A seventy-five years and made several nominations, never substantial shape, the Nobel Prize, Philip Roth continues to impress with a new novel, " indignation , "Released a few weeks in the U.S. and Britain. A tragic story, somewhere between Shakespeare and horror film, which recounts the descent into hell of a college freshman, Marcus Messner, in spite of himself involved in a series of unfortunate events that lead inexorably to his fate. With extraordinary ability to innovate while remaining himself, Roth's novel reinvents training and declines in a lucid digression on the eternal struggle between the desire for freedom and conformity, at the bottom always triumphant. Marcus pays its desire for solitude, the choice to refuse the direct clashes, ambition to be himself on his own terms. The company does not allow it, and his righteous indignation is what triggers the events that will destroy .
A 13 years' Sabbath's theater ", a monumental and perhaps underestimated novel that launched one of the most astonishing literary maturity of our time, Philip Roth masterfully continues to tell the Jewish world, sex, rebellion and, in recent years more and more death. And the Sabbath, and desperately wicked puppeteer the human , the character seems to be farthest from Marcus' indignation ", defined the New York Review of Books "the best guy in the world." Yet Roth, whose ability to tell the depths with light weight makes it increasingly apparent Shakespeare, page after page bridges the gap between the two, which basically appear as two sides of same coin : men who tried furiously to mark their own way, their loves, their obsessions and were ultimately defeated. By whom? Probably the world, but perhaps also by fate and by someone who claims the right and claim to hold the Truth.
The American press spoke of a book "weird," someone is also a "mistake" Roth, although "intriguing." But " indignation" seems the natural consequence of the path Rotho recent years, marked by the survey deeper and far from any complacency in the decline, physical, psychological and moral men. Trying desperately to oppose it with that vitality that has made an immortal Nathan Zuckerman, but not been seduced before infinite horror with which they have to reckon with. It 's so for Sabbath, but also for Seymour Levov, the magnificent "Swedish" in "American Pastoral , and Coleman Silk, the enigmatic teacher of" The Human Stain . And the horror, death, emptiness, silence pervades the other major novels of the twenty-first century as "The Dying Animal ", " Everyman," "The Phantom leaves the scene." But it is curious and ingenious in that circle, at least for now, is a guy who looks at life and not an elderly novelist who tells in first person their odyssey in old age. Marcus does not want to become a writer, Marcus seeks only to follow its own path without disappointing those who believe in him and without giving up their beliefs. You will find, set in a state of eternal narrator, who must give up everything except the memories. And the only way of salvation at that point will be the story, the narrative. Not enough to save our lives, but it is perhaps the only way that Roth can show us to try to overcome, at least in part, fear that in his horror novels we see under the coating of reality.
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