Wow, I finally finished reading this book. To be honest, I had my doubts. My back-burner reading of it has somewhat limited my full appreciation for its extremely rich contents. This was my first encounter with Roth's work, and now that I'm done, I'm certain it won't be my last. I'm familiar with his legacy of writing about the social integration of the American Jew, the gains and losses involved. In "Operation Shylock," Roth's typical contemplation of the American Jewish diaspora intersects with his thoughts on Israel, Zionism, and the Palestinian question.

I decided to read "Operation Shylock" after finishing "Doppelganger" by Naomi Klein, where she covered this book in her extensive media review of Doppelganger literature. Interestingly, I had the entire book spoiled for me even before I placed a hold on it at the library.

The rest of this review will contain spoilers.

My impressions of the first few chapters are rather模糊. The protagonist, a fictional Phillip Roth (whom I'll call Phillip to distinguish from the author, Roth), goes through a strange experience. He takes some medication that sometimes made people go crazy in the 90s, then feels better. He discovers reports of himself running around Israel spreading anti-Zionist propaganda, which he hasn't been doing. So, he decides to go to Israel both to confront his doppelganger (though he won't admit it) and to correspond with some old writer friends. A notable scene occurs when he finds himself in the company of an old college friend, a Palestinian who now lives in the West Bank and takes him there. The friend mistakes the real Phillip for the doppelganger and praises him for his work on behalf of the Palestinian people. Real Phillip is enraged by this confusion and doesn't consider himself anti-Zionist. On his way back to Jerusalem, he is captured by the Israeli military, who recognize him and safely take him home. During the tank ride with an Israeli soldier as his captive audience and only himself to draw an opinion from, Phillip monologues about the injustice he perceives as emanating from Zionism. This surprises both himself and any reader who is paying at least some attention, which at that point, I guess I was.

One of the more remarkable aspects of the book is the fictional world it creates. Most works of fiction I've read create a fictional world within their pages. However, "Operation Shylock" goes a step further and creates a fictional universe that contains the book itself. If that sounds a bit confusing, bear with me for a moment. The book presents itself fictionally as a work of history (sort of, we'll get to that at the end), an expose of real things that happened in Roth's real life. A fictional universe emerges in which what the book fictionally claims to be true actually is true - in which this is actually a historical piece of work. But again, it's not, and this pattern of falseness is evident throughout the book. All the characters are constantly lying to each other. Until Roth makes it clear one way or another, or the plot reveals the truth, it's really hard to tell if anything being said is going to turn out to be deception or real.

In the last chapter before the epilogue, chapter 10, Phillip is captured by a high-ranking undercover military officer. The officer brings him to a secret location to try to convince Roth to help with the most important Israeli military operation being conducted, one that could have consequences for the existence of the State of Israel: tracking down five Jews who are bankrolling and administering the PLO. It's completely crazy. The officer has a whole rationale that is not only crazy but also, I think, Roth intentionally gives it anti-Semitic undertones. It's an ironic and silly conspiracy that Roth presents here, but it reveals some of his thoughts about contemporary Jewry. I'll paraphrase because I don't want to get my book out of my bag. Phillip's captor explains to him why this secret cabal of Jews behind the PLO must exist, saying that without the antagonisms of Christians in Europe, without the cultural tensions in early 20th century America, and without the deep-rooted mythology of hatred in every Jewish psyche, Jews are nothing. They are not a people. The idea of "I am Jewish and therefore I am different" falls apart when Jews are not actually different. I think Roth is quite concerned about the fate of the Jewish people, who he sees as having nothing concrete to rely on away from the Motherland and no longer sharing a common language. (Disclaimer: Roth and I are both Ashkenazim, and I think both of our perspectives on Jewish life are heavily influenced by that particular version of Jewish life in the diaspora.)

However, as the captor reveals more about the five Jews bankrolling the destruction of the Jewish State, he also discloses his true feelings about Israel. Again, I'm paraphrasing even though my book is sitting less than a meter away from me. He says that the real criminals are the rest of the world's Jews who are not giving money to the PLO. The State of Israel continues to commit terrible crimes against the Palestinians in retribution for simply occupying their land, which Israel desires so much. But is it really the land that Israel wants? Is the state-building project truly about controlling all of historic Palestine? In the real world, of course, it is, and it is in the fictional world too. But maybe there's another motive driving Israeli settlers further into the West Bank, the soldiers regularly killing and maiming Palestinian civilians, and good Jews doing things that, in the name of God, should never be done. Jewish identity has come to mean little more than a vague and immaterial difference between "us" and "them." If the Christians won't do it to us (maybe they would if we still lived in Europe...), we must provoke the Muslims to. The Jewish drive to self-antagonize. The most wretched of all Jewish pathologies manifests itself in a state whose existence is so evil that it villainizes an entire people, and whose villainy is so crucial that it will grasp the Palestinian hand only to club itself with it and cry for help. Israel, the Jews, need Palestine to sustain their perverted sense of difference.

This, of course, is only true in the book. In reality, there isn't a fleet of Jews bankrolling the PLO, despite what some administrators at Columbia University might think. Israel is an expansionist project. I don't believe that Israel is intentionally that self-destructive, although it is quite self-destructive. Roth's commentary, through the character who captures Phillip, says more about his distaste for the mythology surrounding Israel than his actual views on what is materially happening. He is a novelist, not a historian. And on this level, I agree with him, at least when it comes to Israel. The foundational mythologies associated with Israel are so deeply rooted in Jewish pain. The world is seen as a universally hostile place; Jewish life couldn't possibly survive without the presence of a regionally hegemonic military. Since the Jews are so fundamentally hated, there will never be a home for them except one they create exclusively for themselves. Where coexistence fails, guns do not. There is a tragedy for Roth then. Either disappear in the comfortable American (or other) diaspora, or become the monster that the Christians of Europe made you, lest you become nothing at all.

The chapter ends with Phillip refusing to assist in the obviously absurd search for these five Jews. And with that, he returns to his home in Connecticut.

The epilogue is almost entirely composed of a meeting between Phillip and his captor to discuss his forthcoming book, "Operation Shylock: A Confession," about his experiences in Israel. Two things are revealed. The first is that sometime after the end of chapter 10 and the start of the epilogue, Phillip agreed to help with the mission to find the five Jews bankrolling the PLO. He goes to Athens as part of this mission, which I think was a significant place, but that's something I missed because, well, it took me three months to read this book. His mission is extremely successful, and he obtains information that could potentially lead to the end of the State of Israel. The second thing revealed is that there is an eleventh chapter about his trip to Athens that, for some reason, has been excluded from the final printing.

The epilogue is long, but the part that interested me the most was the conversation between Phillip and his captor in which Phillip is convinced to publish the eleventh chapter. And for this part, I'll refer to my book. Okay, so here's where it becomes important that the book presents itself fictionally as a work of history rather than factually as a work of fiction. In the conversation, the captor is trying to get Phillip, the fictional author of the book I just read, to not include the eleventh chapter as it is written. He starts by suggesting that Phillip change some of the more sensitive details and add a disclaimer that the entire book is a work of fiction. When Phillip resists, he suggests removing the chapter entirely, which Phillip won't accept because that would have the same effect of making the book into a work of fiction. The captor berates Phillip's manuscript, saying, "This is not a report of what happened, because, very simply, you haven't the slightest idea of what happened. You grasp almost nothing of objective reality." Phillip responds by ridiculing the captor, saying, "I know nothing beyond my own existence and my own ideas; my mind determines entirely how reality appears to me, but for you the mind works differently... Your argument is kiddie philosophy and dime-store psychology and it is too absurd even to oppose." Phillip refuses to agree to cut the chapter, so the captor turns to his last resort.

Roth's entire bibliography has focused on raising and addressing the questions of American Jewishness. His career is intertwined with his exploration of this topic. The captor explains, pleading, that 1) if he doesn't cut the chapter, Israel will do horrible things to him, and 2) that his entire existence is indebted to the very thing he threatens with his eleventh chapter. It would be easy to understand this second point as referring to the State of Israel, which on the surface it is. But I think Roth is making a more complex argument than that. I think he is referring to the Jews as a people who are different and Israel as the thing that makes them different. His threats to Israel threaten the very essence of Jewishness that he has built a career on, become famous for, and shaped through his books. To threaten that would be, in a sense, like suicide.

So, will it be fiction or reality? Does Phillip write what is real and destroy Israel, and with it, himself and the modern concept of Jewishness? Or does Phillip turn this historical manuscript into a work of fiction, masking reality in a veil of allegory? Faced with such a choice, Phillip, like Roth, chooses the only thing he has ever known how to choose.

The final page of the book falls on the left side of the binding. The page on the right reads: "This book is a work of fiction... Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. This confession is false."

Roth's work is truly remarkable. Perhaps his best book, and undoubtedly the finest novel about modern Israel thus far, it presents a complex and multifaceted exploration.

This novel is frustrating, dense, and unapologetically complicated. However, for the patient reader, it rewards with a multilayered satire that delves into the themes of identity, embodiment, and rhetoric.

It is a sprawling epic, a tour de force in the best tradition. I have read it numerous times, even had a quote from it tattooed on my arm, and dedicated thousands of dissertation words to understanding it. Yet, my love for it persists beyond all reason.

For those new to Roth, 'The Counterlife' may serve as a better introduction to the ideas he is exploring here. Nevertheless, this novel/autobiography/confession stands on its own brilliantly. Just don't anticipate a facile reading experience.

Set aside a weekend and give it a try. Even if you end up hating it (and many do), you won't be able to finish it without spending a significant amount of time reflecting upon it.

Philip Roth, the renowned writer, has a penchant for blurring the lines between reality and fiction. In his work, he sometimes transforms himself (perhaps) into Philip Roth the character. In this particular instance, the character travels to Israel to face off against another fictional incarnation of Philip Roth. This other Roth is attempting to persuade Jews to abandon Israel and return to Europe. It's an undeniably strange premise.

This is Roth at his most recursively self-absorbed. The question of which Roth is real and which is fake is shunted through a hall-of-mirrors framework. Here, every character's identity becomes hopelessly doubled and intertwined with a paranoid other version of themselves. It's a dizzying exploration of self and identity.

As if that weren't convoluted enough, almost the entire book is set in Israel. Writing about Israel comes with a staggering amount of socio-cultural-political baggage. And as a skeptical, secular American Jew writing about that place, Roth injects it with an even greater dosage of moral confusion, misgiving, and let's face it, angst.

"Operation Shylock" is overflowing with conceits, conversations, and set pieces. Any one of these could have been spun out into an entire novel on its own. There is just so much of interest at play here that not everything can be resolved or even truly broached. Roth is delving deep into the ultimate fire hose of American Jewish identity and anxiety. It's a miracle that this book coheres on any level. But this is later career Roth, and his mastery of novelistic technique and style is as formidable as ever. Somehow, the whole thing doesn't just fall apart on every page, which is itself a huge achievement.

If you have never read Roth before, it is not advisable to start with this one. There are references throughout to his previous works and to his life more generally, which only adds to the book's already overwhelming confusions. However, if you are a Roth aficionado, buckle up. This is Roth at his most hysterically crazed and overwrought.

This book is precisely the reason why I was unable to read Roth for decades. The postmodern intellectualism is so extreme that it seems to be completely self-absorbed. The character monologues just keep going on and on, without any end in sight.

And then there is the maddening obsession with Jewishness. Roth has an abundance of things to say about Jewishness. In fact, this book literally features two Philip Roths who engage in long monologues on this very subject. There is just so much to say, and it almost feels overwhelming.

It's as if Roth is determined to explore every single aspect of Jewish identity and culture, leaving no stone unturned. While this may be interesting for some, for me, it was a major turn-off. I found myself getting lost in the endless stream of words and ideas, unable to keep up with the author's train of thought.

Perhaps if I had been more interested in Jewish studies or postmodern literature, I might have been able to appreciate this book more. But as it stands, it remains a mystery to me, a work that I simply could not penetrate.

An extraordinary architecture

The readers who subscribe to his Nobel are his.

An extraordinary architecture stands as a testament to human creativity and ingenuity. It is a form of art that not only shapes the physical environment but also has the power to inspire and move people. The architects behind such remarkable structures are often recognized and honored for their outstanding work. In this case, the readers who subscribe to his Nobel are a testament to the significance and impact of his architectural achievements. Their support and recognition serve as a validation of his talent and hard work. It is through the appreciation of the readers that the architect's work gains even greater meaning and value. The connection between the architect and his readers is a special one, and it is this connection that helps to ensure the continued success and influence of his extraordinary architecture.

This book earns three stars simply because it is a Philip Roth book, yet I wasn't overly enamored with it. To be honest, when authors become too self-indulgent, it really irks me. In this novel, Roth himself is the main character. This fact alone is sufficient to drive a dedicated reader crazy. Hasn't this been done countless times already? After all, it's fiction, isn't it? So, why not write about someone else instead of one's own unappealing self?

In this so-called "confession," as the subtitle of the book describes it, the protagonist Roth has just endured a nervous breakdown caused by prescription drugs. He is slated to travel to Israel to interview a fellow Jewish writer for a magazine article when he discovers that an impostor Philip Roth is already in Israel, advocating for an extreme political movement known as Diasporism. He resolves that upon reaching Jerusalem, he will confront this fraud face to face. Thus, the inciting incident of the book propels the loyal reader into a truly strange journey to the Middle East, sitting beside old Phil.

I greatly preferred "American Pastoral" and "The Human Stain" to "Operation Shylock." Having said that, it was still pleasant to spend some time immersed in the truly dense prose of this extremely talented writer. Many of his paragraphs spanned 2 to 3 full pages. Amidst those meandering rants, one could sometimes uncover genuine insights. Nevertheless, I think I require another year before delving into another Philip Roth book.

A novel? A lived life? Surely a really interesting work by P.R. in which the most recurring themes of his production return... and his double this time is called like him.

This work seems to offer a unique exploration of the author's inner world and his recurring preoccupations. It might be a blend of fictional elements and personal experiences, creating a narrative that is both engaging and thought-provoking.

The presence of a double named like the author could add an extra layer of complexity and mystery. It makes one wonder about the relationship between the two, and what it might symbolize.

Overall, this work by P.R. appears to be a fascinating piece that invites readers to delve into its pages and discover the secrets and themes that lie within.

This is an ok book. It is the first Roth novel that I have read.

Roth's writing style is quite unique. He has a way of describing characters and situations that makes them come alive in your mind.

The story in this book is engaging enough to keep you turning the pages. However, I didn't find it to be a masterpiece.

There were some parts that felt a bit slow or dragged on. But overall, it was still an enjoyable read.

I'm curious to see if his other novels are any better. Maybe I'll give them a try in the future.

For now, I'll rate this book as just average. It has its good points, but it also has some room for improvement.

Putin might have read those 540 pages if it were any other writer instead of Roth, who is so close to him. Like an alter ego.

But his games of fiction/alter ego/paranoia are tiring and irritating here, almost forced. It seems like the stitching is too obvious, and the literary efforts can be felt. Since it's about Roth, maybe that was his intention.

In any case, for me, it was the least shining, the dullest of his writings. The only passage that I liked - in the pitiful way that I usually like Roth - is the one about his abduction, where he finds written on the board, in Hebrew, the verse about Jacob alone in the desert and the man (his angel or even God) who "arises" before dawn. It made me think about the loneliness of man, so overwhelming that he has to invent a God with whom to argue, to fight, who will judge him and love him. Or an alter ego, as Philip Roth does with Moishe Pipik.

It's interesting to see how Putin's perception of Roth's work might be different from others. Perhaps his own experiences and perspectives influence his reading.

However, it's important to note that everyone's interpretation of a literary work is subjective. What one person finds dull, another might find captivating.

Roth's writing is complex and often explores deep themes such as identity, sexuality, and the human condition.

Maybe upon further reflection, Putin might discover more layers and meanings in this particular work.

Nonetheless, his initial impression gives us an insight into his literary tastes and how he approaches different works of literature.

This, in my opinion, is Philip Roth's most Jewish book.

It is a book in which the American writer, a fighter, grapples with Judaism that is so deeply within him, unable to free himself from it.

This book is a wild portrayal, a false one intertwined with things that really happened.

The great writer, always in conflict with the Jewish world, critical of Zionism, trapped by the Mossad, renders a service to Israel.

Does he too end up in Jerusalem, like all Jews? There is no shortage of comic elements, irony, and a touch of the absurd.

But what a wonder it is to read it! Have a good time.

Philip Roth reads in the NYTimes that he is leading a movement to create a new Diaspora to repatriate Israel’s Ashkenazi Jews to their counties of origin. Roth, who was headed to Israel for an interview, decides to check out what is going on. To his surprise, he finds that the Diaspora advocate not only has his name but also looks like him.

The plot of this story is rather madcap. It has the clever twists and the apt phrasings that Roth is famous for, but it fails to deliver out loud laughs or fully comic scenes. The setting is the late 1980s, with the backdrop of the first Intifada and the trial of John Demjanjuk. Roth’s Israel is depicted as a cauldron of intrigue, filled with soldiers (some willing and some not), spies (and double agents), and duplicitous “friends”.

The characters, such as the Roth imposter, his girlfriend Jinx, George Ziad, and Mr. Smilesburger, have feasible back-stories that explain their presence in Israel and their actions. However, without spoiling the ending, it can be said that their actions towards the end do not fully align with their personalities. One of the most irritating aspects of the characters is their long-winded speeches that go on for pages. These speeches often have a very narrow focus, such as Irving Berlin secularizing Christmas and Easter with his iconic songs, or the idea that Jews should only speak well of other Jews.

There is also the Roth view of women, which leads to sex that seems to happen rather randomly. The irrelevance of this is evident as there are no ramifications for the characters or implications for the plot. Additionally, there is a dark portrait of Israel and the Israeli people. The ending, to put it mildly, is unsatisfying.

In the hands of most other writers, this would be a total wreck. The plot is clever, but the ending leaves much to be desired. The book does have some redeeming prose, but the soliloquies are even more wordy than an already wordy book. Nevertheless, I did keep reading, which is very unusual for a book that I would rate a 2.

After reading American Pastoral, which is truly a masterpiece, I was filled with excitement to explore another book by Roth. However, the question of where to begin arose. After conducting a careful research on various discussions about Roth's greatest works, I picked up a copy of Operation Shylock. Perhaps I have a particular preference for Nathan Zuckerman's voice. But to my disappointment, I found OS to be overly written and completely lacking in believability.

On the last page, I was somewhat relieved to discover that the book is indeed a work of fiction. However, I never once believed that Roth could be a credible character in his own novel. Having just finished The Year of Magical Thinking, which had an extremely authentic voice (and I highly recommend it), I found OS to be downright boring due to its excessive elaboration.

My fascination with American Pastoral lasted from the very first page until the final, amazing word. But this book, OS, was frustrating. Maybe it's because I'm tired of the chaos in the Middle East, but I didn't like most of the book. Although there were a few funny scenes, I still can't recommend it.

My next foray into Roth's works will definitely be a Zuckerman book. I simply have a preference for his voice. OS felt claustrophobic, and I'm glad to be done with it. I'm aware that this might not be the world's greatest review, but OS really wore me out. If you're new to Roth, I highly suggest reading American Pastoral.