On 19th of March, 2013, Irish author Edna stepped onto stage of Newark Library auditorium and gave a stirring introduction to her long-time friend, Philip Roth: Feared and revered, plagiarized, envied, hermit and jester, lover and hater, foolish but formidable, too adorable for words, a very great friend, and undoubtedly, one of Yeats's Olympians (Roth@80). Her at Roth's eightieth birthday and de facto retirement celebrations served to underscore her curious absence from Roth scholarship. Though Roth has interviewed O'Brien, prefaced her work, and quoted her in epigraph, she rarely appears in Roth criticism.1 Yet where she is mentioned she provides stimulating perspectives on Roth's oeuvre, as, for example, when Debra Shostak cites epigraph to The Dying Animal (2001)-The body contains life story just as much as brain-as proof of Roth's continued preoccupation with how self comes into consciousness of itself within and through its fleshly habitation (60). Likewise, Darren Hughes astutely notes that in his 1984 interview with O'Brien, Roth could be conducting another of his self-interviews (267). This recalls David Gooblar's contention that presence of Franz Kafka and Anne Frank in Roth's fiction [often] tells us more about Roth himself than about those ostensible subjects (59). Roth's speaking of and to other writers can thus be read as a displaced commentary on himself. An important corollary to this insight can be extrapolated from when Roth writes of another cultural group, he is also writing about American Jews. These suppositions frame this paper and its consideration of of in Roth's fiction.Though by no means as immediately tangible as that of Frank and Kafka, O'Brien's in Roth's work was revealed at Roth@80, when she teasingly proposed herself as a likely model for Caesara O'Shea in Zuckerman Unbound (1981). Just as Zuckerman shares significant biographical data with Roth, Caesara does so with O'Brien. As Roth summarizes, was born in isolated reaches of Ireland, raised on a lonely farm in shadow of a violent father and educated by nuns behind latched gate of a provincial convent (A Conversation with Edna O'Brien 42). Caesara grows up in an identical milieu, rural confines of Connemara, under a father who drank whiskey and beat her mother (190). More significantly, both Caesara and share with one another (and with Zuckerman and Roth as well) experience of being ostracized from their communities as a result of their vocations.2 Caesara thus in many ways offers an Irish female counterlife for Zuckerman, as might be said to do for Roth. Just as Roth employs Kafka and Frank to delve into parallels between Jewish experience in Europe and America, he engages to examine equivalences between Jewish and Irish cultural identity. In doing so, Roth uses example of Irish as a warning to Jewish Americans against blindly supporting a mythologizing nationalism abroad and falling into an unaware ethnic whiteness at home. Brett Ashley Kaplan has already explored how Race figures in Zuckerman Unbound in ways that echo tension between identification and anxiety, looking specifically at blackJewish interrelations in America (45). Meanwhile, Scott W. Klein unearths traces of James Joyce in 1980s Zuckerman books that highlight Roth's use of Irish modernist writer to investigate national difference (154). Building on these foundations, this essay adds another layer of interpretation to Zuckerman Unbound's complex analysis of race by focusing on its representation of Irishness-and specifically on Caesara, the very heart of Ireland (187).Caesara is introduced to reader through a letter she has left for Zuckerman: I was so sad to leave without saying goodbye. But when Fate changes horse rider is carried along [. . .] Vague memories, nothing but memories (186). …
Read full abstract