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The Human Stain: American Trilogy (3), by Philip Roth
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It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished even his most virulent accuser.
Coleman Silk has a secret, one which has been kept for fifty years from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman. It is Zuckerman who stumbles upon Silk's secret and sets out to reconstruct the unknown biography of this eminent, upright man, esteemed as an educator for nearly all his life, and to understand how this ingeniously contrived life came unraveled. And to understand also how Silk's astonishing private history is, in the words of The Wall Street Journal, "magnificently" interwoven with "the larger public history of modern America."
- Sales Rank: #34372 in Books
- Color: Multicolor
- Brand: Vintage
- Published on: 2001-05-08
- Released on: 2001-05-08
- Format: International Edition
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .80" w x 5.20" l, 1.00 pounds
- Binding: Paperback
- 361 pages
- Great product!
Amazon.com Review
Athena College was snoozing complacently in the Berkshires until Coleman Silk--formerly "Silky Silk," undefeated welterweight pro boxer--strode in and shook the place awake. This faculty dean sacked the deadwood, made lots of hot new hires, including Yale-spawned literary-theory wunderkind Delphine Roux, and pissed off so many people for so many decades that now, in 1998, they've all turned on him. Silk's character assassination is partly owing to what the novel's narrator, Nathan Zuckerman, calls "the Devil of the Little Place--the gossip, the jealousy, the acrimony, the boredom, the lies."
But shocking, intensely dramatized events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication," and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibility, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble," and a melancholy voluptuousness. "I'm back in the tornado," Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.
In a short space, it's tough to convey the gale-force quality of Silk's rants, or the odd effect of Zuckerman's narration, alternately retrospective and torrentially in the moment. The flashbacks to Silk's youth in New Jersey are just as important as his turbulent forced retirement, because it turns out that for his entire adult life, Silk has been covering up the fact that he is a black man. (If this seems implausible, consider that the famous New York Times book critic Anatole Broyard did the same thing.) Young Silk rejects both the racism that bars him from Woolworth's counter and the Negro solidarity of Howard University. "Neither the they of Woolworth's nor the we of Howard" is for Coleman Silk. "Instead the raw I with all its agility. Self-discovery--that was the punch to the labonz.... Self-knowledge but concealed. What is as powerful as that?"
Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband (a sketchy guy who seems to have wandered in from a lesser Russell Banks novel), scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux is intriguingly (and convincingly) nutty, and any number of minor characters pop in, mouth off, kick ass, and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo
From Publishers Weekly
Roth almost never fails to surprise. After a clunky beginning, in which crusty Nathan Zuckerman is carrying on about the orgy of sanctimoniousness surrounding Clinton's Monica misadventures, his new novel settles into what would seem to be patented Roth territory. Coleman Silk, at 71 a distinguished professor at a small New England college, has been harried from his position because of what has been perceived as a racist slur. His life is ruined: his wife succumbs under the strain, his friends are forsaking him, and he is reduced to an affair with 34-year-old Faunia Farley, the somber and illiterate janitor at the college. It is at this point that Zuckerman, Roth's novelist alter ego, gets to know and like Silk and to begin to see something of the personal and sexual liberation wrought in him by the unlikely affair with Faunia. It is also the point at which Faunia's estranged husband Les Farley, a Vietnam vet disabled by stress, drugs and drink, begins to take an interest in the relationship. So far this is highly intelligent, literate entertainment, with a rising tension. Will Les do something violent? Will Delphine Roux, the young French professor Silk had hired, who has come to hate him, escalate the college's campaign against him? Yes, but she now wants to make something of his Faunia relationship too. Then, in a dazzling coup, Roth turns all expectations on their heads, and begins to show Silk in a new and astounding light, as someone who has lived a huge lie all his life, making the fuss over his alleged racism even more surreal. The book continues to unfold layer after layer of meaning. There is a tragedy, as foretold, and an exquisitely imagined ending in which Zuckerman himself comes to feel both threatened and a threat. Roth is working here at the peak of his imaginative skills, creating many scenes at once sharply observed and moving: Faunia's affinity for the self-contained remoteness of crows, Farley's profane longing for a cessation to the tumult in his head, Zuckerman delightedly dancing with Silk to the big band tunes of their youth. He even brings off virtuoso passages that are superfluous but highly impressive, like his dissection of the French professor's lonely anguish in the States. This is a fitting capstone to the trilogy that includes American Pastoral and I Married a Communist--a book more balanced and humane than either, and bound, because of its explosive theme, to be widely discussed. 100,000 first printing.
Copyright 2000 Reed Business Information, Inc.
From Booklist
With the help of his alter ego, Nathan Zuckerman, Roth continues the inquiry into the state of the American soul during the second half of the twentieth-century. Fueled by the story of his magnetic hero, Coleman Silk, it roars, with heart-revving velocity, through a literary landscape that embraces the politics of race and sex, the Vietnam War, and the absurdity of extreme political correctness, the dumbing down of the academy, and President Clinton's impeachment. Coleman, a classics professor at a small Berkshire college, embodies all the ambition, paradox, anger, and futility of the American dream, and, over the course of his secretive life, he displays all the mettlesome powers of the Greek and Roman gods he helps immortalize. Naturally, a man this fired up makes enemies, and no one defends him when his brilliant career capsizes over a misunderstanding regarding his use of the word spooks to refer to students who failed to materialize in the classroom. How was he to know they were black? How was anyone to know that he would be the last professor on earth to make a racist remark? Enraged by the inanity of the ensuing brouhaha, Coleman resigns. Then, when his wife dies unexpectedly, he becomes involved with a woman who is half his age and illiterate. These unlikely lovers are surely doomed, and Zuckerman seems destined to discover the truth about Coleman, which reveals so many truths about the land he so passionately portrays. As Roth unfurls his hero's galvanizing tale, he protests the tyranny of prejudice and propriety, recognizes the "terrifyingly provisional nature of everything," and shakes his head in sorrow and wonder over the "inevitably stained creatures that we are." Donna Seaman
Most helpful customer reviews
0 of 0 people found the following review helpful.
and since things in American colleges and Universities only changed to the worth and not to the better, people should read it
By musicteacher9
The book is a master piece, even that the event described in it is about 15-17 years old they are as burning issues now as they were before, and since things in American colleges and Universities only changed to the worth and not to the better, people should read it. You can hardly say "enjoy it" besides the fact it's a master piece, but it's a mirror America declines to look into, it's the coddling of America's mind . The article I am attaching to my review is from 17 years later and describes the disaster to which we came to.
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7 of 7 people found the following review helpful.
What's the matter about a novel on a questionable character?
By C. E. R. Mendonça
Reading previous reviews about this prolix, physical, sensuous novel -Roth struck me as one of the few American writers who can speak about sex by means of allusions only without producing near-porn and neverthless manage to be enourmouly enticing- I'm struck by the inability of some American readers to grasp the novel's main point.
Coleman Silk, the novel's hero, is on one side, an entirely questionable character - an African American who has decided to make good in Academe by faking himself an alternate life as Jewish; on the other side, he's the prototypical all-American hero - the youngster who has decided to make good solely on his own. It's not his decisions, in themselves, that are "bad"; it's the _context_ in which they are set that makes makes them to appear as so. Now, this is the stuff of which tragedy, according to Aristotle, was made of: a person like any other making a normal, "good" - but neverthless flawed- decision that unfolds consequences that turn entirely for the bad. In order to be understood, Silks needs to be set against his historical milieu - therefore to understand the nature of his tragedy is to understand the nature of the general tragedy of the American Dream - something I fear some of the novel's readers are unwilling to cope with. Those who want to cope with it, however, may be sure they shall have a superb novel in their hands with which they shall not easily able to set aside until they have read it from cover to cover.
0 of 0 people found the following review helpful.
The Human Stain
By Maurice Grossman
This book describes every character in the book in incredible detail. It goes around and around with the details. There are no final conclusions, just more questions.
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