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26. Philip Roth, American Pastoral (1997)

  • Philipp Löffler
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Handbook of the American Novel of the Twentieth and Twenty-First Centuries
Ein Kapitel aus dem Buch Handbook of the American Novel of the Twentieth and Twenty-First Centuries

Abstract

The essay discusses Philip Roth’s American Pastoral in the context of his ‘American Trilogy’ (also including I Married a Communist [1998] and The Human Stain [2000]). The focus of the essay is on how Roth’s novel imagines the history of the fictional Levov family in pursuit of a broader panorama of the postwar American (upper) middle class. American Pastoral uses the story of Jewish American Seymour “Swede” Levov and his desire to lead an exemplary, self-made American life to explore the limits and possibilities of historical storytelling. The essay examines the novel’s historiographical ambition with a particular emphasis on the modes of storytelling used by the narrator, Nathan Zuckerman, suggesting that American Pastoral appropriates both experimental forms of narration typically associated with high postmodernist fiction and realist forms of narration in the tradition of the nineteenth-century historical novel. The essay concludes by proposing that the novel is best understood in conjunction with the ethical turn in literature that some critics have interpreted as a response to the reduced relevance of postmodernist paradigms of writing.

Abstract

The essay discusses Philip Roth’s American Pastoral in the context of his ‘American Trilogy’ (also including I Married a Communist [1998] and The Human Stain [2000]). The focus of the essay is on how Roth’s novel imagines the history of the fictional Levov family in pursuit of a broader panorama of the postwar American (upper) middle class. American Pastoral uses the story of Jewish American Seymour “Swede” Levov and his desire to lead an exemplary, self-made American life to explore the limits and possibilities of historical storytelling. The essay examines the novel’s historiographical ambition with a particular emphasis on the modes of storytelling used by the narrator, Nathan Zuckerman, suggesting that American Pastoral appropriates both experimental forms of narration typically associated with high postmodernist fiction and realist forms of narration in the tradition of the nineteenth-century historical novel. The essay concludes by proposing that the novel is best understood in conjunction with the ethical turn in literature that some critics have interpreted as a response to the reduced relevance of postmodernist paradigms of writing.

Kapitel in diesem Buch

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
https://doi.org/10.1515/9783110422429-028

Kapitel in diesem Buch

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
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