In an exclusive interview with The New York Times, Philip Roth shared his thoughts on Trump, #MeToo and retirement (from January) https://t.co/LTsow8o6q6— The New York Times (@nytimes) May 23, 2018
I have interviewed Roth on several occasions over the years, and last month I asked if we could talk again. Like a lot of his readers, I wondered what the author of “American Pastoral,” “I Married a Communist” and “The Plot Against America” made of this strange period we are living in now. And I was curious about how he spent his time. Sudoku? Daytime TV? He agreed to be interviewed but only if it could be done via email. He needed to take some time, he said, and think about what he wanted to say.RTWT.
C.M. [Charles McGrath] In a few months you’ll turn 85. Do you feel like an elder? What has growing old been like?
P.R. [Philip Roth] Yes, in just a matter of months I’ll depart old age to enter deep old age — easing ever deeper daily into the redoubtable Valley of the Shadow. Right now it is astonishing to find myself still here at the end of each day. Getting into bed at night I smile and think, “I lived another day.” And then it’s astonishing again to awaken eight hours later and to see that it is morning of the next day and that I continue to be here. “I survived another night,” which thought causes me to smile once more. I go to sleep smiling and I wake up smiling. I’m very pleased that I’m still alive. Moreover, when this happens, as it has, week after week and month after month since I began drawing Social Security, it produces the illusion that this thing is just never going to end, though of course I know that it can stop on a dime. It’s something like playing a game, day in and day out, a high-stakes game that for now, even against the odds, I just keep winning. We will see how long my luck holds out.
C.M. Now that you’ve retired as a novelist, do you ever miss writing, or think about un-retiring?
P.R. No, I don’t. That’s because the conditions that prompted me to stop writing fiction seven years ago haven’t changed. As I say in “Why Write?,” by 2010 I had “a strong suspicion that I’d done my best work and anything more would be inferior. I was by this time no longer in possession of the mental vitality or the verbal energy or the physical fitness needed to mount and sustain a large creative attack of any duration on a complex structure as demanding as a novel.... Every talent has its terms — its nature, its scope, its force; also its term, a tenure, a life span.... Not everyone can be fruitful forever.”
C.M. Looking back, how do you recall your 50-plus years as a writer?
P.R. Exhilaration and groaning. Frustration and freedom. Inspiration and uncertainty. Abundance and emptiness. Blazing forth and muddling through. The day-by-day repertoire of oscillating dualities that any talent withstands — and tremendous solitude, too. And the silence: 50 years in a room silent as the bottom of a pool, eking out, when all went well, my minimum daily allowance of usable prose.
