The inevitability of illness and death becomes increasingly palpable as one ages, a reality that often draws older writers to explore these themes. Philip Roth, at seventy-three, is no stranger to personal losses and brushes with mortality. Despite a career marked by explorations of the male body in contexts of both sexuality and illness, Roth's work has long engaged with mortality and the human condition, making him a seasoned observer of life's final act.

The Lure of Mortality in Literature

Reflecting on recent literary works, one finds a rich tapestry of authors delving into the specter of aging, illness, and death. Saul Bellow's Ravelstein and John Updike's Villages offer vivid explorations of these themes. Joan Didion's poignant narrative in The Year of Magical Thinking and the evocative late poems of Stanley Kunitz and Czeslaw Milosz further underscore the preoccupation with these inevitable facets of life. Roth, however, stands apart for his persistent engagement with these subjects throughout his fifty-year career, often portraying the body as a site of both desire and decay.

Roth's Journey with Mortality

Roth's early works set the stage for his lifelong exploration of death and illness. His first story, "The Day It Snowed," reveals a young boy's confrontation with death, followed by his own demise. In the novel Letting Go, a letter from a deceased mother introduces readers to the protagonist's world. The Zuckerman novels, collected in Zuckerman Bound, intricately weave themes of parental death and personal illness, culminating in The Counterlife, which imagines the death of Zuckerman and his brother.

Persistent Themes in Roth's Later Works

As Roth's career progressed, themes of mortality became central. The Facts: A Novelist’s Autobiography emerged from his own breakdown, while Patrimony: A True Story poignantly recounts his father's decline. The narrative of Operation Shylock begins with Roth's own battle with depression, and Sabbath’s Theater confronts death with visceral rage. The American Trilogy, comprising American Pastoral, I Married a Communist, and The Human Stain, continues with an isolated Zuckerman grappling with loss. Roth's focus on mortality culminates in The Dying Animal, addressing the very essence of its title.

“Can you imagine old age?” asks David Kepesh in The Dying Animal. “Of course you can’t. I didn’t. I couldn’t. I had no idea what it was like.”

Everyman's Universality in Roth's Eyes

In his novella, Roth reimagines the medieval morality play Everyman, presenting an unnamed protagonist facing the inexorable march of age. As "Everyman," the character embodies a universal experience, reflecting the common man's journey through life. This figure, bearing the weight of past relationships, career triumphs, and the inevitable decline of age, becomes a poignant reflection of Roth's own narrative arc and a mirror for readers.

Roth describes this work as "very dark," yet it is a masterful blend of art and reality—an intricate tapestry of life's harshest truths. For those who have encountered similar experiences, the novella resonates deeply, offering both empathy and a chilling reminder of mortality.

A Modern Allegory

Roth draws from a rich literary tradition, echoing the voices of Shakespeare, Tolstoy, Mann, and Solzhenitsyn. This tapestry is woven with threads from his previous works, particularly his autobiographical The Facts and Patrimony. The father figure in Everyman recalls Herman Roth, capturing the resilience and nostalgia that permeate Roth's memories.

The familial and personal echoes resonate within the novella, grounded in a philosophy where hard work and indomitability prevail. These values underpin Everyman's reflection on his past and the legacy of his familial bonds—a narrative deeply entwined with Roth's life path.

The Structure of Reflection

The novella's structure...