Influences and themes
Much of Roth's fiction revolves around semi-autobiographical themes, while self-consciously and playfully addressing the perils of establishing connections between Roth and his fictional lives and voices. Examples of this close relationship between the author's life and his characters' include narrators and protagonists such as David Kepesh and Nathan Zuckerman as well as the character "Philip Roth", who appears in The Plot Against America and of whom there are two in Operation Shylock. Critic Jacques Berlinerblau noted in The Chronicle of Higher Education that these fictional voices create a complex and tricky experience for readers, deceiving them into believing they "know" Roth.
In Roth's fiction the question of authorship is intertwined with the theme of the idealistic, secular Jewish son who attempts to distance himself from Jewish customs and traditions, and from what he perceives as the sometimes suffocating influence of parents, rabbis, and other community leaders. Roth's fiction has been described by critics as pervaded by "a kind of alienation that is enlivened and exacerbated by what binds it".
Roth's first work, Goodbye, Columbus, was an irreverently humorous depiction of the life of middle-class Jewish Americans and received highly polarized reviews; one reviewer found it infused with self-loathing. In response, Roth, in his 1963 essay "Writing About Jews" (collected in Reading Myself and Others), maintained that he wanted to explore the conflict between the call to Jewish solidarity and his desire to be free to question the values and morals of middle-class Jewish Americans uncertain of their identities in an era of cultural assimilation and upward social mobility:
The cry 'Watch out for the goyim!' at times seems more the expression of an unconscious wish than of a warning: Oh that they were out there, so that we could be together here! A rumor of persecution, a taste of exile, might even bring with it the old world of feelings and habits—something to replace the new world of social accessibility and moral indifference, the world which tempts all our promiscuous instincts, and where one cannot always figure out what a Jew is that a Christian is not.
In Roth's fiction the exploration of "promiscuous instincts" within the context of Jewish lives, mainly from a male viewpoint, plays an important role. In the words of critic Hermione Lee:
Philip Roth's fiction strains to shed the burden of Jewish traditions and proscriptions. ... The liberated Jewish consciousness, let loose into the disintegration of the American Dream, finds itself deracinated and homeless. American society and politics, by the late sixties, are a grotesque travesty of what Jewish immigrants had traveled towards: liberty, peace, security, a decent liberal democracy.
While Roth's fiction has strong autobiographical influences, it also incorporates social commentary and political satire, most obviously in Our Gang and Operation Shylock. From the 1990s on, Roth's fiction often combined autobiographical elements with retrospective dramatizations of postwar American life. Roth described American Pastoral and the two following novels as a loosely connected "American trilogy". Each of these novels treats aspects of the postwar era against the backdrop of the nostalgically remembered Jewish American childhood of Nathan Zuckerman, in which the experience of life on the American home front during the Second World War features prominently. American Pastoral looks at the legacy of the 1960s, as Swede Levov's daughter becomes an antiwar terrorist. I Married a Communist (1998), in which radio actor Ira Ringold is revealed as a communist sympathizer, is set in the McCarthy era. The Human Stain, in which classics professor Coleman Silk's secret history is revealed, explores identity politics in the late 1990s.
In much of Roth's fiction, the 1940s, comprising Roth's and Zuckerman's childhood, mark a high point of American idealism and social cohesion. A more satirical treatment of the patriotism and idealism of the war years is evident in Roth's comic novels, such as Portnoy's Complaint and Sabbath's Theater. In The Plot Against America, the alternate history of the war years dramatizes the prevalence of antisemitism and racism in America at the time, despite the promotion of increasingly influential anti-racist ideals during the war. In his fiction, Roth portrayed the 1940s, and the New Deal era of the 1930s that preceded it, as a heroic phase in American history. A sense of frustration with social and political developments in the United States since the 1940s is palpable in the American trilogy and Exit Ghost, but had already been present in Roth's earlier works that contained political and social satire, such as Our Gang and The Great American Novel. Writing about the latter, Hermione Lee points to the sense of disillusionment with "the American Dream" in Roth's fiction: "The mythic words on which Roth's generation was brought up—winning, patriotism, gamesmanship—are desanctified; greed, fear, racism, and political ambition are disclosed as the motive forces behind the 'all-American ideals'." Although Roth's writings often explored the Jewish experience in America, Roth rejected being labeled a Jewish American writer. "It's not a question that interests me. I know exactly what it means to be Jewish and it's really not interesting," he told the Guardian newspaper in 2005. "I'm an American."
Roth was a baseball fan, and credited the game with shaping his literary sensibility. In an essay published in The New York Times on Opening Day, 1973, Roth wrote that "baseball, with its lore and legends, its cultural power, its seasonal associations, its native authenticity, its simple rules and transparent strategy, its longueurs and thrills, its spaciousness, its suspensefulness, its heroics, its nuances, its lingo, its 'characters,' its peculiarly hypnotic tedium, its mythic transformation of the immediate, was the literature of my boyhood. ... Of course, as time passed neither the flavor and suggestiveness of Red Barber's narration, nor specific details, vivid and revealing even as Rex Barney's pre-game hot dog, could continue to satisfy a developing literary appetite; there is no doubt, however, that they helped sustain me until I was old enough and literate enough to begin to respond to the great inventors of narrative detail and masters of narrative voice and perspective, like James and Conrad and Dostoyevsky and Bellow." Baseball features in several of Roth's novels; the hero of Portnoy's Complaint dreams of playing like Duke Snider, and Nicholas Dawidoff called The Great American Novel "one of the most eccentric baseball novels ever written". American Pastoral alludes to John R. Tunis's baseball novel The Kid from Tomkinsville.
In a speech on his 80th birthday, Roth emphasized the importance of realistic detail in American literature:the passion for specificity, the hypnotic materiality of the world one is in, is all but at the heart of the task to which every American novelist has been enjoined since Herman Melville and his whale and Mark Twain and his river: to discover the most arresting, evocative verbal depiction of every last American thing. Without strong representation of the thing—animate or inanimate—without the crucial representation of what is real, there is nothing. Its concreteness, its unabashed focus on all the particulars, a fervor for the singular and a profound aversion to generalities is fiction's lifeblood. It is from a scrupulous fidelity to the blizzard of specific data that is a personal life, it is from the force of its uncompromising particularity, from its physicalness, that the realistic novel, the insatiable realistic novel with its multitude of realities, derives its ruthless intimacy. And its mission: to portray humanity in its particularity.
