Exit Ghost
(Adobe EPUB eBook, Kindle Book, OverDrive Read)
Walking the streets like a revenant, he quickly makes three connections that explode his carefully protected solitude. One is with a young couple with whom, in a rash moment, he offers to swap homes. They will flee post-9/11 Manhattan for his country refuge, and he will return to city life. But from the time he meets them, Zuckerman also wants to swap his solitude for the erotic challenge of the young woman, Jamie, whose allure draws him back to all that he thought he had left behind: intimacy, the vibrant play of heart and body.
The second connection is with a figure from Zuckerman's youth, Amy Bellette, companion and muse to Zuckerman's first literary hero, E. I. Lonoff. The once irresistible Amy is now an old woman depleted by illness, guarding the memory of that grandly austere American writer who showed Nathan the solitary path to a writing vocation.
The third connection is with Lonoff's would-be biographer, a young literary hound who will do and say nearly anything to get to Lonoff's "great secret." Suddenly involved, as he never wanted or intended to be involved again, with love, mourning, desire, and animosity, Zuckerman plays out an interior drama of vivid and poignant possibilities.
Haunted by Roth's earlier work The Ghost Writer, Exit Ghost is an amazing leap into yet another phase in this great writer's insatiable commitment to fiction.
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Philip Roth. (2007). Exit Ghost. HarperCollins.
Chicago / Turabian - Author Date Citation (style guide)Philip Roth. 2007. Exit Ghost. HarperCollins.
Chicago / Turabian - Humanities Citation (style guide)Philip Roth, Exit Ghost. HarperCollins, 2007.
MLA Citation (style guide)Philip Roth. Exit Ghost. HarperCollins, 2007.
| Library | Owned | Available |
|---|---|---|
| Anne Arundel County Public Library | 1 | 1 |
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PHILIP ROTH (1933–2018) won the Pulitzer Prize for American Pastoral in 1997. 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, previously awarded to John Dos Passos, William Faulkner and Saul Bellow, among others. He twice won the National Book Award, the PEN/Faulkner Award, and the National Book Critics Circle Award. 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" and the W.H. Smith Award for the Best Book of the Year, making Roth the first writer in the forty-six-year history of the prize to win it twice.
In 2005 Roth became the third living American writer to have his works 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. In 2012 he won Spain's highest honor, the Prince of Asturias Award, and in 2013 he received France's highest honor, Commander of the Legion of Honor.
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- Like Rip Van Winkle returning to his hometown to find that all has changed, Nathan Zuckerman comes back to New York, the city he left eleven years before. Alone on his New England mountain, Zuckerman has been nothing but a writer: no voices, no media, no terrorist threats, no women, no news, no tasks other than his work and the enduring of old age.
Walking the streets like a revenant, he quickly makes three connections that explode his carefully protected solitude. One is with a young couple with whom, in a rash moment, he offers to swap homes. They will flee post-9/11 Manhattan for his country refuge, and he will return to city life. But from the time he meets them, Zuckerman also wants to swap his solitude for the erotic challenge of the young woman, Jamie, whose allure draws him back to all that he thought he had left behind: intimacy, the vibrant play of heart and body.
The second connection is with a figure from Zuckerman's youth, Amy Bellette, companion and muse to Zuckerman's first literary hero, E. I. Lonoff. The once irresistible Amy is now an old woman depleted by illness, guarding the memory of that grandly austere American writer who showed Nathan the solitary path to a writing vocation.
The third connection is with Lonoff's would-be biographer, a young literary hound who will do and say nearly anything to get to Lonoff's "great secret." Suddenly involved, as he never wanted or intended to be involved again, with love, mourning, desire, and animosity, Zuckerman plays out an interior drama of vivid and poignant possibilities.
Haunted by Roth's earlier work The Ghost Writer, Exit Ghost is an amazing leap into yet another phase in this great writer's insatiable commitment to fiction. - seriesId
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June 18, 2007
Philip Roth’s 28th book is, it seems, the final novel in the Zuckerman series, which began in 1979 with The Ghostwriter
. A 71-year-old Nathan Zuckerman returns to New York after more than a decade in rural New England, ostensibly to see a doctor about a prostate condition that has left him incontinent and probably impotent. But Zuckerman being Zuckerman and Roth being Roth, the plot is much more complicated than it at first appears. Within a few days of arriving in New York, Zuckerman accidentally encounters Amy Bellette, the woman who was once the muse/wife of his beloved idol, writer S.I. Lonoff; he also meets a young novelist and promptly begins fantasizing about the writer’s young and beautiful wife. There’s also a subplot about a would-be Lonoff biographer, who enrages Zuckerman with his brashness and ambition, two qualities a faithful Roth reader can’t help ascribing to the young, sycophantic Zuckerman himself. As usual, Roth’s voice is wise and full of rueful wit, but the plot is contrived (the accidental meeting with Amy, for example, is particularly unbelievable) and the tone hovers dangerously close to pathetic. In the Rothian pantheon, this one lives closer to The Dying Animal
than Everyman
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August 1, 2007
In Roth's ninth installment in the Zuckerman saga, the reclusive author leaves his mountain retreat in the Berkshires to return to New York City for a promising new treatment for incontinence, a lingering reminder of his battle with prostate cancer. Almost immediately, Zuckerman is contacted by Richard Kliman, a brash young journalist who is working on a biography of the long-forgotten writer E.I. Lonoff, one of Zuckerman's mentors and the subject of Roth's first (and best) Zuckerman novel, "The Ghost Writer" (1979). Scandalous new details have emerged about Lonoff's sex life, and Kliman wants to break the story. Zuckerman resents Kliman's Zuckerman-like ambition, and argues heatedly that Lonoff's literary work is the only thing that matters. His private life is off limits. Meanwhile, Zuckerman becomes obsessed with a beautiful, wealthy young Texan and imagines an elaborate seduction, which he is simply too old and too sick to put into effect. While not one of Roth's strongest works, this novel has all the elements: unreliable narrators, authorial games, meditations on the use and abuse of literature, and a firm grounding in the reality of post-9/11 New York. Recommended for most fiction collections. [See Prepub Alert, "LJ" 6/15/07.]Edward B. St. John, Loyola Law Sch. Lib., Los AngelesCopyright 2007 Library Journal, LLC Used with permission.
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Starred review from July 1, 2007
The ninth novel to feature famous writer Nathan Zuckerman finds Rothsclose alter-ego in the winter of his life: at age 71, sufferingthe depressing side effects of prostate surgery and living a hermits existence in rural Massachusetts, in self-imposed exile from people and technology. This agonizingly real yet gorgeously renderednovel has a relatively limited time frame: one week, when Zuckerman returns to New York City, his former home, for a surgical procedure, this event conspiring to make himbelieve he wants to regain society (having the effect of rousing the virility in me again, the virility of mind and spirit and desire and intention and wanting to be with people again and have a fight again), specificallyto pursue feminine pulchritude anew, despite his impotence and incontinence. Roth connects this latest Zuckerman novel most closely to, of all of its predecessors in the cycle, the first one, The Ghost Writer (1979); thus, the ninth one emerges as a sequel to the first.Zuckermans entr'e back into the real world, leaving behind for a whilehis hermetically sealed one on a Massachusetts mountaintop, involves significant encounters with theyoung womannow oldwho was the much-younger girlfriend of a famous novelist Zuckerman paid a lengthy call onback in 1956 (which was the material of The Ghost Writer). This novel ofrenewal inevitably becomes a taleof acceptance of ones irreversible descent to oblivion.(Reprinted with permission of Booklist, copyright 2007, American Library Association.)
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Walking the streets like a revenant, he quickly makes three connections that explode his carefully protected solitude. One is with a young couple with whom, in a rash moment, he offers to swap homes. They will flee post-9/11 Manhattan for his country refuge, and he will return to city life. But from the time he meets them, Zuckerman also wants to swap his solitude for the erotic challenge of the young woman, Jamie, whose allure draws him back to all that he thought he had left behind: intimacy, the vibrant play of heart and body.
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