It’s easy to begin talking about American Pastoral by noting its central place in the Zuckerman Saga, a series of nine novels that follow the fortunes of Nathan Zuckerman, a novelist who shares an awful lot of characteristics with his creator (make that ten fictions if you count The Facts, from 1988, an ostensible autobiography that opens with a letter from Roth to Zuckerman and closes with one from Zuckerman to Roth). But what’s most memorable about this 1998 Pulitzer Prize winner is the way the author engages the subject of America with a fervor few novelists have dared since World War II. Passages of American Pastoral, especially those describing what was destroyed in the 1967 Newark riots, have a fierce and grieving majesty seldom matched in our literature. In telling the Swede’s story, albeit in the voice of Nathan Zuckerman, Philip Roth embraces his past with an almost penitential reverence, honoring the world that made him—and is now forever gone—with nostalgic, rueful, angry tenderness.
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