Operation Shylock: A Confession.

A man whose self-appointed task is to lead the Jews out of Israel and back to Europe is at the center of this meditation on identity

In yet another audacious spin on the doppelganger theme, Roth's dazzling, maddening and brilliant new novel offers two characters that bear his name: one a famous author called Philip Roth, the other an impostor who brazenly impersonates the "real" Philip Roth. Convinced that Israel will be destroyed by the Arab nations, the pretender has assumed Roth's identity in order to publicize his scheme to establish a new diaspora that will lead Jews out of Israel and back to their pre-Holocaust cultural roots in Europe. Roth's familiar tactic of fictionalizing the truth, such as it is, has the reader continually on edge, wondering what here is based on fact and what is "the sacrosanct prank of artistic transubstantiation." The novel is set in Jerusalem during the trial of John Demjanjuk (who claimed he was not Ivan the Terrible, but merely a man who resembled the sadistic concentration-camp guard). Roth also refers to the trial of Shakespeare's Shylock, whose name the narrator gives to what he concludes is an Israeli intelligence operation that has manipulated the series of bizarre experiences in which he finds himself. Other actual figures represented in the story include Aharon Appelfeld (whose interview with the author is reprinted from the original in the New York Times Book Review ), Jonathan Pollard (accused of spying for Israel) and Leon Klinghoffer (the victim of the Achille Lauro highjacking). Among the fictional characters, there's a nurse called Wanda Jane "Jinx" Possesski, whose two-sided personality matches her name; and handicapped Mr. Smilesburger, who is definitely not what he seems. The plot is like a house of mirrors; the narrator and his fraudulent twin impersonate each other with dizzying speed, which allows Roth to present the reverse side of every argument his characters make. He deliberately courts shock value: the events he depicts are both comical and horrible, often simultaneously; his characters' views are extremist and even bizarre. But Roth is dead serious. He leads readers through the absurdist plot with an impassioned argument about the eternal issue of the Jew in a largely Christian culture. Ingenious and provocative, this novel marks yet another achievement for a writer whose stock in trade is taking risks.
Copyright 1993 Reed Business Information, Inc.

Roth has worked out so frequently and acrobatically with fictional versions of himself that his entanglement here with a doppelg„nger insisting that he's Philip Roth--a double whose visionary ``diasporism'' gets the hapless narrator tied up in plots engineered by the Mossad, the PLO, and God knows who else- -is as logical as it is frenetically funny. Arriving in Jerusalem just after a hallucinatory withdrawal from Halcion, Roth is comically vulnerable to the double who's using his striking resemblance to the novelist to curry favor and raise money for his reverse-Zionist project: to return all Ashkenazic Jews from Israel, where fundamentalist Muslims threaten them with extinction, to the relatively benign cities of Europe. When Roth threatens legal action against the double, whom he christens Moishe Pipik, Pipik sends opulent, dyslexic Chicago oncology nurse Wanda Jane ``Jinx'' Possesski, a charter member of Pipik's Anti-Semites Anonymous, to intercede for him. Roth, falling in lust with this latest shiksa, finds himself slipping into Pipik's identity, spouting off diasporist speeches, and unwittingly accepting a million-dollar check for the diasporist cause from crippled philanthropist Louis B. Smilesburger. A zany ride back to Jerusalem from Ramallah, where he's incidentally delivered a loony, impassioned anti-Zionist tirade, ends with Roth rescued by a young lieutenant seeking a letter of recommendation to NYU, and the check lost or stolen. As he takes in the Israeli trial of John Demjanjuk, Roth ponders Pipik's insistence that ``I AM THE YOU THAT IS NOT WORDS'' and, under challenge from every side, questions his notorious Jewish self- hatred. Still ahead: antiquarian David Supposnik's request that Roth write an introduction to Leon Klinghoffer's recently discovered travel diaries, Roth's kidnapping, and his agreeing to undertake a secret mission in Athens for the Mossad. A deliberately anticlimactic epilogue substitutes for the final chapter that would have described the secret mission. No matter: rarely have fact and fiction, personal confession and wild imaginings, led such a deeply, unnervingly comic dance. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.

The drama of Jewish survival takes a new twist in this novel, but Rothean ideas persist: all humans make fiction, man betrays and fulfills his father's dream; an artist's doubt is his integrity; Jews test freedom (in the West from exclusion and prejudice, in Israel from temptations of power); embattled Israel dramatizes the nationalisms that drive history, with the Holocaust their persistent threat. Here, through a pseudo-autobiographical escapade in intifada Israel during the "Ivan the Terrible" trial, a writer confronts his double. Playing off recent autobiography, Roth gives his fictive protagonist, "Philip Roth," the author's known career. Led into Mossad intrigue to defend Jewish security and his writer's integrity, this "Roth" chews the cud of these tortuous themes and is at times as baffled as Kafka's K. Using "Philip Roth" as an irritant to thought, Roth will make some readers steam. By midway he is telegraphing his punches, and his sparkling absurdity dissolves in perseveration. Recommended for public libraries. Previewed in Prepub Alert, LJ 12/92; Roth reported in the New York Times , March 9, 1993, that all events depicted in this book are in fact true but that the Mossad insisted that he bill it as fiction.--Ed.
- Alan Cooper, York Coll. , CUNY
Copyright 1993 Reed Business Information, Inc.