Summary

Summary

(Masterpieces of American Literature)

The Ghost Writer opens as young Nathan Zuckerman comes to visit the distinguished stylist E. I. Lonoff at his home in the Berkshires. Zuckerman is filled with admiration and awe for the older writer, with whom he enjoys discussing literature. He is struck, moreover, by the young woman, Amy Bellette, a former student of Lonoff, who is helping Lonoff assemble his papers for deposit in the Harvard library where she works. He is also struck by Lonoff’s wife, Hope, the descendant of New England families different from Lonoff’s Russian-Jewish heritage. At several points, she expresses extreme frustration with the life her husband leads and asks him to “chuck her out” in favor of Amy Bellette, who is obviously in love with him. Lonoff has no intentions of doing any such thing; although he recognizes the young woman’s attractions and devotion to him, he is loyal to his wife and rejects all of her exhortations to the contrary.

Amazed by the situation he finds, but flattered by Lonoff’s praise of his work so far—four published short stories—Zuckerman is easily persuaded to spend the night on a daybed in Lonoff’s study. While trying to write a letter to his father, he finds and reads The Middle Years by Henry James. Lonoff has excerpted an intriguing passage from it about the “madness of art” and pinned it to a bulletin board near his desk. Later, after Amy returns for the evening, Zuckerman hears an argument in the bedroom above him, in which Amy tries to persuade Lonoff to leave Hope and go off with her to a villa in Florence. Lonoff refuses, and afterward Zuckerman has a long fantasy in which he imagines that Amy Bellette is in reality Anne Frank, miraculously saved from the Nazi death camps.

The next morning, all illusions disappear after another scene between Lonoff and Hope, when Zuckerman can find no trace of a tattooed number on Amy’s forearm. As he returns to the artists’ colony at Quahsay, Zuckerman receives some words of advice from Lonoff, who also anticipates with interest what Zuckerman will make in his fiction of everything he has seen and heard during his visit.

In Zuckerman Unbound, Nathan is no longer a young, somewhat callow writer, anxious about making his way in the world, but an accomplished novelist whose fourth book, Carnovsky, has become notorious (just as Portnoy’s Complaint became notorious in Roth’s own life and career). By this time it is apparent that the trilogy is a Bildungsroman, or portrait novel, based, like My Life as a Man, on Roth’s own experiences. It thus presents another “idea of one’s fate,” but without the mediation of Peter Tarnopol. The reader must be constantly careful, however, not to draw exact equivalences between Roth and his surrogates. For example, Zuckerman’s father becomes very upset by his treatment of the family in Carnovsky, quite unlike...

(The entire section is 1196 words.)