You must not come to nothing! Make something of yourselves!-American PastoralNow, where is he that will not stay so longTill his friend sickness hath me?-Shakespeare, Henry IV, Part 2In American Pastoral (1997), Nathan Zuckerman attends his high school reunion, forty-five years after graduation. He returns home that night too excited for sleep and composes an eloquent, kinetic speech that evokes postwar exhilaration of his teenage years-a personal, and national creation myth:1 Around us nothing was lifeless. Sacrifice and constraint were over. Depression had disappeared. Everything was motion. lid was off. Americans were to start over again, en masse, everyone it together (Pastoral 40). This vision of Newark, New Jersey, and its Jewish microcosm is, according to section's title, a Paradise Remembered. Zuckerman recalls a second genesis, ignited by spark us, and powered by an American upsurge of which illuminated Weequahic neighborhood, bright with industriousness (44, 40, 41). National aspirations found an especially pure and intense expression communal determination that we, children, should escape poverty, ignorance, disease, social injury and intimidation-escape, above all, insignificance (41; italics added). To live is to act with purpose: We had new means and new ends, new allegiances and new aims; The goal was to have goals, aim was to have (44, 41; italics original).Years later, Zuckerman surveys unpredictable results of all that drive. Some students attained success towards which they were steered relentlessly: a boy who worked his father's dry cleaning store has been transformed into a judge; an aspiring juvenile delinquent has resisted, somehow, gravitational pull of jail house to become a restaurateur (41). But who could have foreseen that charmed trajectory of school's athletic golden boy would be destabilized by a fatal act of 1960s domestic terrorism (20)? Though these paths are unpredictable, Zuckerman's focus shifts almost imperceptibly to an inevitable end: The Angel of Time is passing over us, he thinks midst of his classmates' joy (46). A section that begins propulsively-Let's remember energy-closes with Zuckerman wolfing down rugelach, pastries of his childhood (40). Could these lethal little parcels of saturated fat release him from the apprehensiveness of death, like Proust upon his taste of madeleine?: So, greedily I ate, gluttonously, [. . .] but, end, having nothing like Marcel's luck (47).Over course of fifty years, Roth has evoked subjectivity many modes: shaped by psychoanalysis, circumscribed by history, liberated performance, or transformed by body.2 However, great tableau of reunion distils some remarkably durable patterns: life is defined by aims and ends; energy succumbs to bodily entropy; trajectories are disrupted by unforeseeable events; and all paths converge, six feet under. One key notion-determination-links these teleological concerns.3 word is not exclusive property of any ideology; rather, its ambiguity refracts selfhood many forms, and Roth views male characters, particular, through its prism. Determination may be an imperative, a burden, an asset or a failure, but case of Nathan Zuckerman, it is both vocational necessity and carnal constraint.THE DETERMINED SELFIn early 1970s Roth glossed one of his protagonists, Peter Tarnopol: there is an ironic acceptance of anything at conclusion of My Life as a Man [1974] (or even along way), it is of self. word determined is meant in both senses: driven, resolute and purposive-yet utterly fixed position (Reading 93; italics original). If determination signifies both resolve and constraint, Tarnopol's deeply vexing sense of characterological enslavement seems to be a Freudian bind premised upon an immutable self tied to past (Reading 93). …
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