The ghost writer

Front Cover
Fawcett Crest, 1979 - Fiction - 222 pages
23 Reviews
The Ghost Writer introduces Nathan Zuckerman in the 1950s, a budding writer infatuated with the Great Books, discovering the contradictory claims of literature and experience while an overnight guest in the secluded New England farmhouse of his idol, E. I. Lonoff. At Lonoff's, Zuckerman meets Amy Bellette, a haunting young woman of indeterminate foreign background who turns out to be a former student of Lonoff's and who may also have been his mistress. Zuckerman, with his active, youthful imagination, wonders if she could be the paradigmatic victim of Nazi persecution. If she were, it might change his life. The first volume of the trilogy and epilogue "Zuckerman Bound," The Ghost Writer is about the tensions between literature and life, artistic truthfulness and conventional decency and about those implacable practitioners who live with the consequences of sacrificing one for the other.

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Roth's prose is perfect. - Goodreads
The ending is startlingly uncomfortable. - Goodreads
I see Roth as a great American writer. - Goodreads
And yet, that's pretty much what writing is. - Goodreads
Of course, everyone asks who the ghost writer is. - Goodreads
Reading this book makes you want to be a writer, too. - Goodreads

Review: The Ghost Writer (Zuckerman Bound #1)

User Review  - Austin - Goodreads

Picked this up off my coffee table yesterday (laying on my sofa with a stomach bug) around 3pm and read it straight through, finishing around 2am. This is one of those books that makes you get out a ... Read full review

Review: The Ghost Writer (Zuckerman Bound #1)

User Review  - Douglas Feil - Goodreads

How did this not win the Pulitzer? How has Roth not won a Nobel? This was one of the most brilliant works of art I've ever encountered. Far and away, the best book I've read all year. This is the type ... Read full review

Contents

Section 1
10
Section 2
33
Section 3
74
Copyright

7 other sections not shown

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About the author (1979)

Goodbye, Columbus' is a first book but it is not the book of a beginner. Unlike those of us who come howling into the world, blind and bare, Mr. Roth appears with nails, hair, and teeth, speaking coherently. At 26 he is skillful, witty, and energetic and performs like a virtuoso"---so wrote Saul Bellow when Philip Roth made a loud entry onto the literary scene with Goodbye, Columbus (1960), a novella and short stories that won the 1960 National Book Award. Roth, born and raised in Newark, New Jersey, attended the public schools of that city and went on to Bucknell University before receiving his M.A. from the University of Chicago and publishing stories about contemporary Jewish life in such prestigious literary magazines as, Paris Review, The New Yorker, and Commentary. Of Letting Go (1962), a novel about young university teachers in the 1950s, the Atlantic said that "the sharply observant qualities of his first book have been expanded and enriched; he has become more probing, tentative, complex"; and "When She Was Good," his story of a gentile girl of the Midwest who in striving for moral perfection destroys her family and ultimately herself, was described by Raymond Rosenthal in the New Leader: "With a simplicity and modesty that are in the end lethal, Roth has written the most violently satiric book about American life since Evelyn Waugh's "The Loved One."' The bestselling Portnoy's Complaint (1969) caused a greater stir than any other novel of its time. Told in the form of a confession by Alexander Portnoy to his psychiatrist Dr. Spielvogel, this outrageous novel centers around the character of Alexander's archetypal Jewish mother. Virtually the apotheosis of the American Jewish novel, Portnoy's Complaint seems almost to have killed off the form it represents, and even Roth himself has been hard put to match or surpass this blackest of comedies. Our Gang (1971) is a clever political satire directed at President Nixon and his pre-Watergate associates, but those prominent targets of Roth's venomous scorn seem pale and feeble when compared with the formidable mother in Portnoy's Complaint. The Breast (1972) finds Roth rather pathetically groping for a subject equally spectacular. oth has continued to produce novels at the rate of about one every two years, but none has come close to matching the impact of Portnoy's Complaint . In fact, Roth has linked together several of his recent works by means of a central character named Nathan Zuckerman, who seems to be Philip Roth looking back on his literary career and wondering where he goes from there. Zuckerman is introduced in My Life as a Man (1974) and takes the central role in The Ghost Writer (1979), Zuckerman Unbound (1981), and The Anatomy Lesson (1983). In addition to the Zuckerman saga, Roth has produced several independent novels. Recent work, such as Deception (1991), deals further with the interplay of truth and fiction in the "author's" life. In his most recent work, Patrimony: A True Story (1991), winner of a National Book Critics Circle Award, Roth recounts his father's illness and death. Roth has also taken an active interest in the work of Eastern European writers, such as Milan Kundera, (see Vol. 2) and has helped bring their work to the West's attention.

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