Newspapers / Daily Tar Heel (Chapel … / Feb. 7, 1980, edition 1 / Page 11
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Thursday, February 7, 1 980 Weekender Page 3 he Ghost Writer Roth's latest explores the fiction and reality involved in the creation of literature By LAURA ELLIOTT B ecause I knew this book was about the emotional puberty of a young writer and since I harbor the notion of someday trying to write, I picked up Philip Roth's The Ghost Writer. I admit that I did it only to appease this zealous interest of mine. Roth's reputation for writing "dirty Jewish novels" had discouraged me from reading him in the past. Of course, this book as is all Roth's writing is speckled with yiddish philosophies and personalities. But the perspective of The Ghost Writer is a bit different. If anything, its scope is limited to the sympathies of writers or would-be authors. Nathan Zucherman, a 23-year-old author of four published short stories, comes to the house of E.I. Lonoff, an older established author whose protogee, Zucherman, hopes to become. Also at the house is a former student and possible lover of Lonoff, Amy Bellette, a mysterious young woman of Jewish ancestry who survived Nazi Europe. Hope, Lonoff 's Christian and selfless wife, also is at the house carefully catching toast as it pops from the toaster to avoid disturbing Lonoff's concentration. Boasting an uncharacteristically subtle narrative, The Ghost Writer's plot is nothing overly dramatic. What gives the skeleton drama its flesh is the overwrought imagination of Zucherman. During the nights, after overhearing Amy make a sexual overture to Lonoff, Zucherman fantasizes about her Books heritage. He imagines her to be Anne Frank (whose diary was popular during the '50s setting of the novel). Because dead, she makes a forceful statement about the illogical cruelty of Nazi anti semiticism, Amy (supposedly the murdered Anne Frank of Zucherman's fantasy) decides to retain the secrecy of identity even from her father, Otto Frank, who still lives. She is the "ghost writer" who endures agonizing loneliness to help the world. The novel raises several questions about writing. Here is explored the delicate difference between what an author knows to be fact and what he imagines. Zucherman himself says, "What do I know myself other than what I can imagine." His romantic profile of Amy and her sacrifice for the sake of literature is his own naive, idealized fluff. : The "reality" of the novel presents quite a different picture. Lonoff's writing is not noble but tedious and painstaking a selfish routine. He writes 27 drafts of one passage. He "pushes sentences" until they drive him mad all the while completely ignoring the needs of his devoted and frustrated wife. "I got fondled more by strangers on the rush hour subway during two months in 1935 than I have here in the last 20 years," she finally says in desperation. The difference between the dramas of life and fiction is explored. After hearing the proposition and refusal exchanged between Amy and Lonoff, Zucherman exclaims, "Oh, if only I could have imagined the scene I'd overheard. If only I could invent as presumptuously as real life. If one day I could just approach the originality and excitement of what actually goes on." On the other hand, Lonoff cannot leave the boredome and security of his wife and reclusive home the colorful lifestyle promised by the sultry Amy even though he can create characters who profit in their reckless abandon. The ultimate responsibility of the writer also is questioned. Zucherman is under great pressure from his Jewish community and experiences estrangement from his before-doting father because of his short-story presentation of a family squabble. Lonoff counsels him to forget it, but Zucherman remains troubled by the question of validity and fairness in his treatment of the story's situation and personalities. On the surface, The Ghost Writer doesn't seem to have much pith. But beneath the seemingly direct narration of a thin plot are displayed the multiple philosophic problems and ironies involved in the creation of literature. 0 Laura Elliott is arts editor for The Daily Tar Heel. UeelieEiei? is the feature magazine published each Thursday by The Daily Tar Heel. Dinita James Editor Melanie Sill, Assistant Editor Elliott Warndck, Columnist alir Dailji aar Hrrl David Stacks, Editor Michele Mecke, Managing Editor Susan Ladd, Features Editor Laura Elliott, Arts Editor Reid Tuvim, Sports Editor Andy James, Photography Editor Every weekday me mm mlH rTrSi firii ti ii.ii i mi milium-run-1 II 'liiiniiill rwiiwir mmtl jpM'T'wiw' 'ml n liiiwm iiiiinnniiiiii.iiniir imiiii i m i iiiini urn II " ' i in linn iiiiiriiii 11 i n ni'ii miinni irrmi n u i irini inn iirriiiiiiiii'.i i mii 7 "DO YOU HAVE M-j ? A ANYTHING WITH caJ lb' 7)) Rer. No mileage charge Student Weekend Rates Rates apply from 6 p.m. Thursday to noon Monday. Offer good to students 18 years old or more. Student I.D., valid driver's license,' and cash deposit required. You pay for gas on this low rate and return car to the renting location. Rate is non-discountable and subject to change with out notice. Specific cars are subject to avail- sO ability. Free pick-up , from campus to airport. l lr Chevy Chevette or similar car. For reservations and information call your campus representative Jeanne Clark at 933-2941 or Raleigh-Durham Airport at 787-4876. Ask about our drawing for free rental car over spring break, . 1 j iMtgiirriltgiiai We offer S&H Green Stamp certificates on rentals in all 50 U.S. states. We feature GM cars like this Chevrolet Chevette
Daily Tar Heel (Chapel Hill, N.C.)
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Feb. 7, 1980, edition 1
11
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