A Quote by Ben Dolnick

If you were placing bets on which author would write the tenderest, most moving book about fatherhood, Philip Roth would probably come in at the bottom of the list. — © Ben Dolnick
If you were placing bets on which author would write the tenderest, most moving book about fatherhood, Philip Roth would probably come in at the bottom of the list.
Roth Unbound is filled with intelligent readings and smart judgments. Because of the author's sympathy and sharp mind, it offers real insight into the creative process itself, and into Philip Roth's high calling as a great American artist. The book is, in some ways, a radical rereading of Roth's life and his work. It is impossible, by the end, not to feel a tender admiration for Roth as a novelist and indeed for Claudia Roth Pierpont as an empathetic and brilliant critic.
If I get too old to write, or short-term memory loss - that was the one Philip Roth was worried about - if I got to that point, that would be terrible, because everything about my life has been streaming toward writing and having something to say. That would make me feel as though I were in an iron maiden of some kind.
There are just four kinds of bets. There are good bets, bad bets, bets that you win, and bets that you lose. Winning a bad bet can be the most dangerous outcome of all, because a success of that kind can encourage you to take more bad bets in the future, when the odds will be running against you. You can also lose a good bet no matter how sound the underlying proposition, but if you keep placing good bets, over time, the law of averages will be working for you.
What I would like to write is a book about nothing, a book without exterior attachments, which would be held together by the innerforce of its style, as the earth without support is held in the air--a book that would have almost no subject or at least in which the subject would be almost invisible.
At one point I would read nothing that was not by the great American Jews - Saul Bellow, Philip Roth - which had a disastrous effect of making me think I needed to write the next great Jewish American novel. As a ginger-haired child in the West of Ireland, that didn't work out very well, as you can imagine.
That an author's work is the mirror of his mind is a position that has led to very false conclusions. If Satan himself were to write a book it would be in praise of virtue, because the good would purchase it for use, and the bad for ostentation.
To become a celebrity is to become a brand name. There is Ivory Soap, Rice Krispies, and Philip Roth. Ivory is the soap that floats; Rice Krispies the breakfast cereal that goes snap-crackle-pop; Philip Roth the Jew who masturbates with a piece of liver.
If I were to compare the Olympic decathlon to fatherhood, I would say fatherhood is a lot tougher.
I think if I were reading to a grandchild, I might read Tolstoy's War and Peace. They would learn about Russia, they would learn about history, they would learn about human nature. They would learn about, "Can the individual make a difference or is it great forces?" Tolstoy is always battling with those large issues. Mostly, a whole world would come alive for them through that book.
Most people would rather not hear about the environment because it's scary, so my goal was to write something that was readable so that people would learn a lot and not be so depressed that they would throw the book away.
We couldn't predict what would happen with 'Roots.' You knew there were powerful moments that were going to affect people. We were making the film while the book was being completed. We were fortunate because the hardcover book was out and on the best-seller list. The heat was still on.
Most of the pleasure of making a book would go if it held nothing to be shared by other people. I would write for a few dozen people, and sometimes it seems that I do so, but I would not write for no-one.
I'm more interested than Philip Roth in understanding women, even if I do it imperfectly. But that book, Portnoy's Complaint, is literary punk in this way that is rare.
When I wrote 'Neuromancer', I had a list in my head of all the things the future was assumed to be which it would not be in the book I was about to write. In a sense, I intended 'Neuromancer', among other things, to be a critique of all the aspects of science fiction that no longer satisfied me.
In the sort of screen dappled with different states of mind which my consciousness would simultaneously unfold while I read, and which ranged from the aspirations hidden deepest within me to the completely exterior vision of the horizon which I had, at the bottom of the garden, before my eyes, what was first in me, innermost, the constantly moving handle that controlled the rest, was my belief in the philosophical richness and beauty of the book I was reading, and my desire to appropriate them for myself, whatever that book might be.
If you were to write down all the possible ways to motivate people to do better work, friendly praise would have to come near the head of your list.
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