Authors: Philip Roth
So
the
n: after paying my call on the doctor, I would head on down to Susan’s for dinner and to spend the evening, the two of us most nights reading in those easy chairs on either side of the fireplace, until at midnight we went to bed, and before sleep, regularly devoted ourselves for some fifteen or twenty minutes to our mutual effort at erotic rehabilitation. In the morning Susan was up and out by seven thirty—Dr. Golding’s first patient of the day—and about an hour later I departed myself, book in hand, only occasionally now getting a look from one of the residents who thought that if the young widow McCall had fallen to a gentleman caller of the Israelite persuasion in baggy corduroy trousers and scuffed suede shoes, she might at least instruct him to enter and exit by way of the service elevator. Still, if not suitably haut bourgeois for Susan’s stately co-op, I was in most ways leading the “regular and orderly” life that Flaubert had recommended for him who would be “violent and original” in his work.
And the work, I thought, was beginning to show it. At least there was beginning to
b
e
work that I did not feel I had to consign, because it was so bad, to the liquor carton at the bottom of my closet. In the previous year I had completed three short stories: one had been published in the
New Yorker,
one in the
Kenyon Review,
and the third was to appear in
Harper’s.
They constituted the first fiction of mine in print since the publication of
A Jewish Father
in 1959. The three stories, simple
though
they were, demonstrated a certain clarity and calm that
had not been the hallmark of my writing over the previous years; inspired largely by incidents from boyhood and adolescence that I had recollected in analysis, they had nothing to do with Maureen and the urine and the marriage.
That
book, based upon my misadventures in manhood, I still, of course, spent maddening hours on every day, and I had some two thousand pages of manuscript in the liquor carton to prove it. By now the various abandoned drafts had gotten so shuffled together and interwoven, the pages so defaced with Xs and arrows of a hundred different intensities of pen and pencil, the margins so tattooed with comments, reminders, with schemes for pagination (Roman numerals, Arabic numerals, letter of the alphabet in complex combinations that even I, the cryptographer, could no longer decode) that what impressed one upon attempting to penetrate that prose was not the imaginary world it depicted, but
the
condition of the person who’d been doing the imagining: the manuscript was the message, and the message was Turmoil. I had, in fact, found a quotation from Flaubert appropriate to my failure, and had copied it out of my worn volume of his correspondence (a book purchased during my army stint to help tide me over to civilian life); I had Scotch-taped the quotation to the carton bearing those five hundred thousand words, not a one of them
juste.
It seemed to me it might be a fitting epitaph to that effort, when and if I was finally going to have to call it quits. Flaubert, to his mistress Louise Colet, who had published a poem maligning their contemporary, Alfred de Musset: “You wrote with a personal emotion that distorted your outlook and made it impossible to keep before your eyes the fundamental principles that must underlie any imaginative composition. It has no aesthetic. You have turned art into an outlet for passion, a kind of chamberpot to catch an overflow. It smells bad; it smells of hate!”
But if I could not leave off picking at the corpse and remove it from the autopsy room to the gra
ve, it was because this genius,
who had done so much to form my literary conscience as a student and an aspiring novelist, had also written—
Art, like the Jewish God, wallows in sacrifice.
And:
In Art
…
the creative impulse is essentially fanatic.
And:
…
the excesses of the great masters! They pursue an idea to its furthermost limits.
These inspirational justifications for what Dr. Spielvogel might describe simply as “a fixation due to a severe traumatic experience” I also copied out on strips of paper and (with some self-irony, I must say) taped them too, like so many fortune-cookie ribbons, across the face of the box containing my novel-in-chaos. On the evening that I arrived at Susan’s with the
American Forum for Psychoanalytic Studies
in my hand, I called hello from the door, but instead of going to the kitchen, as was my habit—how I habituated myself during
those
years! how I coveted whatever orderliness I had been able to reestablish in my life!— to chat with her from a stool while she prepared our evening’s delicacies, I went into the living room and sat on the edge of Jamey’s flame-stitch ottoman
, reading quickly through Spiel
vogel’s article, entitled “Creativity: The Narcissism of the Artist.” Somewhere in the middle of the piece I came upon what I’d been looking for—at least I
supposed
this was it: “A successful Italian-American poet in his forties entered into therapy because of anxiety states experienced as a result of his enormous ambivalence about leaving his wife
…
” Up to this point in the article, the patients described by Spielvogel had been “an actor,” “a painter,” and “a composer”—so this
had
to be me. Only
I had not been in my forties when I first became Spielvogel’s patient; I’d come to him at age twenty-nine, wrecked by a mistake I’d made at twenty-six. Surely between a man in his forties and a man in his twenties there are differences of experience, expectation, and character that cannot be brushed aside so easily as this
…
And “successful”? Does that word (in my mind, I
immediately
began addressing Spielvogel
directly
), does that word describe to you the tenor of my life at that time? A “successful” apprenticeship, absolutely, but when I came to you in 1962, at age twenty-nine, I had for three years been writing fiction I couldn’t stand, and I could no longer even teach a class without fear of Maureen rushing in to “expose” me to my students. Successful? His forties? And surely it goes without saying that to disguise (in my brother’s words) “a nice civilized Jewish boy” as something called “an Italian-American,” well, that is to be somewhat dim-witted about matters of social and cultural background that might well impinge upon a person’s psychology and values. And while we’re at it, Dr. Spielvogel, a poet and a novelist have about as much in common as a jockey and a diesel driver. Somebody ought to tell you that, especially since “creativity” is your subject here. Poems and novels arise out of radically different sensibilities and resemble each other not at all, and you cannot begin to make sense about “creativity” or “the artist” or even “narcissism” if you are going to be so insensitive to fundamental distinctions having to do with age, accomplishment, background, and vocation. And if I may, sir— his
self
is to many a novelist what his own physiognomy is to a painter of portraits:
the
closest subject at hand demanding scrutiny, a problem for his art to solve—given the enormous obstacles to truthfulness,
the
artistic problem. He is not simply looking into the mirror because he is transfixed by what he sees. Rather, the artist’s success depends as much as anything on his powers of detachment, on de-narcissizing himself. That’s where the excitement comes in. That hard
conscious
work that makes it
art!
Freud, Dr. Spielvogel, studied his own dreams not
because he was a “narcissist,” but because he was a student of dreams. And whose were at once the least and most accessible of dreams, if not his own?
…
And so it went, my chagrin renewed practically with each word. I could not read a sentence in which it did not seem to me that the observation was off, the point missed, the nuance blurred—in short, the evidence rather munificen
tly
distorted so as to support a narrow and
un
illuminating thesis at the expense of the ambiguous and perplexing actuality. In all there were only two pages of text on
the
“Italian-American poet,” but so angered and disappointed was I by what seemed to me the unflagging wrongness of the description of my case, that it took me ten minutes to get from the top of page 85 to the bottom of 86. “
…
enormous ambivalence about leaving his wife
…
It soon became clear that the poet’s central problem here as elsewhere was his castration anxiety vis-a-vis a phallic mother figure
…
” Not so! His central problem here as elsewhere derives from nothing of the sort. That will not serve to explain his “enormous ambivalence” about leaving his wife any more than it describes the prevailing emotional tone of his childhood years, which was one of intense
security.
“His father was a harassed man, ineffectual and submissive to his mother
…
” What? Now where did you get that idea? My father was harassed, all right, but not by his wife—any child who lived in the same house with them knew that much. He was harassed by his own adamant refusal to allow his three children or his wife to do without: he was harassed by his own vigor, by his ambitions, by his business, by the times. By his overpowering commitment to the idea of Family and the religion he made of Doing A Man’s Job! My “ineffectual” father happened to have worked twelve hours a day, six and seven days a week, often simultaneously at two exhausting jobs, with the result that not even when the store was as barren of customers as the Arctic tundra, did his loved ones lack for anything essential. Broke and overworked, no better off than a serf or an in
dentured servant in the America
of the thirties, he did not take to drink, jump out of the window, or beat his wife and kids—and by the time he sold Tarnopol’s Haberdashery and retired two years ago, he was making twenty thousand bucks a year. Good Christ, Spielvogel, from whose example did I come to associate virility with hard work and self-discipline, if not from my father’s? Why did I like to go down to the store on Saturdays and spend all day in the stockroom arranging and stacking the boxes of goods? In order to hang around an ineffectual father? Why did I listen like Desdemona to Othello when he used to lecture the customers on Interwoven socks and McGregor shirts—because he was
had
at it? Don’t kid yourself—and the other psychiatrists. It was because I was so
proud
of his affiliation with those big brand names—because his pitch was so
convincing.
It wasn’t his wife’s hostility he had to struggle against, but the world’s! And he did it, with splitting headaches to be sure,
hut without giving in.
I’ve told you that a hundred times. Why don’t you believe me? Why, to substantiate your “ideas,” do you want to create this fiction about me and my family, when your gift obviously lies elsewhere. Let
me
make up stories—you make sense! “
…
in order to avoid a confrontation with his dependency needs toward his wife the poet acted out sexually with other women almost from the beginning of his marriage.” But that just is not so! You must be thinking of some other poet. Look, is this supposed to be an amalgam of the ailing, or me alone? Who was there to “act out” with other than Karen? Doctor, I had a desperate
affair
with that girl—hopeless and ill-advised and adolescent, that may well be, but also passionate, also painful, also
warm-hearted,
which was what the whole thing was about to begin with: I was dying for some
humanness
in my life,
that’s
why I reached out and touched her hair! And oh yes, I fucked a prostitute in Naples after a forty-eight hour fight with Maureen in our hotel. And another in Venice, correct—making two in all. Is that what you call “acting out” with “other women almost from the beginning of his marriage”? The marriage only lasted three years! It was
all
“almost” the beginning. And why don’t you mention how it began? “
…
he once picked up a girl at a party
…
” But that was here in New York, months and months
after
I had left Maureen in Wisconsin. The marriage was
over,
even if the state of New York refused to allow that to be so! “
…
the poet acted out his anger in his relationships with women, reducing all women to masturbatory sexual objects
…
” Now, do you really mean to say that? All women? Is that what Karen Oakes was to me, “a masturbatory sexual object”? Is that
what
Susan McCall is to me now? Is that why I have encouraged and cajoled and berated her into going back to finish her schooling, because she is “a masturbatory sexual object”? Is that why I nearly give myself a stroke each night trying to help her to come? Look, let’s get down to the case of cases: Maureen. Do you think that’s what
she
was to me, “a masturbatory sexual object”? Good God, what a reading of my story
that
is! Rather than reducing that lying, hysterical bitch to an object of any kind, I made the grotesque mistake of
elevating
her to the status of
a
human being toward whom I had a
moral responsibility.
Nailed myself with my romantic morality to the cross of her desperation! Or, if you prefer, caged myself in with my cowardice! And don’t tell me that was out of “guilt” for having
already
made of her “a masturbatory sexual object” because you just can’t have it
both
ways! Had I actually been able to treat her as some goddam “object,” or simply to see her for what she was, I would never have done my manly duty and married her! Did it ever occur to you, Doctor, in the course of your ruminations, that maybe I was the one who was made into a sexual object? You’ve got it all backwards, Spielvogel—inside out! And how can that be? How can you, who have done me so much good, have it all so wrong? Now
there
is something to write an article about!
That
is a subject for a symposium! Don’t you see, it isn’t that women mean too little to me—wha
t’s caused the trouble is that t
hey mean so much. The testing ground, not for potency, but
virtue!
Believe me, if I’d listened to my prick instead of to my
upper organs, I would never have gotten into this mess to begin with! I’d still be fucking Dina Dornbusch! And she’d have been my wife!