishing off another kid.

The explosiveness of Jerry's aggression at a Ping-Pong table exceeded his brother's in any sport. A Ping-Pong ball is, brilliantly, sized and shaped so that it cannot take out your eye. I would not otherwise have played in Jerry Levov's basement. If it weren't for the opportunity to tell people that I knew my way around Swede Levov's house, nobody could have got me down into that basement, defenseless but for a small wooden paddle. Nothing that weighs as little as a Ping-Pong ball can be lethal, yet when Jerry whacked that thing murder couldn't have been far from his mind. It never occurred to me that this violent display might have something to do with what it was like for him to be the kid brother of Swede Levov. Since I couldn't imagine anything better than being the Swede's brother-short of being the Swede himself-I failed to understand that for Jerry it might be difficult to imagine anything worse.

The Swede's bedroom-which I never dared enter but would pause to gaze into when I used the toilet outside Jerry's room-was tucked under the eaves at the back of the house. With its slanted ceiling and dormer windows and Weequahic pennants on the walls, it looked like what I thought of as a real boy's room. From the two windows that opened out over the back lawn you could see the roof of the Levovs' garage, where the Swede as a grade school kid practiced hitting in the wintertime by swinging at a baseball taped to a cord hung from a rafter-an idea he might have got from a baseball novel by John R. Tunis called The Kid from Tomkinsville. I came to that book and to other of Tunis's baseball books-Iron Duke, The Duke Decides, Champion's Choice, Keystone Kids, Rookie of the Year-by spotting them on the built-in shelf beside the Swede's bed, all lined up alphabetically between two solid bronze bookends that had been a bar mitzvah gift, miniaturized replicas of Rodin's "The Thinker." Immediately I went to the library to borrow all the Tunis books I could find and started with The Kid from Tomkinsville, a grim, gripping book to a boy, simply written, stiff in places but direct and dignified, about the Kid, Roy Tucker, a clean-cut young pitcher from the rural Connecticut hills whose father dies when he is four and whose mother dies when he is sixteen and who helps his grandmother make ends meet by working the family farm during the day and working at night in town at "MacKenzie's drugstore on the corner of South Main.'

The book, published in 1940, had black-and-white drawings that, with just a little expressionistic distortion and just enough anatomical skill, cannily pictorialize the hardness of the Kid's life, back before the game of baseball was illuminated with a million statistics, back when it was about the mysteries of earthly fate, when major leaguers looked less like big healthy kids and more like lean and hungry workingmen. The drawings seemed conceived out of the dark austerities of Depression America. Every ten pages or so, to succinctly depict a dramatic physical moment in the story-"He was able to put a little steam in it," "It was over the fence," "Razzle limped to the dugout"-there is a blackish, ink-heavy rendering of a scrawny, shadow-faced ballplayer starkly silhouetted on a blank page, isolated, like the world's most lonesome soul, from both nature and man, or set in a stippled simulation of ballpark grass, dragging beneath him the skinny statuette of a wormlike shadow. He is unglamorous even in a baseball uniform; if he is the pitcher, his gloved hand looks like a paw; and what image after image makes graphically clear is that playing up in the majors, heroic though it may seem, is yet another form of backbreaking, unremunerative labor.

The Kid from Tomkinsville could as well have been called The Lamb from Tomkinsville, even The Lamb from Tomkinsville Led to the Slaughter. In the Kid's career as the spark-plug newcomer to a last-place Brooklyn Dodger club, each triumph is rewarded with a punishing disappointment or a crushing accident. The staunch attachment that develops between the lonely, homesick Kid and the Dodgers' veteran catcher, Dave Leonard, who successfully teaches him the ways of the big leagues and who, "with his steady brown eyes behind the plate." shepherds him through a no-hitter, comes brutally undone six weeks into the season, when the old-timer is dropped overnight from the club's roster. "Here was a speed they didn't often mention in baseball: the speed with which a player rises-and goes down." Then, after the Kid wins his fifteenth consecutive game-a rookie record that no pitcher in either league has ever exceeded-he's accidentally knocked off his feet in the shower by boisterous teammates who are horsing around after the great victory, and the elbow injury sustained in the fall leaves him unable ever to pitch again. He rides the bench for the rest of the year, pinch-hitting because of his strength at the plate, and then, over the snowy winter-back home in Connecticut spending days on the farm and evenings at the drugstore, well known now but really Grandma's boy all over again-he works diligently by himself on Dave Leonard's directive to keep his swing level ("A tendency to keep his right shoulder down, to swing up, was his worst fault"), suspending a ball from a string out in the barn and whacking at it on cold winter mornings with "his beloved bat" until he has worked himself into a sweat. "'Crack . . .' The clean sweet sound of a bat squarely meeting a ball." By the next season he is ready to return to the Dodgers as a speedy right fielder, bats .325 in the second spot, and leads his team down to the wire as a contender. On the last day of the season, in a game against the Giants, who are in first place by only half a game, the Kid kindles the Dodgers' hitting attack, and in the bottom of the fourteenth-with two down, two men on, and the Dodgers ahead on a run scored by the Kid with his audacious, characteristically muscular baserunning-he makes the final game-saving play, a running catch smack up against the right center-field wall. That tremendous daredevil feat sends the Dodgers into the World Series and leaves him "writhing in agony on the green turf of deep right center." Tunis concludes like this: "Dusk descended upon a mass of players, on a huge crowd pouring onto the field, on a couple of men carrying an inert form through the mob on a stretcher . . . There was a clap of thunder. Rain descended upon the Polo Grounds." Descended, descended, a clap of thunder, and thus ends the boys' Book of Job.

I was ten and I had never read anything like it. The cruelty of life. The injustice of it. I could not believe it. The reprehensible member of the Dodgers is Razzle Nugent, a great pitcher but a drunk and a hothead, a violent bully fiercely jealous of the Kid. And yet it is not Razzle carried off "inert" on a stretcher but the best of them all, the farm orphan called the Kid, modest, serious, chaste, loyal, naive, undiscourageable, hard-working, soft-spoken, courageous, a brilliant athlete, a beautiful, austere boy. Needless to say, I thought of the Swede and the Kid as one and wondered how the Swede could bear to read this book that had left me near tears and unable to sleep. Had I had the courage to address him, I would have asked if he thought the ending meant the Kid was finished or whether it meant the possibility of yet another comeback. The word "inert" terrified me. Was the Kid killed by the last catch of the year? Did the Swede know? Did he care? Did it occur to him that if disaster could strike down the Kid from Tomkinsville, it could come and strike the great Swede down too? Or was a book about a sweet star savagely and unjustly punished-a book about a greatly gifted innocent whose worst fault is a tendency to keep his right shoulder down and swing up but whom the thundering heavens destroy nonetheless-simply a book between those "Thinker" bookends up on his shelf?

Meet the Author

In 1997 Philip Roth won the Pulitzer Prize for American Pastoral. In 1998 he received the National Medal of Arts at the White House and in 2002 the highest award of the American Academy of Arts and Letters, the Gold Medal in Fiction. He has twice won the National Book Award and the National Book Critics Circle Award. He has won the PEN/Faulkner Award three times. In 2005 The Plot Against America received the Society of American Historians’ Prize for “the outstanding historical novel on an American theme for 2003-2004.” Recently Roth received PEN’s two most prestigious awards: in 2006 the PEN/Nabokov Award and in 2007 the PEN/Bellow Award for achievement in American fiction. Roth is the only living American novelist to have his work published in a comprehensive, definitive edition by the Library of America. In 2011 he received the National Humanities Medal at the White House, and was later named the fourth recipient of the Man Booker International Prize.

Brief Biography

Date of Birth:
March 19, 1933
Place of Birth:
Newark, New Jersey
B.A. in English, Bucknell University, 1954; M.A. in English, University of Chicago, 1955

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American Pastoral 4 out of 5 based on 0 ratings. 67 reviews.
NathanDPhillips More than 1 year ago
Good, but nowhere near Roth's best. I am suprised this is heralded by many as Roth's masterpiece. I think it is far from it. The book is good, don't get me wrong. If written as a debut novel, the author would be jettisoned into Frazen-like popularity. It's good, it's good, it's all good. But, as much as I may have wanted to, I couldn't say it's great. Because it's simply good. The characters are interesting but not revolutionary. The prose is great, but not as sharp as Sabbath or Nemesis. So much about the novel is good. So. Much. But it's not his masterpiece. I will say. This book has one particular joke that made me laugh harder than anything I've ever read. It is simultaneously the worst and funniest thing that ink ever put on paper.  I shan't ruin it here though. I shall only say it regards circumcision and the priesthood. 
marc-medios More than 1 year ago
I have been a Philip Roth fan all of my life. Since Portnoy's Complaint, When She Was Good, Goodbye Columbus... this book is absolutely nowhere near it. The first 80 or so pages are downright boring; the narrative is OK and shows experience in writing, but the characters are oddly disengaging and, frankly, I don't feel anything for the Swede, Jerry, Merry or any of the cast of characters. Nothing. Like a blank. Or an empty space. I truly would not recommend it.
JiminAk More than 1 year ago
The title of Dave Eggers "A Heartbreaking Work of Staggering Genius" may have coined the phrase which may best describe this monumental novel. All of us have had a Swede Lenov (Roth's protagonist) touch our lives at some point. Swede is the American "everyman", whose successes are carried humbly through his life until he experiences a dismantling of which he was unprepared to ever comprehend. Roth expertly crafts this story using sketches of his secondary characters in a manner which delivers essential facts yet doesn't explore them any more than necessary. This book has joined my list of favorites, and ranked highly among them.
Guest More than 1 year ago
I became immersed in this book and read it in one week. Each character is so different, yet Roth points to their strengths and weaknesses in his successful effort to unite them in one multi-dimentional reality. The wordiness is necessary and ingenious. Roth, by drawing you into conversations and thoughts, brings you as close as an author can bring you to the characters and their perceptions. It's a great book that will grab and take hold of you until you are finished reading. Then, it'll stay with you for certain.
Guest More than 1 year ago
American Pastoral is the background for one seemingly idyllic family in post-war and Vietnam-era America. The story intertwines the love story of an All-American high school football star Swede Levov and a ravishing, determined former Miss New Jersey Dawn Dwyer. Together they weave the perfect romance, buying a country home in rural, Revolutionary-era New Jersey, fusing religious differences between their families, and raising a child who seems to be the culmination of the construction of an insurmountable family fortress. But from the novel's opening in present day, misconception runs rampant throughout the storyline. The novel's shifting narrator initially encounters the older Swede Levov, and quickly compiles in his mind what must be this successful businessman's and laudable family man's history, only to find the exact opposite. Amid the turbulent sixties, it seems the rearing of the Levov's daughter, Merry, has gone amiss, not by any doing of their own, but from external intangibilities. At the age of 16, Merry systematically blows up the local market, killing one prominent resident and sending her own family into turmoil. She flees, and it seems that the Levovs cannot combat the grief and despair which is the fallout not only of their daughter's alienation and abandon, but also (later) of her being adament to blame her seemingly ideal and serene upbringing as the catalyst for her rebellion. Philip Roth brings into question both sides of this argument: the utter irrationality of Merry's actions, and Swede Levov's vain attempt to reason and pinpoint his daughter's deviance. The alteration in the narrative between flashback times of peace, a congenial family, his utter devotion to his wife...and current ones of despair, psychologically estranged friends, and a static lifestyle, seem to tear Swede Levov in two. The novel explores our desires for the ordered life and its consequences, the validity of trying to maintain such a lifestyle in spite of unassailable corruption, and the worth of the trust we place in our friends, family, and selves. In many ways, the novel is a progression distrust (nearly incorrect and inoperable paranoia), where irrevocably, every relationship and institution in which Swede Levov has found consolation is challenged, if not wholly destroyed. By the end of Roth's sweeping and panoramic achievement, we get a sense that it is the Levovs ideal life at fault...their want to uphold the American dream, to love each other, protect each other from harm, live a life merely amongst themselves, on the surface, not ignorant of the world, but content with themselves. At its core, American Pastoral questions the very epitomy of existence and contentment which we idealize, and its flawed impregnability. There is nothing much more tragic than the exact opposite outcome of what a life of protective diligence has attempted to immortalize, yet that is the subject matter of this novel. A tremendous work.
Guest More than 1 year ago
Long winded? Yes. Detailed? Yes. However if you love excellent character development along with a magnificent story line, this book is for you. Intelligent and empathetic, this is a masterpiece worthy of reading again and again!
Guest More than 1 year ago
This is one of Roth's best books and by far his best treatment of the American dream . The whole story of as one reader - reviewer says here of a person who does everything right, and yet whose life comes out wrong is a kind of moral message for many of us. There is much pain and beauty in this work, and one incredibly moving and funny set- piece , that of the high- school reunion with the veterans parading their trophies and bandages that makes for great reading. There is too a little much dutiful description of the leather industry and also a bit too much of a life going from one crisis- transformation to another . It may be true to reality, but does anyone have the patience to follow reality in all its details. Nonetheless one of Roth's best and most insightful in understanding the complex American worlds of the late twentieth century.
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Roth is truly a madter of his craft. One of the top 5 modern American writers and American Pastorale seals the deal. Gorgeous prose.
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While some of the plot lines were interesting, the style of writing was boring. Get to the point! You are in the middle of a paragraph then it takes off in another direction, back story, back in the past. I have never read a book that put me to sleep as often as this one did. I guess I'm missing something.
Anonymous More than 1 year ago
not bad at all
Anonymous More than 1 year ago
One of my favorite books.
pisenber More than 1 year ago
I had a little bit of trouble getting into this book at first. I knew that it had won a Pulitzer and had read one other book by Phillip Roth (Indignation) which was very good. Eventually I got totally involved in American Pastoral and couldn't put it down. A huge amount of thinking and effort went into this project by Roth. It's full of poignant, vivid descriptions, excellent and thorough character development and lots of wisdom. Loved that! He has an amazing vocabulary and used many words foreign to me. But I know from taking lots of lit classes that not every word unknown to the reader needs clarification. You most likely will get the meaning anyway. When I got to the last chapter, the dinner party, I started to get a little worried as to why I was so near to the end of the book before certain things were left unsettled. As the chapter moved on it seemed even more surprising. Finally, at the end, the unsettled things were settled. But settled in such a way that it felt hurried and sudden. I can't help but wonder if others felt this way. I really did not like the ending. Otherwise I would have given it 5 stars. I actually slammed the book shut.
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