Abstract
Philip Roth, throughout his career—from “Goodbye, Columbus” (1959) to his final novel Nemesis (2010)—has been preoccupied with self-hood and identity in ways that lend themselves to analysis with fundamental psychoanalytic concepts and issues, particularly as they relate to uncontrolled impulses, unconscious drives and desires, and sublimation and repression. This essay engages with the ways in which Roth’s fiction stages the impulsive dialectics of flight and return and fantasy and sublimation in his first and final works.
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